Master in Interior Design for Commercial Spaces

th

11 edition

INTERIOR DESIGN FOR COMMERCIAL SPACES Professional Master

IED credits: 60 The educational planning for all IED Master courses is aligned with the criteria established by the European Higher Education Area (EHEA). The IED Master programme has adopted a credit structure that follows the European Credit Transfer System (ECTS).

IED Master only awards its own private degrees.

Lenguage: English Enrolment is subject to language proficiency. For courses taught in English, an intermediate level is required, corresponding to TOEFL 450 (PBT) or IELTS 5.0

Schedule: January 19th - 20th July 2017 Course inauguration: January 19th and 20th Classes starting: January 23rd Completion classes: July 4th Final project presentation: July 5th - 19th Graduation ceremony: July 20th

Timetable: Monday to Friday, from 18.30 to 22.40 - A Master Workshop Weekend is organized during the course, Friday from 18:30 to 22:40 and Saturday from 10:00 to 19.00 - Some of the supplementary activities can be organized out of the regular course timetable, through previous agreement with the students

Introduction The Master in Interior Design for Commercial Spaces proposes to work from the basis of a theoretical and practical reflection on the design of the commercial space.

The aim is to combine theoretical concepts and construction, quotation, and material interpretation, with the understanding that the design practice exists in relation to current society, to the present.

Therefore, applying a historical perspective to design, analysing the current situation, and referring to the history of the place will therefore be important issues to consider.

The Master uses Barcelona as its working ground, and so deals with the commercial space associated with a territory where the street is the protagonist.

Due to the geographical characteristics of our city, and good weather, much use is made of public spaces. Streets and squares areopen spaces that oxygenate the urban fabric; and, within this area of high-density housing, they provide necessary ‘living rooms’ for citizens.

Barcelona, unlike American cities, for example, is a “mixed-use” city, a sparsely zoned territory, where domestic life, work, and leisure co-exist. These two characteristics, the use of the public space and the “mixed-use”, makes the ground floor an important place of transition, and a threshold between public and private life. The boundary between the interior and the exterior is a blurred one, where the confines of the street do not end at the buildings, but rather extend into their interior, through its contact with the ground.

Over the past few decades Barcelona has been reconstructing its own landscape, limited by the geographical elements that surround it (mountains, rivers, and the sea), carrying out different urban projects which arose from historical needs. In recent years, these transformations have been tied in with major events, and three projects in particular have changed Barcelona’s urban structure: The Olympic Village developed for the Olympic Games in Barcelona in 1992.

The extension of Avinguda Diagonal carried out in 2006 which involved the modification of the metropolitan area of Barcelona, extending Avinguda Diagonal as far as the sea.

The creation of 22@ in the Poble Nou district, a new urban structure designed to transform the old area into a focus for new activity, where a balance is sought between its different potential uses.

Making use of this richness, the course deals with the concept of the commercial space in relation to the “street”, taking into account the social and political situation to intervene in places that form part of the public debate.

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General objective of the course “ Not only is shopping melting into everything, but everything is melting into shopping. Through successive waves of expansion - each more extensive and pervasive than the previous - shopping has methodically encroached on a widening spectrum of territories so that it is now, arguably, the defining activity of public life. Why has it become such a basic aspect of our existence? Because it is synonymous with perhaps the most significant development to give form to modern life: the unfettered growth and acceptance of the market economy as the dominant global standard.

Shopping is the medium by which the market has solidified its grip on our spaces, buildings, cities, activities and lives. It is the material outcome of the degree to which the market economy has shaped our surroundings, and ultimately ourselves (...) shopping (...) is also being constantly (and artificially) reinvented, reinterpreted, refashioned, reborn, rechanneled and repackaged. What allows this is an apparatus – a survival mechanism – that can seize on any technique for squeezing out a pathway toward life: modulation, constant change, camouflage, mutation, predation, sabotage, parasitism, surveillance. As markets become more volatile, consumers become more fickle, capital becomes more fluid, information becomes more accessible, and as technology gets more sophisticated, so do the modulations of shopping acquire more reach, more agility, and more speed. After shops have become limitless in size, after shopping has overtaken all activities, and after all aspects of our lives have been quantified and analysed, shopping will still find another vehicle by which to survive and expand.In the end, there will be little else for us to do but shop. “ SzeTsung Leong Harvard School of Design Guide to Shopping / Project on the city 2)

Confronted with the accelerating evolution of consumer markets, we are bombarded with image, identity, ambiance and life-style, which often have little to do with the everyday products they represent: the ‘consumer society’.

Through work carried out during the Master, students will address the issue of commercial space not as an abstract construction, but as a com m entary on reality. They will develop projects that are highly realistic and form part of the debate on the regeneration and design of the city. The projects will be supported data provided by the City Council’s Department of Architecture.

The aim is for students to have closer contact with the professional world and to acquire the necessary tools to tackle the heterogeneity and diversity of programmes and places encompassed within the field of interior design.

Following an integrated programme of practical and theoretical sessions, the participants will be assisted from the initial stages of strategy and conceptualization, through the design process to final presentation. Particular emphasis will be placed on the interdisciplinary aspects of the project, opening new ground to the designer, while reinforcing and amplifying previously acquired knowledge.

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The course is focused predominantly on research, learning a methodology, and project process. The end result is not an objective in itself, but a vehicle for providing the student with the knowledge and tools necessary to handle any type of multidisciplinary project in the future. Participants will have to develop the ability to plan and understand the stages of work process, by alternating both aspects.

The course also draws on the students’ diverse backgrounds in order to further enhance the group’s knowledge.

Methodology The Master offers an intensive program that provides methodological tools, steering away from the “inspired” search for an image related to an end result.

The course will prepare the student in the field of abstraction, to design the space according to its emotional and visual aspects, and to pursue individual ways of thinking.

The research avoids “decorated” or “fancy” spaces, in order to reinforce the knowledge of the nature and sensitivity of the place.

This methodological and heterogeneous vision will increase the students’ professional skills, opening up their field of work in the design world.

Work will be carried out on different scales, from the urban to the human, from overall context to detail, allowing for comprehensive control of the project.

The teaching methodology proposes projects that define the place in four ways: 1_ The physical space in which they are carried out.

2_ The “present” in relation to its historical situation.

3_ The social reality and therefore issues that concern citizens.

4_ The matter as an interpretation oflife.

The duality between the immovable state of reality –the context and the brief-, and our interpretation of it, is combined in the project and, finally, is realized in the built work.

If the solid is not defined, there can be no habitable void. Without matter, there is no light, and therefore, no life. Recognizing a place (space and user) and the process of adapting ourselves to it affords the designer the ability to provide it with life. It gives us the opportunity to bring matter to life through a correct interpretation of light The architectural work is seen during the course as a combination of matter and light. The volume –matter- in as far as the inanimate object: silent and still. And light –indefinite space-, like a void defined by matter: alive, moving, dynamic.

In order to reach this symbiosis between matter and light, between the definition of space and the habitable space, the designer works in a place with a context, a place that imposes itself and that cannot be ignored and that must be addressed.

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This design process is managed through many types of documents. A language is generated by the designer –personal- and specific –from the place- that - beyond being used by the architect to build- is the origin of a story that, in some cases, will arrive at its ultimate goal: to become spaces that can be inhabited by people and can shelter new stories.

We will carry out two projects, organized as follows: 1_ The first stage of each project will consist of incorporating into the proposal the historical and formal characteristics of the place where the project is to be implemented.

This will be achieved through practical lectures and workshops. Analysis of the history (the place) and society will form the basis of the students’ work.

2_The second stage, which accounts for a large part of the course, consists of designing projects based on the outcome of the first phase; discovering, by means of analysis, all stages of the design process.

The aim of the lectures and workshops is to reinforce the theoretical approach to subjects that make up the content of the project and provide the backbone of the work process.

The workshops enable intensive studies and research to be conducted, in order to provide a foundation on which the work will be developed over the following weeks in the Project Studio classes. At the end of these intensive workshops, where tools will include drawings, collages, scale models, videos, photos, and so (only physical and self-created objects), the Project Studio professor will define the “key word” associated with the concept to be developed in the project.

Throughout the entire process, two elements will always interrelate: _The tangible/analogical, i.e. everything related to the physical materials: photos, the sketch, the geometry, and the scale model. _The abstract: i.e., everything related to the verbal: the word, the metaphor, and their application via the software.

At the end of each stage, the students will present their work thoroughly, including the different disciplinary knowledge they have acquired.

The design process and the conceptual development, particularly through the use of working models as theoretical analysis material, will help achieve a consistent and coherent approach to design.

To give an example of the Program's methodological development, some areas of the city where projects have been developed in previous courses include: Avinguda del Paral·lel.

Former students worked on one of the biggest thoroughfares in Barcelona from different viewpoints: it is the linking road between two of the city’s main gateways - Plaza España, connecting to the south of the province, and Plaza de la Carbonera, which links directly with MASTER Professional / Interior Design for Commercial Spaces / a.y. 2016-2017

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the Ronda Litoral; it is the artistic hub of the city, with the highest concentration of theatres in the world; it is the link with the city’s most important neighborhoods -the Raval, Poble Sec, and the Eixample- and thus contains along its length, the whole diversity of scales, uses, and systems of these urban areas.

The Historic Center.

Based on the fragmented structure of the historic center, with some of its streets semipedestrianized, a project for a shop/gallery was carried out in Doctor Dou Street. This area comprises the cultural axis, which runs from the CCCB to the Santa Mónica Art Centre and is therefore a place where the ground floor plays an important role in shaping the layout of the public space.

Avinguda Diagonal.

Diagonal Avenue is one of the most important urban traces of Barcelona. As the name suggests, it crosses diagonally across the “Eixample” grid in south-north (mountain-sea) direction. But if we take a little more time we see that its geometry is not exactly 45° related to the grid projected by IldefonsCerdà. Thus, Av. Diagonal is, in fact, a geographical anchor for the abstract mesh, is the line which connects in a fastest way those populations that surrounded the ancient boundaries of Barcelona.

In the central section of such Avenue, which was the part first built, represents one of the most important commercial centers of the city. There have been many political debates about the reform and today the project for improving the pedestrian circulation above the road traffic it’s being implemented.

For this reasons Avinguda Diagonal has been taken as a studio area in different editions of the Master.

In the future, the aim is to continue working and participating in these types of projects, in collaboration with local bodies.

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Student entry profile / Admission requirements Students will be required to present a graphic portfolio demonstrating their ability to manipulate shapes, and their mastery of design theory.

Moreover, two exercises are required to be sent: 1. The construction of a space through the cutting and folding (without separating pieces) of an A4 sheet of paper: just one photograph should be presented and an adjective that define the space.

2. Construction of a space of light through the strategic perforation of a foam board box 50x50x50cm: just one photograph should be presented and an adjective that define the space.

(More detailed information will be provided during the application process).

All students admitted must have a qualification in one of the following areas: -­‐ Architecture -­‐ Graphic Design -­‐ Engineering -­‐ Visual Arts -­‐ Interior Design -­‐ Landscaping -­‐ Product Design -­‐ Social Sciences During the project process, the Master promotes group work as a learning methodology: two or more students, with different experiences, who are able to manage the proposals will be better prepared for the reality of professional practice, and it also makes the course more realistic. For this reason, the Master course values the fact that students have different qualifications, as this enhances the interdisciplinary peculiarity of the projects.

Professional careers The Master students will have acquired sufficient knowledge for them to be able to integrate different disciplines from the design world into their projects: -­‐ Architecture: the project method starts with a physical and historical analysis of the place.

-­‐ Interior design: understood as a continuation, an extension of the exterior space; avoiding “fancy solutions”, and seeking spaces with atmosphere and imbued with their own particular character.

-­‐ Product design: the ability to use detail or an object as a project matrix, whether for its modular, geometric or fractal capacity.

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Skills The methodology will help students develop their skills, enabling them to take on future projects, using three key approaches: THEORETICAL APPROACH Application of tools to conduct an in-depth analysis of the theoretical problems posed by the projects Ability to structure theoretical arguments Application of theoretical concepts in design solutions Capacity for analysis and critical thinking METHODOLOGICAL APPROACH Application of design methodology for project development Collecting appropriate documentation and its proper use and analysis in the project Project management PRACTICAL APPROACH Application of techniques and models to express spatial ideas Capacity to plan and design Presentation and communication tools COMMERCIAL SPACES Implementation and application of creativity in a world dictated by commercial strategy Ability to integrate the design proposal of the interior with the identity of the product or service offered in a commercial space.

Capacity to plan the use of a commercial space combining the analysis of the user and the physical space where it is locate.

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General Curriculum The course offers a theoretical and practical programme, based on the practical interpretation of theoretical concepts. This interpretation is focused on two projects, establishing synergies and organising the design process into annotations on the project location and process:

1_ANNOTATIONS: THEORY The theoretical seminars, given by architects, designers, and sociologists, will form the basis for the subsequent discourse of the projects, providing them with a solid foundation, and more variables and content for the process. These activities are reinforced by lectures given by renowned design and architecture professionals, and supplemented by visits to “in situ” works.

Cultural subjects include the study of historical precedents and the evolution of commercial development which, analysed together with the influence of professional practice and trends, will provide students with a broad context analysis.

Critic Context is a determining factor in a society where the consumption of the information reigns supreme. We need to develop mechanisms that help us to select this information overload, which turns us into passive agents. Analysis and criticism are essential tools to get to recognize and select to be able to discover by us. Seeing is working and attention becomes the limiting factor in the consumption of information. We need to develop tools to take an independent opinion, capable of understanding the complexity of reality.

Project Management The classes combine the analysis of traditional methodologies documented in textbooks with real, working-life experiences. This allows students to understand the roles and activities involved in the interior design process, and to be able to relate them to their previous training.

Design Management This course is an approach to Design Management.The objective is to implement this methodology in the projects proposed in the Master, as a new way to acquaint students with the knowledge and experimentation in the creative design process.Students will learn to apply Design Management in industrial and commercial formalization in an effective, viable and creative way.

2_PROCESS: TECHNOLOGY The technology courses supports the main activity, updating and expanding the students’ knowledge and abilities. An in-depth knowledge of the processes and technologies are involved in the day to day of construction, including eco-design and information technology.

Model-making The model making course is not to be understood as a separate subject, but rather as a parallel and integrated workshop that runs alongside the design course.

We are interested in a work method which uses the model as a tool for thinking, for testing, for sketching, for explaining ideas, thoughts and, more importantly, thought processes and the design process itself…

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As students develop their projects, they will be expected to explain their ideas through the model, with the model making class becoming an extension of the design classes.

Geometry & Energy The subject will introduce the basic concepts of the environmentally conscious design, understanding sustainability not as a novelty that now “must be taken into account”, but as an important characteristic of good human and natural designs of all times.

Throughout the classes, students will be aware of how the work designers develop has an important responsibility in relation with the improvement of the conditions of our livability, locally and globally.

Tectonics The main content taught throughout the subject is an approach to the constructing materials, trying to understand the different systems of construction. The lectures show which are the logics of each material, showing that each material have a better system of construction to generate space. This course shows how these construction systems approach to the limits, and how they relate with them.

Finally students will explore how these construction systems change their scale to adapt to different situations and relate with the human scale.

Materiality Workshop At the beginning of the workshop students will assist to theoretical classes, to understand the meaning of materials and the different ways to work with them, analyzing under abstract concepts the use of the materials. After, they will explore the expressiveness of one material, developing the design of an interior space trying to understand the soul and the possibilities about materiality.

In the analysis of materials, student will explore about different elements that we can found in any construction and how designers and architects found different solutions.

Lighting Workshop The workshop aims to integrate students in the use of light as a material in the design and construction of their projects. Learning how artists and architects have used the light, they will learn to explore the expressive capacities of light.This workshop will introduce the students to the world of lighting design, its players, the lighting design project, its content and methodology as well as lighting specifics of a commercial lighting project.

Representation Workshop Each project is different; therefore its diversity and uniqueness should also be graphically expressed in different ways.In the lectures we will approach the theme of representation by analyzing a variety of 2D drawings that reinforce the concept of the project, focus on the idea behind each line and change depending on the scale of each document. Students will also work on the correct representation of symbols and graphic signs for a good understanding of the plans and the composition of panels.

Digital Workshop The main idea of this course is provide to the students knowledge that will allow them to be able to draw in 3D with Rhino and represent those 3d files with V-Ray renderings. The course is focused on establishing the basis to work in terms of Digital Design. Within the idea to be up to date with nowadays workflows, during the course we will cover all concepts related with the bases of the computational geometry, digital design and digital representation; focusing in mesh and numbs geometry via Rhinoceros software, that allow us a freedom degree in terms of design that is difficult to find in other cad-based software.

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Project Workshop The aim of this one-week workshop is to raise student self-awareness and self-understanding though a design exercise. It is intended that personal identity and specific creative and professional interests will become more apparent and this will inform and empowereach student to better understand and steer their own creative and professional direction.

INTERDISCIPLINARY CURRICULUM Project Studio The Project Studio is strategically placed at the centre of the course, occupying over 40% of class time, and creating a radial structure. Here is where the main projects of the course are developed.

The theoretical and technological content act as a support for this core activity with a high level of integration with all the other subjects of the Master: each course brings different layers of knowledge that are combined during the Project Studio activities. With this methodology, all contents developed in the course are planned to add richness to the Project Studio, incorporating two documents by subject to the main project presentation. As an example: − Materiality workshop: a drawing (a “story board” about the life of materials) and a model about the chosen materials. − Representation workshop: two drawings about different scales of the material, expressing its morphological quality, and also its main properties (transparency, lightness, flexibility...). The drawings are tools for discovering new design approaches to the project. − Lighting workshop: students develop two drawings about the light incidence to potentiate design decisions in the space, and to highlight the commercial product. Also, they elaborate a drawing about the lighting system and the created atmosphere. − Geometry & energy: a plan about the elements that compose the projected is developed, with complementary drawings about the height and CO2emissions derivate from the proposed construction. − Tectonics: students develop an exploded axonometric on the system of spatial construction, and a section considering the human body measurements to show the relationship between the space and the user. − Model making: the models of the process and a partial model to explain the project are created. − Critic: the written and oral explanation of the project is developed during the course, in order to reinforce the personal and individual approach of each student to their own design propositions. − Digital workshop: graphic documentation of the project is developed, as a tool to collaborate in the design process.

The Academic Direction of IED Barcelona reserves the right of making any changes due academic reasons during the course.

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Coordinator The coordinator of the Master supports the choice of the teaching team, all of them professionals with extensive experience, and associated with prestigious institutions and organisations in their fields of expertise.

We have the participation of prominent international professors and speakers, who will explain to students the different approaches to designing contemporary interior spaces.

JOSEP FERRANDO Combines design and construction with his teaching activities.

He has taught classes in several universities since 1998. Some of these include the Escola Tècnica Superior d'Arquitectura de Barcelona (ETSAB), La Salle Engineering and Architecture School, the University of Illinois at Chicago (UIC), Universidad Torcuato di Tella in Buenos Aires (UTDT), Istituto Europeo di Design, and the Eina School of Art and Design.

He has also been a guest professor at Hochschule für Technik Zürich (HSZT) in Switzerland, and Escola da Cidade in Sao Paulo, Universidade Positivo (UNICENP) in Curitiba, and Universida de Federal do Paraná (UFPR), Brazil. He has given talks at various universities, including Harvard Graduate School of Design, Cornell University, Universidad de Palermo in Buenos Aires, the University of Illinois at Chicago, and at the International Union of Architects (IUA) conference in Tokyo.

His work has been exhibited in several countries including the United States, Switzerland, Sweden, Norway, and Portugal, and prestigious Architecture Galleries like Aedes Berlin and events like Biennale di Architettura in Venice.

Professors ORIOL CARRASCO Architect, March in Advanced Design Begins working as junior architect until 2009, when he opens SMD Arquitectes, his own architectural practice and research office, in where is professionally engaged in the application of contemporary work methods to their architectural projects and collaborations with various studies of Architecture in Spain and Europe.

He began his teaching career as assistant in workshops in IaaC (Barcelona, Spain ) , Hyperbody Group TU Delft (Delft , Netherlands) and MIT Arch ( Massachusetts, USA). He currently teaches in IED Barcelona and IaaC with collaboration in EsArq-UIC and UA. He has a declared interest in the construction process / manufacturing / prefabrication with digital manufacturing techniques of anything that digital design tools are capable of producing on-screen, with special interest in reproducing complex geometries in architectural projects PEDRO GARCÍA PhD Architect, works in his own studio in the design of buildings, furniture and urban spaces.

He is a Professor in different schools and institutes in Barcelona. He has participated at workshops in Hamburg, Barcelona, Sao Paulo.

He has been invited to give lectures at GSD Harvard University, Escola da Cidade Sao Paulo, Mackencie University Sao Paulo and PUC Rio de Janeiro, KTH Stockholm.

MARC GUITART Graduated as a graphic designer from EscolaMassana and has a degree in Industrial Design from the Autonomous University of Barcelona. Currently works in the area of strategic management of corporate brand and identity. He has won various important awards and mentions in Spain and MASTER Professional / Interior Design for Commercial Spaces / a.y. 2016-2017

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Europe.Upper Degree in Industrial Design at the UniversitatAutònoma de Barcelona. 2003.Degree at EscolaMassana in Industrial Design. 2001 and in Graphic Design.1997. Graduated with Honours.Professional activities related to "Strategic Management of Corporate Brand Management".Owner of brandcelona®, International Retail Consultancy.Winner with a “WorldStar of Packaging” Award for Packaging Excellence. Basel 2004.1st Prize “Imagineering” de DuPont Engineering Polymers Europa.Frankfurt 2000, among other national and international awards.

CHARMAINE LAY Graduates from the BARTLETT SCHOOL OF ARCHITECTURE (UCL) in 1994. She worked for various architectural practices in London and Barcelona before setting up CLCM Architects in Barcelona with CarlesMuro (1995-2007) and then Soto-Lay Architects with Santi Soto (2007-present). Her work has been extensively published internationally in books and magazines, and has been awarded various prizes. Co-designer of the PEREC bookshelf (produced by PuntMobles) as well as various buildings, (including the Inca Public Market in Mallorca), refurbishments and interiors. Interior Design Teacher in different institutes in Barcelona.

JORDI QUERALT Bachelor of Architecture and Fine Arts Master, JordiQueralt runs his own studio, where they develop spatial projects in a dialogue between architecture and visual arts. These projects are activators of places and situations and are the way to research the performative and expressive potentiality of the space. Working from the sensibility of the small scale: materials, textures, lighting, systems, they build most of the projects with their own hands. These projects have different uses: art installations, dance, theater, circus, events, exhibitions and commercial events.

ELENA ROCHI Current PHD student in Theory and History of Architecture at ETSAB Barcelona, Architect, Artist and Visiting Professor at ASU HerbergerInstitute for Architecture, Phoenix, TeachingFellow at Taliesinthe Frank Lloyd Wright School of Architecture. She has been Professor at theArchitecturalSchool at ESARQUIC, Barcelona, Spain, and Professor of Thesis and CO_Director of Master “Interior Design for Commercial Spaces” at IED Istituto Europeo di Design. Shewonan Honorable mention in Europan 8, Architecturalcompetition for youngarchitects in 2006 and the second prize in theyoungarchitectscompetition for Housings, Barcelona in 2003, and she has beenSeniorArchitect and Office Director of Miralles TagliabueAssociatedArchitectsfrom 1995 till 2008. She gave lectures and Workshops in Spain, England, Germany, USA, France, Italy, Greece, Denmark, Mexico, SouthAfrica, Argentina in differentUniversities and institution as CORNELL UNIVERSITY, Ithaca, IUAV of Venice, UNAM, University of Architecture of Mexico, Ecoled’Architecture de Nancy, ArchitecturalSociety of Casablanca, Morocco, ArchitecturalSchool of Bordeaux, France, Children of Scotland Foundation, Scotland, Durban, Johannesburg, Pretoria and CapeTown’sFaculties of Architecture, SouthAfrica, Fapyd in Rosario and Torcuato di Tella faculty of Architecture in Buenos Aires, Argentina, CCA Art School San Francisco, ASU HerbergerInstitute for Architecture Phoenix, Arizona.

JOSÉ MANUEL TORAL Architecture degree at ETSAB Barcelona in 2003, in 2002 was selected as student to represent ETSAB at ILAUD (Venice), received a scholarship from Caja de Arquitectos Foundation to work with the practice of Rafael Moneo (Madrid) in 2003. He was awarded with the AJAC prize in 2004. In 2005 he founded the practice peris+toral.arquitectes with Marta Peris.

In 2009, the practice was runner-up in the FAD prize with its project for social housing in Can Caralleu, Barcelona. In the same year the practice was awarded with the AJAC Prize for Young Architects 2010 for its project for 42 social dwellings in Son Servera, Mallorca. In 2011 received the

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Maresme architecture award for the project of public space in Vilassar de Mar. In 2013 the practice was selected in the FAD prize of interior design for the apartment renovation in Raval Barcelona. www.peristoral.com FERRAN VIZOSO Graduated in ETSAB 1998, with a DEA Master of Research and currently developing his PhD on Menorca’s traditional architecture. In 2000 he founded his own firm in Barcelona, FerranVizoso Architecture, with many projects awarded in both competition and built work prizes.

During 2004-05 he taught in the ETH Zürich, in 2008 in the University of Girona and since 2009 he is part of the faculty of the Barcelona Summer Workshop of the University at Buffalo. He has been guest lecturer in the University of Virginia, ETSAB, ETSAV and Elisava.

During his formative years he enjoyed three grants to study abroad (Denmark, Colombia and Brazil) and collaborated with the following studios: Torres–Lapeña (1998-01), Galí–MVRDV (2000-01), Muro–Lay (1996-03), Noguerol–Puig (2003-04). Since 1999 he collaborates with the sculptress Susana Solano. http://ferranvizoso.com/ BRIGIT WALTER Having studied in Barcelona, Frankfurt and New York, she has been awarded a degree in Interior Design at IADE and LLotja of Barcelona and received her MFA Master in Fine Arts at Parsons School of Design, New York. During her eight year stay in New York City, she worked in various lighting design offices before she formed part of Horton Lees Lighting Design in 1995. In 1996 she joined the prestigious American company Brandston Partnership Inc. as a Senior Lighting Designer where she remained for the next five years. When she returns to Barcelona, she founds BMLD, lighting design practice specializing in daylight and artificial lighting within architectural projects.

ALEXANDRA GUNNARSON Alex, originally from Gothenburg (Sweden) is a former student of IED Barcelona at both undergraduate (Interior Design) and Master (Interior Design for Commercial spaces) level.

She graduated from IED in 2009 and at the start of the upcoming year a re-interpretation in scale of the model that was made for her Master project “Ahaa” brought her the exhibit her work in the capital during the annual Stockholm Design Week. Since then she has lived and worked there. At start as a Project manager and later on as the Head of Process and Design at a world leading visualisation company. She is multidisciplinary designer with a specialty of concept and strategic development.

MIQUEL MARINÉ Architect by ETSAB (School of Architecture in Barcelona), where he graduated in 2005 and complemented his education with an academic year at the Faculty of Architecture at the Technical University of Delft (TU Delft) in the Netherlands. He worked in London and Barcelona before setting up his own studio in 2010. The work of his practice has been featured in national and international publications. In addition to practicing he has contributed to architectural debate through publications as an editor.

DAVID RECIO Architect by ETSAB (Escola Tècnica Superior d’Arquitectura de Barcelona) and Master in Infoarchitecture and Interior 3D by FX Animation.

He has worked in different Architecture Studios in Spain and China. Winner of Europan 11 and numerous other architectural prizes (third prize in the competition for the new Cabral’s University (UFPR) campus in Curitiba, third prize in the competition for the new SESC building in Riberão Preto),

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many of his projects have been widely published on the web and in various books and magazines (“AV proyectos” n. 42, “Reconnections: Europan 11 Results”).

Since 2010 he has been collaborating and working with Josep Ferrando Architecture.

Conferences In order to support the contents, and to reinforce the transversal perspective of the course, we invite professionals to join some of the lessons, and share their expertise and experience with the students. Some examples of invited lecturers from previous editions of the Master are: Eugeni Bach (A&E Bach) http://annaeugenibach.com/ Max de Cusa http://www.maxdecusa.com/ TomeuRamis (Flexo Arquitectura) http://www.flexoarquitectura.com/ Raul Mera (Harry Gugger Studio) http://www.hgugger.ch/ Juan Trias de Bes (TDB Arquitectura) http://www.tdb-arquitectura.com/ Anna Font (General Design Bureau) http://www.generaldesignbureau.com/gdbpage.html Antonio Sanmartín (ASZ Arquitectes) http://www.aszarquitectes.com/

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