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Return to Bachelor Degree in Design

Projects from Bachelor Degree in Design

Objects for the body

by Héctor Tre Rodrigo

Fashion Design
Objects for the body Objects for the body Objects for the body Objects for the body

Objects for the body is a project based on the idea of the person as a social object and as a single and isolated entity, characterized or identified through what we call garments or clothing and socially developed under the subjectivity and the opinion that raises our non-verbal language. This project is about self-knowledge, a method to understand ourselves as unique and social beings through the purpose or game to know how we can relate ourselves in a new way by the things we choose and wear, the things that cover our identity and at the same time what sets us apart and separate from others. Based on the premises that I mention, this collection, 'this kind of objects' try to shape the identity of another object, the social self, and tries to create a link or an activation through which the object in the collection takes identity through the body, movements and the intentions of the person that wears the object. Non-verbal language is intended to be a way by of interaction between subjects and objects unlimited, to be conceived as a space with different forms of interpretation and interaction, a space for self-expression. The intervention on the clothing is focused in an atypical way comparing with the common purpose, in the aesthetic an practice way, on the basis of forms and geometrical characters, constructed as a collage, creating spaces, playing with the vacuum and inspired in objects and shapes that usually surround us. The created objects speaks about our relationship in the modern era, of our identity throughout history, symbols and languages that we use and how art helps us to express ourselves and judge, always starting from subjectivity as the basis of the project and creating social methods in order to link us in a society strongly distracted in the constant changes of the modern world.

Habitar a l'hàbitat

by Yumi Martí Kando

Interior Design
Habitar a l'hàbitat Habitar a l'hàbitat Habitar a l'hàbitat Habitar a l'hàbitat

In housing allways takes place an appropriation of the space that leaves a discourse related with concerns and personalities uncovered. We have a freedom of expression within the own home, however, imperceptibly, an inherited cultural influence appears, which becomes a guide in the inhabited space. At the same time, we have to understand the relationship between all subjects or items that construct the environment: space acts as the revelation of each of them. Moreover, there is a underlying communication process present in a structured socio-cultural community, with habits and collective identities. The project gives due value to dwelling. A dwelling, which consists of mutual interaction between self and environment, avoiding any concept of object-type mass produced. This means to understand and live with our environment from an posthumanist approach, given that is not the Earth that belongs to human beings, but humans beings who belong to the Earth. Concretely, this means that is not possible to understand the human being ontologically separated from nature, but united with it. The project focuses on a existing building, similar to a shelter, which is located in the Puigsagordi area, at Els Hostalets de Balenya (Osona). This project is not intended to provide any specific model of housing/shelter as something necessary, but a different position to the current idea about comfort, reinforced by institutions and thought paradigms that go beyond the human livelihoods.


by Martí Font Ruiz

Audiovisual Design
Depth Depth Depth Depth

The way in which designers work and develop their projects are very diverse. However, although it may seem paradoxical, the tools currently used for the execution of projects are apparently much more limited and standardized. In fact, changing from going from working through manual tools to working using digital tools has completely affected, both positively and negatively, the work of the designer. If on the one hand the mastery of the manual tools requires a fairly long learning curve, the current digital tools allow to be learned more easily, and therefore can be used for a much greater thickness of users. I also understand that the standardization of digital design tools has also led to the standardization and homogenization of the results obtained by the users. As a designer, I watch this new paradigm and identify standardized tools as the focus of a creative crisis. For this reason I consider possible alternatives to the standardized tools, and I propose experimentation with tools as a good way to innovate in the field of design. The appropriation and subversion of nonesign tools, the creation of new tools that fit the needs of each project and the recovery of more traditional and analog tools, are some of the possible options that I consider as an alternative to the large packages of computer design tools. Depth is an open source tool that poses a new way of approaching design processes and diffuses the boundaries between analog or manual terrain and digital terrain. Depth has been designed to digitally assist manual or artisanal creation by creating a bridge between creative languages. For this to be possible, Depth is created from a hybridization of several resources and making use of the collective knowledge present in the network, with the intention that in this way designers and designers can access the territory that is in the middle of the two extremes, territory that is possibly the richest and most fertile.


by Jordi Giménez Tur

Graphic Design and Visual Communication
Unheimlich Unheimlich Unheimlich

Es un presente inestable, un tiempo y espacio que parece encontrarse en perpetua crisis (J.Self, 2017), un lugar que no se ubica en el aquí y ahora. Esto viene vinculado a la duda sistemática, a una duda presumiblemente venida por la contaminación intelectual por sobre-información —puediendo suceder de manera colectiva a través de la cultura, o individual, a través de la psicología de cada individuo— a la par que la ya comentada crisis perpetua, que afecta de manera global nuestro contexto una y otra vez. Esta situación parece haber coagulado en un estado casi global de nihilismo extremo, un nihilismo tan radical que ni Heidegger con su “the clear night of nothigness” (Jorn K.Bramann, 2009) , ni Nietzsche con su superhombre hubieran podido imaginar como real. Este nuevo estado — nuevo si más no como norma —, permite traspasar los muros de cualquier realidad, creencia o dogma histórico; el capitalismo está siendo empujado por el neoliberalismo y se empieza a encontrar en una espiral de autodestrucción que no parece tener frenos. El conocimiento a la par que el sistema necesita de nuevas formas, de nuevas relaciones y de nuevas comprensiones, que se afanen a equilibrar la balanza con la naturaleza que no nos pertenece, y la que nos es propia —nosotros mismos. En este sentido nos situamos en un momento de oro, vivimos una contemporaneidad insaciable donde las relaciones que tomamos con cualquier objeto están sujetas a formar parte de la duda (V.Flusser, 2017, p.10), y por lo tanto son sensibles a ser re-formuladas. El diseño como codificador juega un papel en este momento, queremos reiterar que no es un papel vital pero si activo. Este puede pasar a representar nuevas formas de relación con el mundo presente. Desde el informalismo a lo absurdo, el diseño como lenguaje intelectual puede ser propositivo a la vez que auto-crítico, puede y creemos que debe, generar dinámicas de cambio. Como un ejercicio dadaísta, Unheimlich —así lo hemos llamado—, es una practica que juega con la idea de futuros plurales, con proyecciones ambiguas, y discursos contradictorios a través de un malestar casi existencialista con el diseño, generando así una serie de objetos que intentan abrir diálogo y crítica hacia el rol del diseño —y diseñador—, y en general de cualquier proceso de codificación que genere situaciones de marginalidad —sean interpersonales, con el mundo material o incluso con la esfera abstracta del intelecto (lenguaje).

representar lo representado representar lo re-pensado re-pensar lo representado.

by Arnau Coll

Audiovisual Design
representar lo representado representar lo re-pensado re-pensar lo representado. representar lo representado representar lo re-pensado re-pensar lo representado. representar lo representado representar lo re-pensado re-pensar lo representado.

This project belongs to a moment where the representation of the person in digital world it’s increasing. We can understand how representativeness and analyses has always been a main point in the description of the person as a being. Now a days we are in an important moment where the representation of the person it’s constantly evolving. The goal, it’s investigate throw relational methodologies in order to represent people graphically. This methodologies are organized in four different concepts: time, body , space, objects and facial expressions. All of this is being create to propose questions around all the things that represents us, creating a plural space where the representation becomes a game about , Who represents what? The final results are creating a project that raises a huge range of questions before, while and after the act of representation itself.

Sin título-01.jpg

by Paula de Álvaro Pesquera

Graphic Design and Visual Communication
Sin título-01.jpg Sin título-01.jpg Sin título-01.jpg

Over the past few years, photographs have changed their context according to the value that different generations have given to all those memories expressed through images. Today, hundreds of pictures are taken to remain on the computer becoming virtual oblivion. «Photos are no longer used to store memories, they aren't made to be stored. They serve as exclamations of vitality, as extensions of experiences that are transmitted, shared and that disappear, mentally and/or physically». (Joan Fontcuberta, 2017) This evolution has produced a change in the way we use photography, has increased the functions for which we use photography and, as a consequence, this evolution has changed the value of this excess of pictures. Through a research and exploration process, Sin título-01.jpg project pretends to analyze the function, the use and the quantity of pictures we currently make, as well as it shows up the concept of ‘memory' in a world that grows as fast as the snapshots that we generate. From a critical point of view and through the documentation of this process, the main objective of the project is to question the importance or insignificance of the photographs that we make, generating a debate and offering new approaches about the devaluation of the memory due to this big amount of pictures.

Bloc a block

by Paula Guallar Sancho

Graphic Design and Visual Communication
Bloc a block Bloc a block Bloc a block Bloc a block

Bloc to block is a proposal to investigate ways of building relationships within the city; urban space is not only defined by city planning, the inhabitants have a key paper in its shaping. This initiative thinks the balcony as a space that brings together the public and the private; a place that not only represents, but that also presents. A space with great power to boost connections and bonds between people. The project aims to build an empowered community, ready to define the space that inhabits. Some messages collected at different points of the city come into being trough canvases that hang from the balconies; what remains behind the literal and metaphorical façade of the city, gain visibility. The project works the communication between residents having as its purpose to build a city to talk to, and live collectively.


by Jorgina Betorz López & Laura Garcia Sánchez

Interior Design
"Yo" "Yo" "Yo" "Yo"

"The urban associated with distance, insincerity and coldness in human relationships with nostalgia for the small community based on warm and frank contacts and whose members would share, it is assumed, a worldview, vital impulses and concrete motivational structures" (Delgado, 1999, p.25) Interpersonal relationships that are generated between individuals within modern society, is governed by an individualism that only looks for personal well-being. This distancing between human beings arises in most societies with the increase of cities, the density of the population and the new urban projects that want them to become "global cities", having an impact on urbanity and the social fabric of the neighbourhood. The public space, as the maximum expression of urbanity, has become a place of pure transitory use in which thousands of people live together without contact. The new user who cohabitates in urban spaces, has generated a new way of coexistence that forgets the old way of living and understanding the public space as a place to be, to do activities and to share. The "Yo" project is a research project that seeks through the design of probe objects to know and make visible the different forms of social life we can observe in the urban public space, in particular, social distance and individualistic behaviours. Through a critical way of thinking the objects have an ironic character after being placed in the public space, generating information about human interactions through the involuntary use of the designed objects.

Cuerpos frágiles

by Miguel Ascanio González & Adrián Correa Plasencia

Interior Design
Cuerpos frágiles Cuerpos frágiles Cuerpos frágiles Cuerpos frágiles

The investigation arises from the interest in the interpretation of body in different cultures. More specifically, we study through anthropologists Le Breton and Leenhardt society Melanesia, whose authors compare it to our society current western. Melanesians do not contemplate a word to define the body, they speak of kare as skin that covers both: the human being and a tree. Understand the body as a whole, an intrinsic part of the plant world and of others bodies. In contrast, the Western society of modernity treats it as something alien to the world, separated not only from environment and of others, also of ourselves. From this point, we center the body like the thorn back of the project. We ask ourselves ways to cover it and condition it spatially to pose a questioning of the distances and relationships between that body and its own body, with others and with the natural environment. We were worried about disengagement from the Western human being of modernity and we wanted it to connect with the environment, unlearn what he learned and experienced physically with his senses, posing gestures, traces, attitudes and meanings. We materialize the project as a large body space composed of natural fabric. To achieve this, we support each other in architectural and dress codes such as pattern making or the structures, creating volumes at different scales where voids are formed between the body and the textile skin. This entails to an investigation of the boundaries between pledge and architecture. The skin, when it is held as a structure, forms a volume with cocoon aspect of 66 m3, and comprises its interior other volumes as extensions of it. When the large textile body falls and folds form, adheres to the bodies and mutates its function. The skin is not intended to replace needs of the human being, he adapts to it, forcing or “allowing” the body to understand a series of tasks that he is not used to.


by Maria Diego Izquierdo

Fashion Design

Social analysis from fashion’s point of view, from the group integrated by people between 15 and 50 years old, from different social areas in Barcelona. The concept of this project is based on the study and photographic records of A. Versius and E. Vyttenbroek under the name Exactitudes (exact + attitude), carried out in Rotterdam Holland during the 90s and later. The work raises the similitude between people of the same group or social tribe, being among them isolated individuals, but with an aesthetic uniformity. After more than 20 years of the realization of this project, the sen sation of stylistic cloning is increasingly exaggerated. Due to the mass production of fast-fashion and the desire to “be fashion” following the trends to feel integrated, but at the same time trying to stand out.

Sujeto Colectivo

by Silvia Rubio Herrada

Fashion Design
Sujeto Colectivo Sujeto Colectivo Sujeto Colectivo Sujeto Colectivo

The project is about how people use clothes, body, posture to create an identity consciously, both to affirm their affiliation to the group and to differentiate themselves from those who are outside and inside it. I speak of how in the era of globalization, fashion no longer seeks to boast of belonging to one social class or another, but a taste, a lifestyle. For this I have researched people from different targets, social classes, and styles with their respective cabinets. This project could be considered a transformation of all the research into a language of all the cabinets found.

Filmar amb ànima

by Mateu Rabell Vilarrubias

Audiovisual Design
Filmar amb ànima Filmar amb ànima Filmar amb ànima

In the continuous communication experimentation on creating new audiovisual narratives on design, the author develops a learn-by-doing project composed by the documentation of creating a short film to understand which is his communication style on a context where the narrative differentiation is a key element on our professional communication environment.