02
DISSENY, COMUNICACIÓ, CULTURA,
1988
| Editorial
DISSENY, COMUNICACIÓ, CULTURAEl Disseny,
com el pensament, és en perpètua mutació perquè coincideix amb aquest
en molts dels seus mètodes, atès que demana diferents actes de
compensació (intel·ligència, coneixements, formació d'un concepte,
raonament) i una presa de posició (pregunta, dubte, alternativa, etc),
per tal d'arribar a un judici o a la comprensió definitiva d'un objecte. És
a dir, que en ambdós casos ens trobem davant d'un mètode discursiu que
aplega les intencions, les relacions lògiques i la reflexió cogitativa
vers un pensament creador que en darrer terme es posa al servei de
l'home i la col·lectivitat per a afavorir-ne la vida i adequar els usos
i costums a un determinat «estil» capaç d'incidir en les formes i les
funcions.
Durant molts anys, pràcticament els que van de la primera revolució industrial a la H.f.G. d'Ulm, s'ha pensat que només hi havia una concepció funcionalista del disseny, directament derivada de l'evolució industrial i el consum massiu, que trobava en el racionalisme la seva expressió més pura. Quan la cursa del estils quasi s'ha autoextingit, quan el món de l'electrònica ha variat els procediments productius i quan els dissenyadors, arquitectes i artistes sembla que comencen a treballar a franc albir assajant una mena de síntesi entre les poètiques més lliures i l'alta tecnologia, tot pren una nova orientació. Les velles dogmàtiques que teòrics i pràctics del disseny han anat formulant els darrers cent anys, es van flexibilitzant, matisant, qüestionant o desautoritzant. Algunes idees suren i s'apleguen amb altres que neixen, de manera que les veritats deixen de ser úniques per ser relatives i, per tant, analitzables i novament objecte de consideració. Si a casa nostra el Disseny ha viscut més de la pràctica que de la teoria, per circumstàncies del tot justificables donada la història de l'exercici del disseny, ara com ara les coses comencen a canviar. Temes de Disseny n'és un exemple fefaent quant a la seva voluntat d'analitzar el disseny, la comunicació i la cultura des d'una plataforma interdisciplinar. No fa massa dies, Gillo Dorfles, en una recent conferència pronunciada a Barcelona, deia que: «el disseny industrial es troba en un punt crític entre la tecnologia i la fantasia», tot posant de manifest un dels signes més característics del moment actual en què la fantasia més creativa incideix sobre el món del disseny a l'empara del més variat repertori de tecnologies i matèries que mai hagin existit. Tot això ha fet que aquell puritanisme de la forma, aquell delicte ornamental, aquell racionalisme escèptic i nu entrés en crisi per tal d'obrir nous camps de creació en tot allò que afecta el nostre entorn, des del més petit objecte fins a l'espai urbà. El número de Temes de Disseny que teniu a les mans respon a aquest estat d'opinió i facilita els camins de reflexió entorn d'un problema d'abast universal que ens afecta molt directament en tant que teòrics i pràctics. Pensar allò que relaciona les formes artesanals i les noves formes de dissenyar amb ordinador, valorar críticament la reconstrucció mimètica del Pavelló Mies, esbrinar el paper del disseny en la societat de la informació, allò que hi ha d'instint, intuïció i llenguatge en l’acte de crear, la relació concatenada entre informar, persuadir i comminar en el món del disseny gràfic, els interrogants que planteja la divulgació dels procediments informàtics, la creixent presència de les noves tecnologies, l'eviterna relació de l'home amb l'objecte, les posicions de la crítica contemporània entorn de «l'oggetto banale» (Portoghesi) i el «pensiero debole» (Vattimo), així com una digressió prop del lúcid esnobisme de Tzara... configuren un conjunt de pensaments que apropen la pràctica del disseny a la seva arrel més pregona, aquella que Kant diferenciava del fet de conèixer o de la simple intuïció. Pensar (com dissenyar, que no deixa de ser una manera de pensar), significa l'acte de determinar mitjançant conceptes, coneixements i idees, la unitat d'un objecte. No pas entès com una «cosa», «aparell» o «artefacte» consumible o fungible, sinó com a «obiectum», tot allò que tenim al davant, dempeus, enfront nostre. És a dir, tot allò que facilita el diàleg entre un subjecte i la naturalesa artificial, l'entesa entre els homes, i els homes amb el seu món. Si el pensament canvia, el disseny també ho fa. La novetat del nostre temps, però, és la que ens permet constatar que quan canvia el disseny també varien les formes de pensar. |
Continguts
02
DISSENY, COMUNICACIÓ, CULTURA,
1988
JORDI MANYÀ Informació i disseny Information and design The aims of this paper is to analyse the contribution of the process of
information on the development of an idiosyncratic design culture, through artístic, architectural and engineming influences. With the development of new technologies. information has acquired an important role in social activity, but an excess of information
has had a certain numbing effect on people's minds and their capacity
for action. In a consumer society where the ways to sell and even co self-sell are of the uttermost importance, any informative activity becomes
corrupted by publicky. The priority of image in today's communication makes industrial products depend on the fast consumption of visual experience. The information system of technology and design-emission sources, communication media and audiences must fínd a balance between
publicity and cultural information. Knowledge does not only depend on information. To build a Design Culture —past, present and future — something mone than news and images are needed. Theory is needed too. [...]02 DISSENY, COMUNICACIÓ, CULTURA, 1988 FRANCESC COMPTA I GONZÁLEZ Una improvisació sobre la relació entre el disseny i les noves tecnologies An improvisation on design and new technologies
Obviously the technological level of a community is one
of the conditioning factors that determine the
production consumption of design; from the start technical
innovations have had their influence on the
process of design of a community, modifying the degree of consumer demand and increasing the number of resources
available to the designer. The characteristic of our times is that on the one hand,
innova-ting phenomena is speeding up
and is very widespread, and on the other
hand that the degree of diffusion of information and its speed of
transmission is very high. The consequence of all this is the existence of a well-nourished «design industry», obliged to reconsider its creations very hastily and forced to safisty the demands of a very large sphere, if compared to its natural scope, the field it covered only fifty years ago. [...]02 DISSENY, COMUNICACIÓ, CULTURA, 1988 JORDI PERICOT El disseny i les formes artesanals Design and craftsmanship In this paper we
intend to analyse and consider the impact of present technologies on the sphere
of industrial design. especial in what refers to the overcoming of the
traditional dichotom between «craftsman process and industrial pracess of
production» With the advent of
new technologies, industry is ready to appropiate many values which it had been
unable to adapt to its system before. and which it had been forced to reject.
from feeling of impotence. in the name of a particular kind of functionalism
that was presented as a universal value. Among these changes one may mention the disappearance of the old problem of ornamentation applied to industrial object without betrayrng, therefore, the inherent qualities of the mass produced objects. Another aspect that is definitely overcome by these changes is the rigidness that results from a preestablishe industrial design of unique objects, to which the individual has to adjust. The new forms of computenzed production have enable the creation of flexible objects in continual construction, in the search of individual participation and compromise. [...]02 DISSENY, COMUNICACIÓ, CULTURA, 1988 JOSEP M. MARTÍ I FONT El procés de disseny i les tecnologies de tractament de la informació Process of design and the new technologies of information processing
This
paper presents the reflections of a design professional who is confronted with
the new computering facilities at his disposal. The following aspects are dealt
with: the typical reactions of professionals when faced with these new
facilities, a brief consideration of the initial
misfunctions these new means may bring about, an account of the technical
achievements which have made them available and finally a reflection on the software inventory of use
to the designer; in reference to the latter, the author puts forth the idea
that not only are the CAD-CAM «packs»
necessary —as one might conclude from a superficial survey—,but also all the
other software instruments that have a direct incidence on the storage and
handling of indispensable information for the process of development of the
design project. The article also includes a bibliographical list of european and american magazine articles that refer to the subjects mencioned in this paper. [...]02 DISSENY, COMUNICACIÓ, CULTURA, 1988 JUAN JOSÉ LAHUERTA Tzara Pòstum Posthumous Tzara The author reviews Tristan Tzara's thoughts on word and art. The dadaism's initiator, from background of the insuperable precartousness of ideas, from his view of european weakness, makes an onslaught against future. and he gives an approach different from Breton. [...]02 DISSENY, COMUNICACIÓ, CULTURA, 1988 ALESSANDRO MENDINI Els Novissims Dissenyadors The Young Designers One of the most interesting points at issue in the current polemic of «Design Projects» is an eventual encounter between designers and artists. Painting and Colouring imply a visual concept only, with no further views on usefulness and its organization. The young designer concentrates on himself, centering his attention on elements of visual thought and supported by one only hypothesis: the painted object is alive It is in this way that we grasp the Painting Design. It is necessary to have a personal vision of the world because of the insufficiency of the project's truthfulness. Only an intellectual loneliness can give place to this sort of contribution. Em sembla que un dels punts més interessants de l'actual problemàtica del «Projecte de Disseny», consisteix en el possible enfrontament (o topada, o polèmica, o potser només relació) entre el dissenyador-artista i l'artista-dissenyador. 02 DISSENY, COMUNICACIÓ, CULTURA, 1988 PERE SALABERT Del contingut en art per la via del disegno. 0, ¿per què de kooning dibuixa amb els ulls tancats? Meaning in art in way of disegno. Or why does kooning draw with his eyes shut
If
art teaches us to see the world, it is not thanks to what we see in it (formal
order: figures, bodies) but for its announcement of all the things that come
behind it. How should one call it? Let's call it the «desfigure» that
underlies any figure: let's call it the «inimage» that runs through any image The intuition of the inimage
beyond the image, of some kind of profileless magma beneath the figure's
profile is a privileged intuition that brings us near to naked reality, the
other side of language. The order of art (disegno) is the lenitive veil that hides from our sight the very same thing of which it announces an existence that has become unbearable [...]02 DISSENY, COMUNICACIÓ, CULTURA, 1988 FRANCESC XAVIER RUIZ-COLLANTES Dissenyar: informar, persuadir, comminar, denominar To design: to inform, to
persuade, to intimidate, to designate Working in graphic Design involves projecting certain types of texts, that we shall call graphic Design texts which are inserted in the execution of specific communication acts. Graphic Design consist mainly of the following communication acts: informing, persuading. intimidating and designating. These acts run parallel to the illocutionary acts that take place within the setting of the speach acts. The graphic design texts act as catalysts of complex articulacions of the actions of the subject of communication. Each kind of communication act in which the graphic Design texts are circumscribed implies a specific contract by which the motives, intentions and aims of the subject of communication are defined and the legal relationship between them is determined. The projection of the graphic Design texts is carried out strategically, always endeavouring to optimize the semiòtic resources at play and relating this to the different types of communication acts that these texts contribute to produce. [...]02 DISSENY, COMUNICACIÓ, CULTURA, 1988 ISABEL CAMPÍ El retorn de l'ornament The return of ornament
02 DISSENY, COMUNICACIÓ, CULTURA, 1988 JOSEP PUIG El disseny i l'angoixa de la identitat Design and identity anxiety In our country design, and in particular
industrial Design is experimented a very active phase due to a
diversity of reasons that give good hopes for the future. In very different fields design is Spoken of and is given much attention in the mass media. This sometimes gives place to an informative intoxicacíon in relation to the explanation of what Design is. There are such qüestions as: what is industrial Design?. which are its historical antecedents? what are the differences between its branches? which is its field of application, its límits and possibilities?, that may be answered in different and at times contradictory ways, owing to the fact, in my opinion, that the theoretical body of teaching has not defined its nature with precision. The article comments on the lack of historical analysis intrínsic to
industrial Design, that is to say with no mediation of architec ture
art or engineering. It is suggested that one of the causes for this abscnce is that the «official definition» is ambiguous and allows any sort of interpretation. Another cause may be the little emphasis laid, when speaking of industrial Design, on the nature of the object and its shape as being the centre of design's field of intervention, or on the complex interrelationship of the individual with the world of objects that surrounds him. The design of objects shapes, product of a certain field of industry, is liable to undergo the most astonishing and significant evolution as consequence of the relentless development and so phistication of the material, technology and means of production. Nowadays the objects plays the main role. The designer as a shape specialist has an important part in all these events. [...]02 DISSENY, COMUNICACIÓ, CULTURA, 1988 ABRAHAM MOLES El concepte funcionalista del Bauhaus en la societat del miracle econòmic, la Hochschule Für Gestaltung d'Ulm 1 The functionalist concept of Bauhaus in the society of economical boom; the Hochschule Für Gestaltung of Ulm.
The author analyses the origins of the function of design and its development within the Bauhaus, taking into consideration its històrical context and man's reIationishi with the objects it created. He
follows the historical evolution of Bauhaus under nazism and its course
of development in the Germany of economical expansion which brought
about of functionalism in the new affluent society. He also examines the latest years, after the 68' crisis, the cosing down of the Hochschulle für Gestaltung and its lasting influence.
«Die Schonheit kommt noch dazu»
GROPIUS 02 DISSENY, COMUNICACIÓ, CULTURA, 1988 ENRIC FRANCH Consideracions entorn del fenomen postmodern: Aproximació crítica a algunes produccions i actituds del disseny i de la cultura contemporània Considerations on the post-modern
phenomenon: a critical approach to some attitudes and manifestations of
design and contemporary The opposition between modern and post-modern architecture and design urges us to inquire into the ethical and aesthetical foundations of this division. If we analyse the relationship between object and society, we realize that the former is a sign of the latter. If we venture beyond this saussurian analysis, we fall into the «confliction» of the sign and there on we move it away from the signified, from society. Thus, the goal of modern architecture of contributing to change society has become in post-modern architecture that of searching for mechanisms that only change outward details without really bringing about any substantial change. [...]02 DISSENY, COMUNICACIÓ, CULTURA, 1988 JOSEP MARIA MONTANER El Pavelló de Mies a Barcelona: una reconstrucció polèmica The Mies Pavillon in Barcelona: a polemical reconstruccion The article «The Mies pavilion in Barcelona: a polemical reconstruction» presents a fair sample of the different opinions that have appeared as a result of the reconstruction, in Barcelona, of the pavilion that Mies van der Rohe built in 1929. Although the official and most widespread view-point is favourable towards the project, several criticisms have sprung from different sources, of which this article shall try to give an organized account and place within the right context. Thus the article takes a look at the main subjects on which the polemics has centered: the suitability of reconstructing a work of art of the past; whether or not the essence of the pavilion lies in its ephemeral character; the location of the reconstructed pavilion; the ideological appraisal of the project the relation to the pavilion's contemporary myth seen through its photographs and the technical correctness of the replica. The article follows diallectically all these antagonistic arguments and concludes by postulating the need to speak of replica and not reconstruction. [...]02 DISSENY, COMUNICACIÓ, CULTURA, 1988 HOLGER VAN DEN BOOM, GERHARD BALLER És l’ordinador gràfic un auxiliar o un substitut per als dissenyadors? Is the graphic computer an aid 0r a substitute of the designer? Although the usefulness of the graphic computer has been questioned, its importance nowadays to the designer cannot be denied. The author supports this thesis by examining the past and giving us a view into the future. In view of this controversy he puts the man-computer relationship —in the case of the interactive graphic— in its right place. In his opinion the designer who works in this way becomes a director, in charge of a project and a scene which is always different and in which he not only attends to the computer but is free to be creative and to follow his own initiative. [...] |