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Seville City of Design

Xavier Majoral Speaker at #7SCD.

For the seventh year in a row, from the Asociación de Estudiantes de Diseño Industrial  we celebrate the Sevilla Ciudad del Diseño, a congress that brings together professionals, students and academics of industrial design to meet, learn, and establish ties among all the parties involved in the sector.

Through conferences, roundtables, contact with companies and multiple workshops, engineers, industrial designers, architects and other professionals linked to Industrial Design, will learn and share their knowledge with the ultimate goal of expanding, disseminating Knowledge about this area and improve the society that surrounds us.

The design essence

Which one is the design essence? Does this essence really exist?? The # 7SCD is focused on the Essence of Design, the very beginnings of Industrial Design as an autonomous discipline.
The Bauhaus was the first institution to consider the particular and characteristic existence of industrial design implicitly. One hundred years later, this question remains unanswered and remains the subject of debate. It is, then, a matter of visibility, in which design is slowly gaining autonomy and becoming aware.
We want to launch a question, appeal to the subjectivity of each one and to its personal interpretation of what is the essence of design, to fill the gaps that surround us.
A path started in the Bauhaus, and we are still traveling.

100 years of Bauhaus 1919-2019

In 1913, Walter Gropius, the founder of the Bauhaus, argued that: “The new times demand their own expression. Exactly stamped from form devoid of all accident, clear contrasts, the ordering of members, the arrangement of like part in series, unity of form and colour…”
when Gropius founded the Bauhaus in 1919 in the town of Weimar, by bringing together existing institutions – the old Academy of Fine Arts and a more recently established School of Applied Arts – he was still able to proclaim: “Let us conceive, consider and create together the new building of the future that will bring all into one simple integrated creation: architecture, painting and sculpture rising to heaven out of the hand of a million craftsmen, the crystal symbol of the new faith of the future.”

From the beginning the Bauhaus – which literally means construction house – sought to unify art and craft, both by bringing these disciplines together (literally) under one roof and in the nature of the curriculum that was taught.

Over the following years, a student at the Bauhaus might encounter Marcel Breuer leading the cabinet-making department and developing those radical and iconic furniture designs, Gunta Stölzl revolutionising the art of textile design and production through abstraction and unorthodox materials, metalworking with teachers such as Moholy-Nagy and Marianne Brandt producing designs that would readily translate to mass-production, and Kandinsky and Klee exploring new ways to consider form.

Mies van der Rohe oversaw the final years until the school’s closure in 1933, with many of its leading lights emigrating to the USA where they continued to expound Bauhaus ideals through their teaching methods and philosophies.


  1. Form follows function
  2. True materials
  3. Minimalist style
  4. Uniting art and technology

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