A comprehensive and 100% online program, exclusive to TECH, with an international perspective supported by our membership with The Design Society"

Sustainability has ceased to be an option and has become an essential criterion within the design process. In fact, the urgency to reduce the ecological footprint of products, optimize the life cycle of materials, and respond to the Sustainable Development Goals has profoundly transformed the role of the industrial designer. Today, professionals are required who can merge creativity, innovation, and environmental responsibility in every design decision.  However, the lack of solid references and specialized methodologies has generated a growing need for experts who understand the real impact of their decisions, from conceptualization to post-production. 

In response to this challenge, TECH launches a pioneering program in Sustainable Product Design.  This academic experience is designed to foster critical thinking, applied creativity, and technical expertise in eco-design, life cycle analysis, circular economy, and the use of low-impact biomaterials. Throughout the academic pathway, professionals will analyze real cases, apply simulation and environmental validation software, and study sustainable innovation strategies. 

The program also integrates the latest advances in ecological 3D printing, regenerative design, and smart materials, all approached from an ethical, functional, and cultural perspective. This academic offering is delivered in a 100% online environment, with dynamic content accessible anytime and from anywhere in the world.  As a distinguishing feature, TECH provides its exclusive Relearning method, which reinforces the mastery of key concepts through a flexible and highly effective learning model. 

Thanks to TECH's membership with The Design Society (DS), students will become part of a global community dedicated to design and its study. They will have access to open-access publications and be able to participate in collaborative events. Additionally, the membership supports the maintenance of the society and its platforms, facilitating interaction and access to specialized resources for professional development in design. 

You will master the strategic use of eco-efficient materials and develop solutions with a reduced environmental impact” 

This Master's Degree in Sustainable Product Design contains the most complete and up-to-date university program on the market. Its most notable features are:

• The development of practical case studies presented by experts in Sustainable Product Design 
• The graphic, schematic, and practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice 
• Practical exercises where the self-assessment process can be carried out to improve learning 
• Special emphasis on innovative methodologies in Sustainable Product Design 
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments 
• Content that is accessible from any fixed or portable device with an internet connection 

You will apply ethical and responsible design practices, considering environmental impact, material circularity, and sustainability throughout the entire product life cycle” 

The teaching faculty includes professionals from the field of Sustainable Product Design, who contribute their professional experience to this program, along with renowned specialists from leading organizations and prestigious universities. 

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide an immersive learning experience designed to prepare for real-life situations. 

This program is designed around Problem-Based Learning, whereby the student must try to solve the different professional practice situations that arise throughout the program. For this purpose, the professional will be assisted by an innovative interactive video system created by renowned and experienced experts. 

You will incorporate sustainability principles into every stage of Design, from research to production and the product life cycle"

You will carry out life cycle analyses of products, assessing their environmental, social, and economic impact"

TECH offers this innovative syllabus designed to provide professionals with a comprehensive vision of design from a sustainable, creative, and technically advanced perspective. Throughout the academic program, graduates will explore the fundamentals of design and creativity, delving into project culture, circular economy, and renewable energies.  They will also acquire technical skills in 3D modeling with Rhino, learn to select innovative materials, and apply sustainability criteria at every stage of the process. In addition, key competencies in business ethics and creative entrepreneurship will be addressed, both of which are essential for leading responsible projects within contemporary industries.   

You will explore materials, cultures, and energy sources that nourish Design with purpose, mastering the tools to transform creativity into tangible and lasting impact” 

Module 1. Fundamentals of Design 

1.1. Design History 

1.1.1. Industrial Revolution 
1.1.2. The Stages of Design 
1.1.3. Architecture 
1.1.4. The Chicago School 

1.2. Design Styles and Movements 

1.2.1. Decorative Design 
1.2.2. Modernist Movement 
1.2.3. Art Deco 
1.2.4. Industrial Design 
1.2.5. Bauhaus 
1.2.6. World War II 
1.2.7. Transvanguards 
1.2.8. Contemporary Design 

1.3. Designers and Trends 

1.3.1. Interior Designers 
1.3.2. Graphic Designers 
1.3.3. Industrial or Product Designers 
1.3.4. Fashion Designers 

1.4. Design Methodology 

1.4.1. Bruno Munari 
1.4.2. Gui Bonsiepe 
1.4.3. J. Christopher Jones 
1.4.4. L. Bruce Archer 
1.4.5. Guillermo González Ruiz 
1.4.6. Jorge Frascara 
1.4.7. Bernd Löbach 
1.4.8. Joan Costa 
1.4.9. Norberto Chaves 

1.5. Language in Design 

1.5.1. Objects and the Subject 
1.5.2. Semiotics of Objects 
1.5.3. The Object Layout and its Connotation 
1.5.4. Globalization of Signs 
1.5.5. Proposal 

1.6. Design and its Aesthetic-Formal Dimension 

1.6.1. Visual Elements 

1.6.1.1. Form 
1.6.1.2. Measure 
1.6.1.3. Color 
1.6.1.4. Texture 

1.6.2. Relational Elements 

1.6.2.1. Management 
1.6.2.2. Position 
1.6.2.3. Space 
1.6.2.4. Gravity 

1.6.3. Practical Elements 

1.6.3.1. Representation 
1.6.3.2. Meaning 
1.6.3.3. Function 

1.6.4. Frame of Reference 

1.7. Analytical Design Methods 

1.7.1. Pragmatic Design 
1.7.2. Analog Design 
1.7.3. Iconic Design 
1.7.4. Canonical Design 
1.7.5. Main Authors and Their Methodology 

1.8. Design and Semantics 

1.8.1. Semantics 
1.8.2. The Significance 
1.8.3. Denotative Meaning and Connotative Meaning 
1.8.4. Lexicon 
1.8.5. Lexical Field and Lexical Family 
1.8.6. Semantic Relationships 
1.8.7. Semantic Change 
1.8.8. Causes of Semantic Changes 

1.9. Design and Pragmatics 

1.9.1. Practical Consequences, Abduction and Semiotics 
1.9.2. Mediation, Body and Emotions 
1.9.3. Learning, Experiencing and Closing 
1.9.4. Identity, Social Relations and Objects 

1.10. Current Design Context 

1.10.1. Current Design Issues 
1.10.2. Current Design Issues 
1.10.3. Contributions on Methodology 

Module 2. Fundamentals of Creativity 

2.1. To Create Is to Think  

2.1.1. The Art of Thinking 
2.1.2. Creative Thinking and Creativity  
2.1.3. Thought and Brain  
2.1.4. The Lines of Research on Creativity: Systematization 

2.2. Nature of the Creative Process  

2.2.1. Nature of Creativity  
2.2.2. The Notion of Creativity: Creation and Creativity  
2.2.3. The Creation of Ideas for Persuasive Communication  
2.2.4. Nature of the Creative Process in Advertising 

2.3. The Invention 

2.3.1. Evolution and Historical Analysis of the Creation Process  
2.3.2. Nature of the Classical Canon of the invention  
2.3.3. The Classical View of Inspiration in the Origin of Ideas  
2.3.4. Invention, Inspiration, Persuasion 

2.4. Rhetoric and Persuasive Communication  

2.4.1. Rhetoric and Advertising  
2.4.2. The Rhetorical Parts of Persuasive Communication  
2.4.3. Rhetorical Figures 
2.4.4. Rhetorical Laws and Functions of Advertising Language 

2.5. Creative Behavior and Personality  

2.5.1. Creativity as a Personal Characteristic, as a Product and as a Process  
2.5.2. Creative Behavior and Motivation  
2.5.3. Perception and Creative Thinking  
2.5.4. Elements of Creativity  

2.6. Creative Skills and Abilities 

2.6.1. Thinking Systems and Models of Creative Intelligence  
2.6.2. Three-Dimensional Model of the Structure of the Intellect According to Guilford  
2.6.3. Interaction Between Factors and Intellectual Capabilities  
2.6.4. Creative Skills  
2.6.5. Creative Capabilities  

2.7. The Phases of the Creative Process 

2.7.1. Creativity as a Process  
2.7.2. The Phases of the Creative Process  
2.7.3. The Phases of the Creative Process in Advertising 

2.8. Troubleshooting  

2.8.1. Creativity and Problem Solving  
2.8.2. Perceptual Blocks and Emotional Blocks  
2.8.3. Methodology of Invention: Creative Programs and Methods  

2.9. The Methods of Creative Thinking 

2.9.1. Brainstorming as a Model for the Creation of Ideas  
2.9.2. Vertical Thinking and Lateral Thinking  
2.9.3. Methodology of Invention: Creative Programs and Methods  

2.10. Creativity and Advertising Communication  

2.10.1. The Creative Process as a Specific Product of Advertising Communication  
2.10.2. Nature of the Creative Process in Advertising: Creativity and the Creative Advertising Process  
2.10.3. Methodological Principles and Effects of Advertising Creation  
2.10.4. Advertising Creation: From Problem to Solution  
2.10.5. Creativity and Persuasive Communication  

Module 3. Theory and Culture of Design 

3.1. The Meaning of Design in Contemporary Culture and Society 

3.1.1. Introduction to the Concept of Design Culture 
3.1.2. The Role of the Designer in the Context of Contemporary Society 
3.1.3. Material Culture and Social Values 
3.1.4. Globalization in Design 

3.2. Information and Communication Theory 

3.2.1. Information Theory 
3.2.2. Information and Redundancy 
3.2.3. Communication Model 

3.3. Aesthetics 

3.3.1. General Concept and Historical Background 
3.3.2. Aesthetics of Objects 
3.3.3. Aesthetics and its Categories 
3.3.4. Dichotomy between Form and Function 
3.3.5. New Definitions of the Designer’s Roles 
3.3.6. Taste and Design 
3.3.7. Symbolic and Emotional Values 

3.4. Semiology 

3.4.1. Semiotics 
3.4.2. Elements of Communication: Sign, Symbol and Message 
3.4.3. Visual Language 

3.5. Ethical Dilemmas of Design in Contemporary Culture and Society 

3.5.1. The Axiological Dimension of Design 
3.5.2. Aesthetics Theory 
3.5.3. Beauty and Ugliness 

3.6. Cultural Anthropology 

3.6.1. Introduction to Cultural Anthropology 
3.6.2. Conceptual Framework for Anthropological Analysis 
3.6.3. Design Culture as an Anthropological Object of Study 
3.6.4. Ethnographic Practice in the Anthropological Understanding of Design Culture 
3.6.5. Introduction to Ethnographic Fieldwork 

3.7. Sociology and Consumer Culture 

3.7.1. Sociology of Culture 
3.7.2. The Circuitry and Dynamics of Culture in Technologically Advanced Societies 
3.7.3. Design Scenarios in Today’s Consumer Culture 
3.7.4. Design Consumption 

3.8. Technology and Design 

3.8.1. Technological Determinism 
3.8.2. Building Social Imaginaries 
3.8.3. Social Change and Technology 

3.9. Ethics, Design and Consumption 

3.9.1. Consumer Ethics 
3.9.2. Professional Ethics in Design 
3.9.3. Design and Ethics 
3.9.4. Designer’s Ethics Code 

3.10. Research and Experimentation Methods Specific to the Subject Matter 

3.10.1. Research in Design 
3.10.2. Research Methodology 

Module 4. Circular Economy 

4.1. Circular Economy Tendency 

4.1.1. Origin of Circular Economy 
4.1.2. Circular Economy Definition 
4.1.3. Circular Economy Necessity 
4.1.4. Circular Economy as a Strategy 

4.2. Circular Economy Features 

4.2.1. Principle 1. Preserve and Improve 
4.2.2. Second Principle: Optimize 
4.2.3. Third Principle: Promote 
4.2.4. Key Features 

4.3. Circular Economy Benefits 

4.3.1. Economic Advantages 
4.3.2. Social Benefits 
4.3.3. Business Benefits 
4.3.4. Environmental Benefits 

4.4. Circular Economy Legislation 

4.4.1. Regulations 
4.4.2. European Directives 

4.5. Life Cycle Analysis 

4.5.1. Life Cycle Analysis Scope (LCA) 
4.5.2. Stages 
4.5.3. Reference Standards 
4.5.4. Methodology 
4.5.5. Tools 

4.6. Carbon Footprint Calculation 

4.6.1. Carbon Footprint 
4.6.2. Types of Scope 
4.6.3. Methodology 
4.6.4. Tools 
4.6.5. Carbon Footprint Calculation 

4.7. CO2 Emission Reduction Plans 

4.7.1. Improvement Plans. Supplies 
4.7.2. Improvement Plans. Demand 
4.7.3. Improvement Plans. Facilities 
4.7.4. Improvement Plans. Equipment 
4.7.5. Emissions Offsets 

4.8. Carbon Footprint Records 

4.8.1. Carbon Footprint Records 
4.8.2. Requirements Prior to Registration 
4.8.3. Documentation 
4.8.4. Registration Request 

4.9. Good Circular Practices 

4.9.1. Methodology BIM 
4.9.2. Selecting Material and Equipment 
4.9.3. Maintenance 
4.9.4. Waste Management 
4.9.5. Reusing Material 

Module 5. Renewable Energies and Their Current Context 

5.1. Renewable Energies 

5.1.1. Fundamental Principles 
5.1.2. Conventional Energy vs. Renewable Energy 
5.1.3. Advantages and Disadvantages of Renewable Energy 

5.2. International Environment of Renewable Energy 

5.2.1. Fundamentals of Climate Change and Energy Sustainability. Renewable Energies vs. Non-Renewable Energies 
5.2.2. Decarbonization of the World Economy. From the Kyoto Protocol to the Paris Agreement in 2015 and the 2019 Madrid Climate Summit 
5.2.3. Renewable Energies in the Global Energy Context 

5.3. Energy and International Sustainable Development 

5.3.1. Carbon Markets 
5.3.2. Clean Energy Certificates 
5.3.3. Energy vs. Sustainability 

5.4. General Regulatory Framework 

5.4.1. International Energy Regulation and Directives 
5.4.2. Auctions in the Renewable Electricity Sector 

5.5. Electricity Markets 

5.5.1. Operation of the System with Renewable Energy 
5.5.2. Renewable Energy Regulation 
5.5.3. Participation of Renewable Energy in Electricity Markets 
5.5.4. Operators in the Electricity Market 

5.6. Electricity System Structure 

5.6.1. Electricity Generation 
5.6.2. Electricity Transmission 
5.6.3. Market Distribution and Operation 
5.6.4. Commercialization 

5.7. Distributed Generation 

5.7.1. Concentrated Generation vs. Distributed Generation 
5.7.2. Self-Consumption 
5.7.3. Generation Contracts 

5.8. Emissions 

5.8.1. Energy Measurement 
5.8.2. Greenhouse Gases in Energy Generation and Use 
5.8.3. Emission Evaluation by Type of Energy Generation 

5.9. Energy Storage 

5.9.1. Types of Batteries 
5.9.2. Advantages and Disadvantages of Batteries 
5.9.3. Other Energy Storage Technologies 

5.10. Main Technologies 

5.10.1. Energies of the Future 
5.10.2. New Applications 
5.10.3. Future Energy Scenarios and Models 

Module 6. Technical Modeling in Rhino 

6.1. Rhino Modeling 

6.1.1. Rhino Interface 
6.1.2. Types of Objects 
6.1.3. Navigating the Model 

6.2. Fundamental Notions 

6.2.1. Editing with Gumball 
6.2.2. Viewports 
6.2.3. Modeling Support 

6.3. Precision Modeling 

6.3.1. Input by Coordinates 
6.3.2. Distance and Angle Restriction Input 
6.3.3. Object Restriction 

6.4. Command Analysis 

6.4.1. Additional Modeling Support 
6.4.2. SmartTrack 
6.4.3. Construction Planes 

6.5. Lines and Polylines 

6.5.1. Circles 
6.5.2. Freeform Lines 
6.5.3. Helix and Spiral 

6.6. Geometry Editing 

6.6.1. Fillet and Chamfer 
6.6.2. Mixture of Curves 
6.6.3. Loft 

6.7. Transformations I 

6.7.1. Move – Rotate – Scale 
6.7.2. Join – Trim – Extend 
6.7.3. Separate – Offset – Arrays 

6.8. Creating Shapes 

6.8.1. Deformable Shapes 
6.8.2. Modeling With Solids 
6.8.3. Transformation of Solids 

6.9. Creating Surfaces 

6.9.1. Simple Surfaces 
6.9.2. Extrusion, Lofting, and Surface Revolution 
6.9.3. Surface Sweeping 

6.10. Organization 

6.10.1. Layers 
6.10.2. Groups 
6.10.3. Blocks 

Module 7. Entrepreneurship in the Creative Industries 

7.1. The Entrepreneurial Project 

7.1.1. Entrepreneurship, Types and Life Cycle 
7.1.2. Entrepreneur Profile 
7.1.3. Topics of Interest for Entrepreneurship 

7.2. Personal Leadership 

7.2.1. Self-Knowledge 
7.2.2. Entrepreneurial Skills 
7.2.3. Development of Entrepreneurial Leadership Skills and Abilities 

7.3. Identification of Innovative and Entrepreneurial Opportunities 

7.3.1. Analysis of Megatrends and Competitive Forces 
7.3.2. Consumer Behavior and Demand Estimation 
7.3.3. Evaluation of Business Opportunities 

7.4. Business Idea Generation in the Creative Industry 

7.4.1. Tools for the Generation of Ideas: Brainstorming, Mind Maps, Drawstorming, etc. 
7.4.2. Value Proposition Design: Canvas, 5W 
7.4.3. Development of the Value Proposition 

7.5. Prototyping and Validation 

7.5.1. Prototype Development 
7.5.2. Validation 
7.5.3. Prototyping Adjustments 

7.6. Business Model Design 

7.6.1. The Business Model 
7.6.2. Methodologies for the Creation of Business Models 
7.6.3. Business Model Design for Proposed Idea 

7.7. Team Leadership 

7.7.1. Team Profiles according to Temperaments and Personality 
7.7.2. Team Leadership Skills 
7.7.3. Teamwork Methods 

7.8. Cultural Markets 

7.8.1. Nature of Cultural Markets 
7.8.2. Types of Cultural Markets 
7.8.3. Identification of Local Cultural Markets 

7.9. Marketing Plan and Personal Branding 

7.9.1. Projection of the Personal and Entrepreneurial Project 
7.9.2. Short- and Medium-Term Strategic Plan 
7.9.3. Variables for Measuring Success 

7.10. Sales Pitch 

7.10.1. Project Presentation for Investors 
7.10.2. Development of Attractive Presentations 
7.10.3. Development of Effective Communication Skills 

Module 8. Sustainable Design 

8.1. Environmental Status 

8.1.1. Environmental Context 
8.1.2. Environmental Perception 
8.1.3. Consumption and Consumerism 

8.2. Sustainable Production 

8.2.1. Ecological Footprint 
8.2.2. Biocapacity 
8.2.3. Ecological Deficit 

8.3. Sustainability and Innovation 

8.3.1. Production Processes 
8.3.2. Process Management 
8.3.3. Implementation of the Production 
8.3.4. Productivity by Design 

8.4. Introduction. Ecodesign 

8.4.1. Sustainable Development 
8.4.2. Industrial Ecology 
8.4.3. Eco-Efficiency 
8.4.4. Introduction to the Concept of Ecodesign 

8.5. Ecodesign Methodologies 

8.5.1. Methodological Proposals for the Implementation of Ecodesign 
8.5.2. Project Preparation 
8.5.3. Environmental Aspects 

8.6. Life Cycle Assessment (LCA) 

8.6.1. Functional Unit 
8.6.2. Inventory 
8.6.3. Impact Ratio 
8.6.4. Generation of Conclusions and Strategy 

8.7. Improvement Ideas (Ecodesign Strategies) 

8.7.1. Reduce Impact 
8.7.2. Increase Functional Unit 
8.7.3. Positive Impact 

8.8. Circular Economy 

8.8.1. Definition 
8.8.2. Evolution 
8.8.3. Success Stories 

8.9. Cradle to Cradle 

8.9.1. Definition 
8.9.2. Evolution 
8.9.3. Success Stories 

8.10. Environmental Regulations 

8.10.1. Why Do We Need a Regulation? 
8.10.2. Who Makes the Regulations? 
8.10.3. European Union Environmental Framework 
8.10.4. Regulations in the Development Process 

Module 9. Materials for Design 

9.1. Material as Inspiration 

9.1.1. Search for Materials 
9.1.2. Classification 
9.1.3. The Material and Its Context 

9.2. Materials for Design 

9.2.1. Common Uses 
9.2.2. Contraindications 
9.2.3. Combination of Materials 

9.3. Art + Innovation 

9.3.1. Materials in Art 
9.3.2. New Materials 
9.3.3. Composite Materials 

9.4. Physical 

9.4.1. Basic Concepts 
9.4.2. Composition of Materials 
9.4.3. Mechanical Testing 

9.5. Technology 

9.5.1. Intelligent Materials 
9.5.2. Dynamic Materials 
9.5.3. The Future in Materials 

9.6. Sustainability 

9.6.1. Procurement 
9.6.2. Usage 
9.6.3. Final Management 

9.7. Biomimicry 

9.7.1. Reflection 
9.7.2. Transparency 
9.7.3. Other Techniques 

9.8. Innovation 

9.8.1. Success Stories 
9.8.2. Materials Research 
9.8.3. Sources of Research 

9.9. Risk Prevention 

9.9.1. Safety Factor 
9.9.2. Fire 
9.9.3. Breakage 
9.9.4. Other Risks 

Module 10. Ethics and Business 

10.1. Methodology 

10.1.1. Document Sources and Research Techniques 
10.1.2. Bibliographic Quotes and Research Ethics 
10.1.3. Methodological Strategies and Academic Writing 

10.2. The Field of Morality: Ethics and Morals 

10.2.1. Ethics and Morality 
10.2.2. Ethical Material and Formal Ethics 
10.2.3. Rationality and Morality 
10.2.4. Virtue, Goodness and Justice 

10.3. Applied Ethics 

10.3.1. Public Dimension of Applied Ethics 
10.3.2. Ethical Codes and Responsibilities 
10.3.3. Autonomy and Self-Regulation 

10.4. Deontological Ethics Applied to Design 

10.4.1. Ethical Requirements and Principles of Design Practice 
10.4.2. Ethical Decision Making 
10.4.3. Relationships and Ethical Professional Skills 

10.5. Corporate Social Responsibility 

10.5.1. Ethical Sense of the Company 
10.5.2. Globalization and Multiculturalism 
10.5.3. Non-Discrimination 
10.5.4. Sustainability and the Environment 

10.6. Introduction to Commercial Law 

10.6.1. Concept of Commercial Law 
10.6.2. Economic Activity and Commercial Law 
10.6.3. Significance of the Theory of Sources of Commercial Law 

10.7. The Company 

10.7.1. Economic Concept of the Company and the Entrepreneur 
10.7.2. Legal Framework of the Company 

10.8. The Entrepreneur 

10.8.1. Concept and Key Characteristics of the Entrepreneur 
10.8.2. Partnerships and Corporations (Public Limited and Private Limited Companies) 
10.8.3. Acquisition of Entrepreneurial Status 
10.8.4. Business Liability 

10.9. Competency Regulation 

10.9.1. Competition Protection 
10.9.2. Unfair or Illicit Competition 
10.9.3. Competitive Strategy 

10.10. Intellectual and Industrial Property Law 

10.10.1. Intellectual Property 
10.10.2. Industrial Property 
10.10.3. Forms of Protection for Creations and Inventions 

You will master advanced design tools and develop projects where creativity and business ethics converge”