SEARCH WITH THE PROGRAM FINDER
LEARN MORE ABOUT INTERNSHIPS
Design Your Own Customized Program
Art History in Florence. Biomedical Engineering in Barcelona. Comparative Healthcare Systems in Havana. Global Business in London. With API Customized Programs, some of the best learning happens outside of the classroom walls. The world is your classroom. API is ready to help you develop your next customized or faculty-led program.
Learn About Developing a Customized Program
API Virtual Programs
Experience the world from anywhere in the world with API’s virtual programs. Tackle global challenges, study a new language with native speakers, give your resume a global edge, and more! Want to go abroad and go virtual? You can mix and match your programs to do both at the same time.
Experience the freedom of choice and flexibility. Explore our virtual programs and customize it to your schedule!
Study Abroad + Options
Diversity, Equity, and Inclusion
Designed for art majors/minors who wish to study abroad in Bilbao, this program offers a dynamic opportunity to practice and participate in studio art classes with students from Spain, as well as students from across Europe and the world. Students are required to have taken two semesters of college-level Spanish. Some courses of study may require a higher working knowledge of Spanish. Students attend classes at the Facultad de Bellas Artes (Department of Fine Arts) at the Universidad del País Vasco, Campus de Leioa (the University of the Basque Country, Leioa Campus).
API students participate excursions designed to help familiarize them with the culture and surrounding areas of their host city and country. The following is a listing of potential excursions for API Bilbao programs. API may need to modify the excursions offered in a given term due to travel restrictions or health and safety concerns.
Gernika is home to the ‘Tree of Gernika,’ a large oak tree that became symbolic of the traditional rights of the Basque people. In 1937, the Nazis completely destroyed the town of Gernika during the Spanish Civil War. Picasso’s famous painting that has become an international symbol against war in general is named ‘Guernica’ after the atrocities that occurred here. In 1987 (50 years after the bombings) Gernika became known as a symbol of peace. On the way to Gernika lies San Juan de Gaztelugatxe, a tiny island connected to the mainland by a man made bridge. On top of the island there is a hermitage that dates from the 10th century.
Spain’s capital blends the modern with an important cultural and artistic heritage. Three of the most important art galleries in the world (the Prado, Reina Sofia and Thyssen-Bornemisza Museums) are all located in the center of Madrid. All this, combined with the momentum of a society that is dynamic, liberal and welcoming, has turned this metropolis into one of the western world’s great capitals.
One of Spain’s truly legendary winemaking regions, the region of La Rioja in central-North of Spain is home to some of the world’s best and most exclusive red wines. Laguardia, capital of the Alava region in the Basque country, is a gateway for experiencing the Rioja wine region and it is a good example of a walled village that has not changed much since the 13th century. During the Middle Ages, residents dug deep into the rock below their homes (and sometimes the home of their neighbor) to create places for food storage and refuge during the siege.When wine production became prominent in the region, the underground passages were found to be ideal for the fermenting of wine. The winery Ysios joins tradition with the modernity of facilities designed by Santiago Calatrava and inaugurated in 2001.
Toledo, located south of Madrid, was declared ‘City of Mankind’s Heritage’ by UNESCO in 1986. It was capital of Spain from mid-6th to the mid-16th centuries, as evidenced by its impressive medieval architecture. Known as the “City of the Three Cultures,” it served as a hub for Jews, Moors and Christians and has today become a symbol of religious tolerance. Walking through Toledo is like taking a magic journey into the past.
Santander is an elegant city that extends over a wide bay with views of the Cantabrian Sea. Its historic quarter is situated against an incredible natural backdrop of sea and mountains.
The Way of St James in a nutshell!
We’ll become real pilgrims for a day, and visit two of the main cities in our region: León (cradle of parliamentarism and home of the Holy Grail) and Astorga (home of the Maragatos).
San Sebastián was founded in 1180 and is one of the Basque country’s most beautiful towns. It has been an important vacation spot since the late 1800s after being adopted as the summer home for Madrid’s royalty.
TOTAL CREDITS - 12-18 credits per semester
Due to the hands-on nature of the studio courses, there is minimal time spent in a lecture setting. Most classes are taught in Spanish (Castilian). Some courses are taught in Basque and students are discouraged from taking those classes. API strongly encourages students to take classes with professors who speak some English, and we will provide guidelines post-acceptance. Most courses are equivalent to 3-6 semester credits each, though the amount of credit depends on the course.
INTENSIVE SPANISH OPTION
Students who want to refresh their Spanish skills before starting their classes in Bilbao can add an intensive two weeks or month of Spanish language study in Salamanca for 3-6 semester credits. Contact the API office for more information about this option.
API students will receive a transcript from the Universidad del País Vasco (Euskal Herriko Unibertsitatea) upon completion of their program.
Andrea Gorricho will be your Resident Director and a resource for you on-site.
Julia Nelson will be your Program Manager and prepare you to go abroad!
Semester students may earn up to 18 semester credits. Most courses are worth 3 US credits. Courses are not lecture-based, but studio art courses in which students learn new techniques and create individual projects. Courses are taught in Spanish and are offered at the 3rd and 4th-year skill levels. The following is a sample listing of courses offered based on previous semesters.
A Spanish language course is offered to fall, spring and year students at three levels (beginning, intermediate, and advanced). Enrollment in this course is recommended but not required. Four credits per semester are earned for successful completion of this course. Courses are taught primarily in Spanish.
Contact the API Program Coordinator if you require course syllabi.
Most API partner universities in Spain operate on the contact hour system, wherein the number of credits earned depends on the time spent in class. To determine the conversion of contact hours to U.S. semester credits, divide the contact hours available by 15.
Language of Instruction: Spanish
Recommended US semester credits: 3
This is a space for working artistic languages and
methodologies from the discourse of new contemporary
Recommended US semester credits: 3
Students will learn how to use drawing as a conceptual support to express ideas, having a bearing on the attention to the configuration process of an image and its reading, giving special relevance to the development of the critical spirit as an instrument of reflection and self-assessment. It proposes a reflection about representation from the area of drawing, its ideological and experiential models, taking into account its techniques and procedures.
This subject looks at artistic awareness and human
experiential diversity while reflecting on artworks as
contextualized cultural products. The intention is to
get closer to different areas of formal and informal art
education, to critically analyse its discourses, practices and
The focus of the subject is that the students learn to observe
their creative process as something that develops over time
in dialogue and contrast with the work of other students, as
shown through the configuration of the operative field of
artistic creation itself.
Collective reflection is produced on subjects common to the
entire artistic creation process.
Recommended US semester credits: 3
Designed to impart knowledge in the field of painting,
adapting techniques and methods from other disciplines
of artistic practice, for students to tackle the world that
surrounds them from a critical perspective.
This subject is based on the function of representation
as complex mimesis, based on principles originating in
statuary, monuments and sculptures. It aims at disciplinary
sculptural creation, which is necessary for understanding
art as a problem of subjective construction.
Printmaking as a term which covers all technical, procedural
and relatable mechanisms with each and every one of the
phases of the technical process (mould, mark, mirror).
Pictorial practice is context-dependant. Here we analyze
their insertion possibilities into the urban setting, their role
in the political-cultural sphere and other circumstances.
Language of Instruction: Spanish
This subject seeks to analyze the borderline area where
pictorial practice meets the latest technologies. A
multiform area where connections are made with other
artistic languages and practices.
The objective is to achieve that any handling of a material,
whatever it may be, constitutes an expression as close as
possible to the subject which allows for both objective
and hybrid results, which work autonomously and
independently, allowing for reflection on the value of that
This subject explores the dynamic space-time practices which arose after 1960´s and which have had a significant repercussion on the artistic practices at the end of the 20th century.
The notions of scale, proportions, limits, hollowness, mass
and volume work in tension both in the architectonic
interpretations of the sculptural object and the sculptural
interpretations of the urban landscape and architecture.
Furthermore, the evolution of the city over time under
certain ideological models links spatiality to the landscapes
Understanding space as another work element not only to realise audio-visual and sound installations, but as a potential in itself within contemporary artistic practice.
Sound understood as a specific artistic element, historically called Sound Art. It is materialized through advanced practices and technologies which develop the creative potential of the sonorous media.
The aim is to perform a creative reflection within an artistic context and its materialisation in sequential formats. It deals with the audio-visual sequencing from experimental animation and video, to narrative technique.
This subject will pay special attention to the following
aspect of academic and professional communication
corresponding to the activity of artistic disciplines:
A.Requirements of the communicative activity in the
artistic arena: conditions and restrictions of context;
objectives of communication; subjects of discourse;
handling of specific themes; etc.
B. Communicative modality: situational parameters,
interlocution, communication media and channels,
C. Linguistic activities of communication: careful listening;
discriminant reading; oral and written interaction; oral
communications and presentations; document drafting;
D. Textual genres: academic texts (specialised articles,
summaries, academic debates, bibliographic analysis,
essays on artistic productions and works, etc.); technical
texts (catalogues, guides, expert reports and audits,
projects, didactic, materials, etc.); general and specialised
media texts (reports, interviews, critiques, etc.);
dissemination texts, literary texts; etc.
E. Professional communication style and specialized
Language of Instruction: Spanish Basque
This practical-theoretical subject is focused on dealing with space from its sensitive, perceptive and meaningful consideration, taking into consideration different ways of understanding their use and function. It refers to both the configuration of spaces as objectual and environmental elements and to the consideration of aesthetic, historic and sociocultural aspects which allow the space to be identified as a place. It allows the development of proposals which voice criteria, competencies and skills which come from art and sculpture adapted to the analysis and realization of projects relating to urban settings and spaces which combine practical, communicative and symbolic needs.
Language of Instruction: English
Course Level: Upper Division
Recommended US semester credits: 3
Course Level: Upper Division
Realization of projects with an objective end, paying special attention to reflection on the methodological aspects of the process. This subject introduces the student to the methodology of Creative arts and Design projects, which involves the planning, investigation, analysis, experimentation, creation and design process to guide a project in the fields of illustration, graphic design and creative arts ambit. Thought strategies and methods are used which will be applied in the first stages of the project: planning, analysis and creation.
This course aims to find out about and experiment with different resources and mediums for the realization and presentation of design projects in the objectual, spatial and environmental spheres. Flat and three-dimensional resources such as analogical and/or digital drawings and models, and digital and multimedia resources for the visualization of proposals. It starts with the idea that each mode of representation and materialization addresses the project in a different way, revealing its different aspects, making it possible to use them in a combined and comparative manner that allows an approximation and a richer perspective of the creation process and its communication and interpretation by potential recipients.
The design of containers and packaging arises from the need to protect and communicate food products and objects created by human beings. The design process of packaging covers aspects of identity, structural design, ergonomics, market, graphic design, materials, and environmental factors. Its development is a visual and technical challenge which contributes to communicating an entity’s brand identity. This subject includes the conceptual and methodological contents of the contexts related to the area of Containers and Packaging, both in its commercial towards developing a new product (packaging), as well as its more speculative and experimental orientation, bringing together aesthetic and production factors.
The Visual Identity subject starts with a global vision of the
corporation and identifies each of its resources capable
of becoming transmitters of the characteristics which
may identify it by its objective public. At the same time,
the graphic designer plans and programs an intervention
which allows an expressive and meaningful translation of
an iconic, typographic and chromatic nature, to provide a
coherent and united projection of the corporation.
Language of Instruction: Spanish
Language Level Required: Advanced
This subject explores the conceptual and creative possibilities offered by paper due to its structure and functions, formulating intervention developments with paper fibres in printing systems, from the context of Graphics. These practices will be generated in parallel to reflection, discussion or debate on a theoretical substratum in the field of etching
Creation and object, the experimental parameters of this subject, shall be references to obtain conceptual and technical knowledge about the practice of ceramics. The ceramic context allows us to explore the problem of the object from three aspects: project, prototype, and product, encouraging at all times experimentation and innovation.
Ceramics and sculpture are aimed at the study, reflection and deepening of the different creative processes which define the ceramics practice and the methodology used to develop its processes. This subject will tackle the problem of sculpture from a specific support and medium: ceramics. Its development needs to have an eminently experimental nature, with a series of theoretical contents which together with artistic practice allows us to formulate a discourse based on three aspects: Project, Work, and Analysis.
Language of Instruction: Spanish
Utilizing the conceptual framework of visual culture studies, it shall stress the need for art education to cover the study of all types of products with aesthetic value, not only from their formal perspective but from the perspective of their social significance and their capacity to generate meaning. A panorama shall also be sought on the different areas of education in art, analyzing their work problems and possibilities.
This subject, laboratory for the knowledge of the
conservation materials and their application, introduces the
student to knowing and describing the products, materials
and procedures used in the conservation treatments of
art works. The knowledge of the materials fundamentally
considers the characteristics, behaviour and applications of
the materials used in the preservation of art works.
Technical-legal framework for the Preservation of the
Artistic Historic Heritage.
Current legislation covering Cultural Assets. Intervention
Language of Instruction: Spanish
Language Level Required: Advanced
This subject introduces the student to the knowledge of artworks through scientific examination. They will become familiar with different techniques of physical analysis, chemical analysis, accelerated aging, etc. and their application in the conservation-restoration of cultural assets. The subject also provides basic knowledge for the application and development of research resources aimed at resolving specific problems in the area of conservation-restoration.
Prior proceedings before the intervention on sculptural Cultural Assets. Need for scientific support. Technical report. Prevention, conservation and restoration treatments of organic wooden and inorganic stone supports in sculptural works. Necessary infrastructure.
Study and application of a catalogue of restoration methodologies and technologies of pictorial supports, like textile, mural and others.
Study, analysis and experimentation of a series of resources:
materials, techniques and procedures which allow us to
have a sufficient flow of operative potential to tackle and
verify in practice a three dimensional work/idea.
This optional subject of the Restoration Degree will
promote artistic experimentation practices related to mural
A. The characteristics of the materials.
B. Properly preparing the supports.
C. Performing small projects with the chosen procedure.
This subject studies the issues of classical mythology and
Christian iconography developed throughout the history of
Students will tackle different aspects of the actual construction of the work as well as the conceptual decisions and aspects which must be taken into account when it comes to making a work of art.
Artistic practices very much take into account the
recipients to whom they are directed and the possibility
of contributing to the environment and being influenced
by it. A subject in which motivations, attitudes, methods
and processes are given priority adapted to each intention,
above the disciplinary restrictions upon which art is
traditionally understood and even the presumptions of
where a work of art can or must be located.
Preservation of the sculptural cultural legacy. Theory of
preservation and techno-legal regulations.
The support in the sculptural work, importance of knowing
the characteristics and properties of the elements which
constitute them in view of their preservation.
Elements associated to the sculptural work.
Deterioration agents, pathologies, diagnosis, documentary
registry. Intervention criteria.
1st part of the study and analysis of Cultural Assets of a
Origin of the Creation Supports of Cultural Assets: stone or
mineral, proteinic, vegetal. They are used as they are found
in nature or with possible manipulations (manufacture).
Application of pictorial layer.
The behaviour of the supporting and supported elements.
Concerns in the preservation of works from Prehistory to
Sociocultural factors which lead to the appearance of contemporary art. The introduction of industrial production materials as a decisive factor for the preservation of new artistic proposals.
2nd part of the study and analysis of the Cultural Asset of a pictorial nature. The supports of Cultural Assets of a pictorial nature: textile, mural and others. Uses and procedures. Application of pictorial layer. The behaviour of supported
and supporting elements.
Revision of the conservation of works from Prehistory to
Keys in the conservation of contemporary art. Lack of
precedents as reference for restoration interventions.
Presence of the artist, and legal changes. Changes in the
concept of degradation and intervention criteria. New
methodology based on test-tube trials.
This subject is based on the following competencies: A.Being aware of the influence of the higher degrees in the use and development of Basque (Euskera), and thought about its communicative role in this context (10%). B. Systematization, explanation, and revision of the personal linguistic intuitions and experiences in light of the criteria of correction in the use of the language (80%). C. Skill in the use of the linguistic consultation tools (particularly those accessible on the Internet) to respond to the needs deriving from communicative situations from the academic arena or the corresponding performance (10%).
Concept of heritage management, and applicable legislation according to its classification as: temporary exhibition, transit, and handling of artworks; cause of the appearance of new types of deterioration; post function. Definition of the registry department; competences which indicate the need for specialization in conservation and restoration.
The study of the different genres and subjects which
throughout history have been developed in the visual arts.
The concept of multimedia discourse will be developed in its interactive and non-interactive modalities, taking into account its specific characteristics, as well as its relations with precedents like audiovisual discourse. It will place emphasis on the preparation of projects aimed at specific target audiences, taking into account the formal adaptation of resources and dissemination mediums (physical supports and online supports). For this reason, we consider controlling the procedures, technologies, techniques, and materials associated with the creation and design and their involvement in different contexts and to find out about the management and professionalization system of the involved sector. Reflection will be implicit in the student’s praxis and content shall be introduced relating to the development of concepts, tools, styles, and fields of discipline throughout the course.
The function of the graphic designer consists in achieving the homogeneous fusion of the text and the image into a meaningful and aesthetic whole, making the divergence disappear between typography, which is the fundamental linear reference point, and the image, which given its own forms of creation and perception is a two-dimensional system. It aims not only to put information into a hierarchy from a practical perspective but also to create aesthetic criteria through practice in the development of publishing products: press, books, magazines, catalogs, etc.
This course provides idea-sharing of the participant’s personal concerns in the area of the graphics creation of comics. It provides a global reflection on processes, mechanisms, and techniques, from the preparation of scripts to the inking or final viewing. And it goes through different genres and authors emphasizing the close connection with other languages of image and temporality.
Allows for a closer look at the methods and models of
literary and textural graphic illustration, in historic or
generic contexts. It reflects on and looks closer at the
specific significance and narration processes, according
to the nature of the texts and according to the genres of
illustration. It provides technical resources and specific
procedures from the category of illustration. It considers
working methods (graphic, meaning, creative, productive)
according to the purpose to be obtained.
The exclusive aim is to situate the student in the professional task of generating illustrations. Images are realized for newspapers, for literary texts and educational texts. It works on analyzing each state of the prototype, stressing them in order to overcome the initial parameters via quality, the initial parameters. It completes and gives a definitive form to the idea derived from other subjects, leaving it finished for publication. The student is in contact with professionals from Publishing houses, Professional Associations, Forums or Fairs.
This subject seeks to provide the future graduate with
sufficient resources to be objective and to resolve the
professional problems relating to geometry which arise in
secondary education teaching, the development of projects,
Extension of the first semester Laboratory A. Based on the student’s initiative and on the fusion of disciplines. Students become aware of the creative process by interacting, sharing and contrasting other student’s endeavors.
This subject tackles the study of the main artistic proposals
developed since the end of WWII.
Art is the theoretical and material territory where all
social agents take action. Each agents (artists, galleries,
exhibition organizers, art critics and theorists) position must
be analyzed so that its underlying structure and practical
implications can emerge.
This cross-disciplinary, theoretical and practical subject
consists of a comparative study of processes and
methodologies developed by creators from different
periods and areas of artistic creation. Similar to an artistic
epistemology, it will provide self-knowledge and reflection
about the students’ particular methodological experiences.
The concept of space is essential for the configuration of the
historical, modern and postmodern sculptural praxis. Our
topological, vital, reflexive, active and creative interactions
with the space that surrounds us are observed in this subject.
This subject clarifies the contribution that photography
has profiled by virtue of its specific nature. It stimulates the
expression of the individual’s singularity.
This course deals with graphics focused on the conception and realization of artistic projects. It covers all of the graphics techniques, systems, and strategies which participate in the creative process, both in its aspect of ideation and projection and in the plasmation or realization, without forgetting their potential as analytic tools. It is approached connected to the development of projects in different settings: video, sculpture, illustration, design, painting, scenic space, photography. In the Technological Graphics area the focus is on the connection between digital graphics and the material supports with special attention on the printing processes in a broad sense: digital printing, lithography, chalcography, photography, cutting.
Work knowledge and practice in the fields of illustration, graphic design and multimedia, and in the spatial-object arena, paying special attention to the materialization of the project. Going deeper into the methodologies of Creative Arts and Design projects, introducing innovation strategies, heuristic thought, investigation and critical questioning resources. This second Project level will also look at verification, formalization and communication aspects of the projects. Collective reflection about the issues involved in each of the projects.
This subject seeks to look at the history of the different movements which, since the 19th century, developed the serialized production of objects with an intrinsic aesthetic-functional value. The economic and social conditions, as well as the technological advances, marked and mark the evolution of this discipline which, thanks to industrial techniques, allows for the unlimited reproduction of the piece projected by the artist-designer.
In disciplines which analyze visual culture, the term “iconic turn” giro icónico refers to a new form of understanding an aesthetic artifact from perspectives attentive to that which the semiotic interpretations cannot manage to capture. The objective is to interrogate oneself about the nature and structure of images, going from understanding them not only in terms of representation but rather of presentation. The aim is to analyze the practical mediator role of objects of art and of visual culture through social processes, moving away from the perspectives which studied such objects as if they were languages or texts. In particular, this subject will pay attention to the pedagogical implications of the cultural product supported in the visual.
In a technologically complex productive environment and with certain market requirements which cannot be explained simply, a flexible and creative organization of the production systems is required. Different fields of Creative Arts and Design, which may synthesize different functions involved in the production processes, involve essential factors through a structured work process in order to define new visual, objectual and spatial concepts and their original resolution. As a result, Creative Arts and Design are linked to the innovation process: they are used to create something new or to improve something that already exists, thereby contributing in the radical or incremental innovation processes. This subject involves an introduction to the production system in order to achieve innovative, efficient and competitive management of corporations.
Engages in providing a theoretical-practical base for the functioning of graphic language in an increasingly influential informative scenario and greater participation in our daily social life, motivating the student in the practical project of Graphic Design in general, through interactive digital media as a specific communicative situation. The field of application of these graphics projects is very broad: from different structures and models applied to the internet to communicate and promote companies and institutions, from cultural events to e-books and other digital supports which require effective visual interfaces. Interactive design is conceived from its clear informative dimension, but also in its training capacity, investigating in a practical and participative manner into the visualization strategies for the organization into a hierarchy of graphics information.
Ceramics has and continues to present a very close
interaction with the area of containers (in a plurality of
meanings) and the architectonic (structural or covering);
two notably deeply-rooted competences, but not at all
forced, as it is the characteristics and qualities of clay which
make them possible.
Critical creative capacity to rethink the archetypes of
ceramic competence from art and function, with a vision of
experimentation and innovation. Capacity to formulate a
project and its development.
The approximation to Art and Design from the field of Ceramics. Knowledge of the matter and systems that are proper to the elaboration of form. Study of temperature and atmosphere as transforming and defining elements. Practical-theoretical approaches to sequencing systems. Introduction to the concept and application of vitreous products and glazes. Approaches to the theory of the project.
This course introduces the student to the terminology and the fundamental principles and concepts of the scientific field which governs the behaviorr of the materials used for artistic purposes. The subject provides the basic tools to have a deeper look at the interdisciplinary knowledge of the work, establishing interactions between different scientific fields and the artistic field.
This subject focuses on studying the basic aspect of the
conservation and restoration of Cultural Heritage: its
concept, history, theories, principles and regulations.
Conceived to go into more depth in the degree student’s essential pictorial training. We will develop the analysis and awareness skills necessary for any future profession in the conservation and restoration of cultural assets. By starting this process we join together artists from all periods. All of them learnt how to interpret the visual arts through intense observations, as well as developing a basic technical skill.
Analysis, study and basis of the function of reintegration in safeguarding and consolidating any type of Cultural Asset. Specific methodologies and techniques applied in the reintegration of cultural assets.
Nature of the components of printed works of art.
Origin of printing and chronology systems.
Identification of the different printmaking procedures.
Behaviour of the materials which constitute a printed work.
conservation and/or restoration treatments.
This subject studies the importance of prevention as a medium for the conservation of cultural assets. Preventative conservation is understood as any operation which deals with applying existing mediums, external to the objects, which guarantee their correct preservation and maintenance. The objectives of prevention are considered the control of the suitable environmental conditions (lighting, atmosphere, pollution), security (fire, robbery, natural disasters), and the guarantees of transport, handling, installation and storage.
The registered person prepares an individual project
restoring a pictorial work on canvas, where they apply all of
the different disciplines previously studied, going further
into the structural and aesthetic treatments in order to
facilitate the reading and understanding of the work.
Language of Instruction: Spanish
This subject specifically looks at the intangible aspects of
the creation of artistic objects in general and paintings in
particular, including mental mechanisms which precede,
accompany and follow their production. Students will create
a customized icon bank.
The study of creation and design in all their contemporary manifestations means involving oneself in the knowledge of the ideas, strategies, methodologies, and processes of innovation so as to introduce new proposals, updates, new features and improvements in different cultural, aesthetic, social, technological, operative and ideological contexts. The innovation process, where creativity is the mental conductor, must be understood as a social event looking for questions and answers, framed in a reference system determined by the cultural and aesthetic experience of the agents who participate in the formalization of an innovative response.
API students in Bilbao live with host families with wireless internet included.
Students who live with families generally have their own room, but may share a double room with a fellow API student, and are provided with three meals per day and laundry service. Families provide an amazing opportunity to experience Spanish culture firsthand. Host families serve as a unique introduction into Spanish culture and may be made up of a married couple with children, a divorced or widowed woman with children still at home, or a family with some members living at home and others living outside the home. Students can opt for a single room for an additional fee.
***The apartment option can only be offered if requested by a minimum of 3 students of the same gender. When there is insufficient interest in this housing option, students are placed with host families.***
Student apartments require more independence and provide less cultural interaction with Spaniards, although other apartments in the building are often rented or owned by Spanish families. Each apartment can generally accommodate 3-4 people. The majority of the rooms in student apartments are double rooms. However, based on availability, some students may be assigned to a single room on a first-come, first served basis. Students are responsible for buying and preparing all of their own meals, and kitchens are furnished with the necessary cookware to do so. Sheets and blankets are also provided.
Note: Housing between the fall and spring semesters is not included.