Machines for living. Flamenco and architecture in the occupation and abandonment of spaces
María García Ruiz (student studying on the EINA-UAB doctoral programme), Pedro G. Romero
FAD Thought and Critique 2020 Finalist
Warehouse. The place of the invisible
Anna Alcubierre, teacher on the Bachelor’s Degree in Design and various Master's and Postgraduate courses at EINA.
Selected for the FAD Temporary Interventions 2020
Syndrome of the precative patient: design of a therapeutic device for the treatment of the precative is the Final project by Mayra Sánchez, on Degree in Design, tutored by Octavi Rofes.
Precative: a combination of precarious and creative.
Thanks to precative practices in creative circles (academia, public institutions, the private sector, freelance work), it is only to be expected that signs of the Syndrome are frequently seen. Patients presenting symptoms must have an active attitude towards the problem, and the only way to generate this is to create a conscious pause in their surroundings. This project explores the limits of modern-day precariousness within creative industries, whatever it may be, and how its impact on society has been one of the causes of the growing number of cases or outbreaks of depression and worry in this so-called “age of anxiety.”
HIZKI is a single-case typeface developed for the Latin alphabet. It aims to use digital media to put Basque spelling in context. The project begins with detailed study of the origin and evolution of Basque spelling and its subsequent development. HIZKI experiments with the origin of the gravestones and fascia of the Basque Country focusing on those sizes that combine the upper and lower grave boxes.
The project is formalized by editing in glyphs and the development of the alphabet in an opentype font.
Cota Olea has completed the [Postgraduate diploma in Illustration for children's and teenagers' publications] (https://www.eina.cat/en/postgraus/diplomatura-de-postgrau-d-illustracio-per-a-publicacions-infantils-i-juvenils) by EINA.
Ricitos de Oro and El culi de Calcuta were developed in the framework of the seminar in Text Books, for which we were required to illustrate children’s stories for different ages, each with a different level of narrative complexity. Thus, the first story was for six year olds and the second for twelve year olds. In both cases, digital illustration was used.
Illustration, to accompany the aphorism of Franz Kafta “A Cage Looking for a Bird”, produced for the Magazines for Children seminar, whose public was children aged nine to eleven. The challenge was to use only white and two other colours. Digital illustration.
Self portrait, ink on paper, coloured digitally.
The winners include "The Fly", a title, published by Calibroscopio, by Gusti, teacher on the Postgraduate Course in Illustration for Children's and Teenagers' Publications.
Students on the Projects 6 subject, guided by Max Enrich, have been working during the pandemic on solving the premise of generating a new material with leftover components.
The students have explored the different characteristics and properties of virgin material and experimented with them to obtain others, and finally be able to design an end product. Leftovers such as hair, printer ink, coffee grounds, leeks, mussel shells and upholstery offcuts have made some of these projects possible.
Participating students: Gerard Arbués, Claudia González, Erik Jiménez, Anaïs Llop, Marc Parés and Mireia Ruiz.
Immersed in a society saturated with visual information, victims and participants of the over-importance of aesthetics, we have lost perceptual skills and reduced our efforts to create spaces that allow us a complete sensorial experience. As in other fields, the design of spaces has been judged and misunderstood, reduced to aspects that, though accompanying the purpose of the design in question, should not be considered main objectives (i.e.: decoration).
The fulfillment of fundamental space design objectives has been compromised. No, this design should not try to create a striking or attractive image, it should be responsible.
On the one hand, there is the concept of “space.” Despite being a much-debated term, argued throughout history in many different fields, and without seeking a universal definition (I am conscious of the arduous labour this would entail), we can understand it here as a sensitive physical reality in which we live and to which we relate constantly. It is a concept that loses meaning if it does not involve a human being.
On the other hand, we have design. It is equally difficult to define and can mean many things: It can respond to needs, raise questions, proclaim values, explain, teach and show. Yet like space, without a user, it does not exist.
And so we need a reflection that will guide us towards revaluing the sensory belonging, intrinsically, to the design of a space.
On the occasion of the Habitàcola 2020 Awards, the 3rd year students of EINA's Degree in Design, from the subject of Projects of Spaces 6, tutored by Miquel Espinet and Raúl Oliva, have made a set of reflections, critiques and proposals on the use of the space of the beaches.
The set of projects is presented at the Architecture Week 2020 with the title "EINA at Habitàcola". The Architecture Week, which will take place from 7 to 17 May, is an initiative promoted by Barcelona City Council, the Catalan Architects’ Association (COAC) and the Mies van der Rohe Foundation in collaboration with Barcelona Building Construmat and ArquinFAD.
In this edition, the Architecture Week will be held entirely online. The different works made by the students of the Degree in Design will be published daily in the Instagram and Vimeo channel of EINA following this calendar:
Presentation of the project by Raúl Oliva.
MIGRATIO - Unidades de atención al migrante (MIGRATIO - Migrant Assistance Units), project by Martí Delclòs, Paola Manonelles, Sofía Ryabokon and Irene Terrón.
disperso..., project by Alba Casas, Paula Roca and Marina Salvador.
POSIDÒNIA PATH, project by Eudald Jubany, Clàudia Navio and Mireia Valls.
DUNES VEGETALS, project by Marina Marques, Júlia Piñada and Ana Romero.
EASYBAG, project by Toni Grabulosa, Nuria Roca and Àlex Vila.
Habitar el mur de la platja, a project by Natàlia Brustenga, Judit Simó and Carla Soler.
Origen, project by Oumaima Harrak, Anna Mas and Yingxin Zhu.
Habitar l'inhabitable, a project by Albert Alcoberro, Nuria Carrascal and Oriol Pinell.
The various projects carried out are based on an analysis of the state and spatial management of the territory's beaches to detect the imbalances between needs, services and current formalisations.
The detailed research process carried out by EINA students has considered a panoramic vision of the design, focusing on the identity of the beaches themselves and of the city, and on the functionality of the elements of public use found in these spaces.
The result of this research is a set of eight projects that organise flexible uses of the territory and, at the same time, promote social awareness and the security that these spaces should contribute to society.
Another leitmotif present in the execution of some of the projects has been the natural degradation suffered today by our coastline due to tourism and climate reasons and how, thanks to the design, it is possible to promote the re-naturalization, growth and development of biodiversity in these spaces.
The film L'enfant sauvage (1970) by François Truffaut acts as inspiration to carry out an action as part of the Communication classes taught by Xavier Olivé, where student Cesc Serrat plays the “Wild Man”, while the other students have to interact with him to help him while experimenting with the communicative event in a performance context.
The Communication class is interrupted by shouts; the students leave the classroom and find the “Wild Man” chained to the handrail of the building’s spiral staircase.
The “Wild Man” can only communicate with a few senses, such as touch and smell, and through cries, but without being able to articulate words.
In this context, the other students come up against their first challenge: they need to find how to establish a new language to be able to communicate with him.
To calm him down, they could offer him bread and water.
A second challenge posed is how to free him?
The key to the padlock is missing.
Finally, the Wild Man is free.
The Wild Man action is a tribute to the film L'enfant sauvage (1970) by François Truffaut, which tells the story based on real events of a wild child captured in a French forest and locked away in a research institute, where he goes from living like a free animal to become a being who is rejected, maltreated and seen as an inhuman phenomenon. Only Doctor Itard will do everything possible to turn him into a civilised being, but despite this, the child is lost between the desire to recover his former life and his new life alongside his new protector.
Actions such as the one proposed by Xavier Olivé and other teachers at EINA, which promoted the learning of artistic knowledge and skills through methodological alternatives to the master class and conventional practical activities, while fostering the direct participation of the student, became pioneering ideas in the field of teaching innovation.
Text: Rubén Alcaraz and Xavier Olivé.
Every year, EINA Foundation announces the New Access Scholarships for the Degree in Design with the intention of stimulating the vocation and the excellence in the field of design.
The scholarships are open to all those students who have finished the high school, in any of its modalities, and to those students who have finished a higher degree training cycle in any of its modalities related to design.
These grants allow students to obtain a 50% discount on the price of the credit during the four courses of the Degree in Design, which represents a financing of more than 16,000 euros per student.
The call for New Access Scholarships is open from May 1st to June 15th, 2020.
Rafael de Balanzó, urban designer and professor on the Master’s in Social Practice at the City University of New York, has given a workshop on Resilience Thinking Design as part of the EINA University Master's Degree in Research in Art and Design. The aim of the workshop was to introduce students to resilient thinking and provide them with the tools to learn to face existing and future challenges in a current environment of great complexity.
Resilient thinking comes from the science of complexity and sustainability (1). It allows us to analyse, understand and act in the face of systemic changes, such as climate change, social justice and economic crises, enabling the study of the dynamics of complex systems networks, such as a territory, a discipline, an institution, a community, a natural space or even our planet Earth. The metaphor of resilience is based on the adaptive cycle (2) which enables us to overcome linear and fragmentary thinking (problem --> solution) towards complex and holistic thinking. It takes into account the concepts of multidisciplinarity and multiple governance through the introduction of different levels of complexity in analysis and prospection, influenced by processes of revolt and stabilisation – so-called panarchy (3) – with the same etymology as the word pandemic (“it affects us all”).
In the workshop, the participants chose hashtags to disseminate the projects, such as #resilientthinkingdesign (Fayna Nieves Ramos), #adaptivecycle (Carmen Montiel Cervantes) and #infiniteresilience (María Antonia Gaviria Hernández).
The initial questions to start off the workshop, amid the world lockdown crisis of Covid-19 in April 2020, for the prospection of ideas and emerging actions were the following:
- What are the causes of the process of creative destruction due to the Covid-19 crisis and how does it affect the discipline of design?
- What is the nature of this process of creative destruction?
- What are the future processes of reorganisation based on the metaphor of resilient design to learn to be ready for future systemic crises?
- 1 - Holling, C. S., & Gunderson, L. H. (2002). Panarchy: understanding transformations in human and natural systems. Washington, DC: Island Press.
- 2 - Balanzó, R. & Rodriguez-Planas, N. (2018) Crisis and Reorganization in Urban Dynamics: The Barcelona Case Study, Ecology & Society Journal 23(4):6.
- 3 - Balanzo, R., Magrinya, F. (2015) A critic perspective of Social and urban innovation and resilience: Self-reliant urban space in Barcelona, pº 59-94, Social innovation and urban policies in Spain, Icaria Editorial, Barcelona, Spain.
This project examines the concept of the city and bridges the current urban context with the utopian city imagined by Dutch artist Constant in his work New Babylon (1956-1974).
The proposal is based on an existing system of space that is modular and can be assembled and taken apart again. The aim is to produce a flexible, self-sufficient cabin and adapt it to the urban environment to offer an alternative to modern-day nomadism: a flexible living space that permits the user to be in transit, adapting to different circumstances within the contemporary city with its sedentary architecture.
The title is a reference to “instantaneity”, and to how this space appears and disappears rapidly, eschewing the permanence of the city. It also refers to the ease with which the interiors of the space can be rearranged.
Based on a study of materials, processes and forms, I developed a family of three stoneware cups. I was observing the slip casting with Barbotine, a method of ceramic production that enables ceramicists to generate a homogenous, systematized and scalable production body, when the question occurred to me: Is it possible to get distinct pieces from the same mould?
SISTEMA is the result of this personal search to optimize and simplify productive processes; three cups of different sizes, cast from the same mould.
Camila Berazain, student Postgraduate Diploma in Creative Illustration and Visual Communication Techniques, has illustrated the article "La gran confrontación filosófica" in the magazine La Maleta de Portbou number 41, edition May/June 2020.
Dear friends, students, teachers and staff of EINA,
I hope that all of you and all your families are well. Should any of you have suffered the loss of a family member or friend, I would like to express my most sincere condolences; my thoughts are with you.
I would like to thank you all for your hard work in making it possible to carry on with our academic work, despite the huge difficulties posed by this exceptional situation. With the contribution of you all, thanks to your flexibility and ability to adapt, we have been able to organise the online courses with more than considerable success. It is still too early to know how the course of the pandemic will evolve and what the guidelines will be with regard to the lockdown and subsequent return to some level of normality. So it is still too early to assess the extent of this success and to know what overall mark to award this course, and especially how to finish it to everyone’s satisfaction with the least damage possible.
We will carry on doing what we have been doing to date, and as events pan out, we will adapt the best way possible to all your needs and to our responsibility, which is to make EINA work, ensuring the utmost quality and meticulousness in fulfilling our mission.
This was to be a year of renewal for the EINA project. Covid-19 has prevented it from being carried out fully, and it has especially prevented us from doing it in the presence of us all. However, led by the Management team, Pau de Solà-Morales, Ramon Parramon and Manuel Cirauqui, we are in the midst of a far-reaching transformation of our courses, their concepts, form and organisation. To this effect, it is appropriate to highlight the start-up of Eina/Idea. This was presented at Barra de Ferro shortly before the lockdown and we have not been able to develop it in the way and on the terms we had imagined. However, we have done it via digital channels and shown the huge potential that it may come to have in these areas. Eina/Idea is a platform for aesthetic reflection and knowledge and is at the forefront of this desire for transformation of these courses that I mentioned. Eina/Idea is the strategic instrument for the acceleration of this transformation.
Also with our gaze focused on renewal, we have new spaces situated very near Casa Sentmenat, the present site, and alongside Casa Manuel Dolcet, which was the very first EINA site. We do not know when the building on Carrer Bosc will be ready, but we have to steadily move into it over the coming academic year.
EINA was founded in 1967. Just 27 years after it was first opened, the school moved to Casa Sentmenat and began a new era. Next year, at the start of the 2021-2022 academic year, it will be 27 years since that second opening and that second era. It is, then, the time for a third era, a true “refounding” of EINA.
The time has come to consider again why we are what we are and how we should respond to the world we live in, to consider the more immediate future when we emerge from this nightmare, and one in which its very survival has been threatened. All of us at EINA are committed to making it better. And we will do this in the way we know how: thinking, creating, designing; forming ideas and doing; with imagination and action.
We are the heirs to an important tradition. EINA was founded under difficult conditions in the years of the dictatorship, yet it became a benchmark for culture and critical thinking about the arts and design in our country. The school has trained a great many of the best artists and designers, and the school has been home to the best Spanish and international teachers and intellectuals. We have the tools to be this benchmark once again and we have the desire. On behalf of the EINA Board of Trustees, I undertake to put in place the necessary conditions for this third and new “refounding”. I am certain that all of us in the EINA Community will be able to be more than a match for the challenges lying ahead.
Now, however, it is time to face the situation created by the pandemic. We must take care of ourselves and seek the best way out of this. We are aware of our responsibility and I can tell you that we will do everything in our power to reduce the damage that the state of emergency might cause now and beyond, both individually and collectively. No one in EINA should feel alone or abandoned at this time: whatever their problem, they must know that they will be listened to, and as far as is possible, we will do what it takes to find a solution.
My very best wishes to you all and to your families. Keep strong and stay safe.
Miquel Molins i Nubiola
President of the EINA Foundation
Barcelona, 28 April 2020