The design culture: actions and narratives between archives and exhibitions (original) (raw)
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Digital Archive of Temporary Exhibitions: Enhancing the Design Culture
This contribution deals with methods for documenting, archiving, visualizing and enhancing the culture of the exhibition design process by conceptualising a digital archive that experiments with new structures and narratives for an online experience of these documentary assets capturing the ephemeralness of exhibit design. The “Digital archive of the temporary cultural exhibitions” collects an heterogeneous and complex set of documentation as sketches, maquettes, technical drawings, pictures, videos, in- terviews and so on. One can explore it through three different paths: the historical masters (where the user can find exhibitions made by the most famous designers in the past), different exhibitions for same place (where the user can do a comparison among different exhibitions in the same place) and contemporary experiences (where the designer explains the narrative of the whole exhibition process).
Back to the Future. The Future in the Past. ICDHS 10+1 Conference, 2018
In 2009 AIAP, the Italian Association of graphic designers, founded the Graphic Design Documentation Centre (CDPG) with the aim of collecting, cataloguing, archiving, enhancing and promoting any document related to graphic design and visual communication. The activities of the Centre are focused on the documentation of graphic design culture (historical archives), research and enhancement (exhibitions and publications). AIAP wishes to promote and disseminate the culture of graphic design. Part of the activities carried out in order to attain this goal are covered by the organisation of exhibitions and the publication of books. Members of AIAP have been and still are among the best-known and skilled Italian designers. The Association, established in 1945, considers the Graphic Design Documentation Centre as a key activity, something which goes beyond a simple archive and which has, as its ultimate ambition, that of founding a graphic design museum.
Contemporary design drawings represent an immense and quite complex cultural heritage to be interpreted, communicated, preserved and publicised. Digital technologies - and the convergence they provide - have much to offer, for example in safeguarding the iconographic heritage ascribed to the field of so-called minor architecture, otherwise in danger of oblivion. Among the prerogatives of digital representation, archive drawings could be used to create models, animations and dynamic interactive exploration tools, which could then be applied to selected examples. This methodology would allow us to reconstruct different design hypotheses, to break down buildings into thematic interpretations and to provide access to otherwise inaccessible buildings. This essay intends to develop these considerations and to propose applications for digital technologies in relation to the Rosani Industrial Architecture Studio Archive, our case study. The Rosani Architecture Studio was founded by Nino Rosani, who received his training in the technical department of the Lancia automobile company in Turin, and later taken over by his son Paolo. In continuity with Nino’s prior experience, the studio was mainly involved in projects for major and mediumsized industries based in Italy and abroad. It obtained prestigious assignments and collaborated with several masters of contemporary architecture, such as Giò Ponti on the design of Lancia Office Building in Turin (1954-‘57).
2009
After the death of Achille Castiglioni (2002), one of the main protagonists of Italian design, his professional Studio, located in the heart of Milan since 1962, was saved from being dismantled and fully preserved thanks to the contribution of La Triennale di Milano. It's the first case of a total protection, not only of an architectural space and its contents (furniture, drawings, models, photographs, collection of anonymous objects and materials of inspiration, …), but also of the relations with those who collaborated with the architect-designer and are now living testimonies of his design method. The museum-studio is now engaged both with the cataloguing of all the materials it contains and the opening to the public through guided tours. For the first time in Italy, the public can visit the studio of a designer, as it does for the houses of artists and musicians, thus entering into contact with an extraordinary variety of materials and emotions that can be transmitted. In a short time, it has become a place of integrative education for design students. In 2006, the INDACO Department of Politecnico di Milano has signed an agreement for a collaboration with La Triennale di Milano to deepen the study of this place and check its potential development for the knowledge of the practice of design. This collaboration was born within the frame of a national research co-financed by the Italian Ministry of University and Research on the theme of "design enhancement of cultural heritage." The case was particularly interesting because the Studio could be considered a "cultural contemporary good" and because here design reflected on itself, on its valorisation and knowledge. It was also particularly significant to investigate participatory and immersive modes of teaching design and compare them with the real world of project. The research was divided into three phases: 1.
The short history of the musealization of design mirrors a number of contradictions and limitations, but also the potential of a practice and discipline that continues to suffer the paradox of being a pervasive, yet misunderstood, presence, a voice neglected in communities and forums in various fields, and by the general public and society as a whole. Within an interpretive framework that understands design as a “total social phenomenon” and as modern material culture, this paper reconsiders the cultural and social meanings that can push for its musealization. Shifting from the issue of “the design museum” to “design in museums”, the aim is to disclose a more varied panorama of references to examine and explore, with the intention of developing new hypotheses for a museology and museography of design. In doing so, a primary expectation, and concern, is to stress how a proper design discourse within social and educational institutions such as museums could contribute to closing the above-mentioned gap, providing a better and wider understanding of its social and cultural relevance.
Strategic Design Research Journal, 2011
The study of the processes which characterize the work of some excellent and recognized masters of contemporary art testifi es the existence of shared models and principles with craft and avant-garde design: refi ned organization, systematic fi ling, industrial productive continuity of components and collective participation in the development of the work of fi ne art. This paper describes the creative and productive processes of some case studies that belong to the world of art, in an attempt to identify their transferability to the world of design, particularly the ways in which Piero Fornasetti, Wim Delvoye, and other artists work, together with an overview of aesthetics as seen by Aby Warburg and his theory on art cataloging.
Pages on Arts and Design. Future Heritage. PAD #24, 2023
Posters, brochures, advertisements, catalogs, and magazines constitute a fascinating cultural heritage to retrace the history of Italian graphic design. From the 1930s to the 1970s, graphic design enriched Italian communication with a revolutionary visual language. Various societies, foundations, associations, and public or private archives preserve graphic materials today. The result is the difficulty in creating a single place to preserve graphic design projects physically. This condition also reflects the digital archiving process of graphic materials. The absence of official digital conversion has facilitated the emergence of independent entities that make graphic artifacts accessible online. Sometimes online dissemination does not provide historical sources, and it is not primary digitisation. The contribution analyses the online diffusion and immaterial circulation of graphic artifacts. The research presents some emblematic cases to define original and no-original archiving processes. Archivio Storico del Progetto Grafico by Centro di Documentazione sul Progetto Grafico (CDPG), the digitalisation of magazines like Campo Grafico and Stile Industria, or independent projects such as Archivio della Grafica Italiana, are only some examples. The purpose is to identify critical and strong points of these archives and digital platforms, imagining a new digital archive for the Italian graphic design heritage.
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The study of the processes which characterize the work of some excellent and recognized masters of contemporary art testifies the existence of shared models and principles with craft and avant-garde design: refined organization, systematic filing, industrial productive continuity of components and collective participation in the development of the work of fine art. This paper describes the creative and productive processes of some case studies that belong to the world of art, in an attempt to identify their transferability to the world of design, particularly the ways in which Piero Fornasetti, Wim Delvoye, and other artists work, together with an overview of aesthetics as seen by Aby Warburg and his theory on art cataloging.Key words: advanced design, organization of art work, components of the artistic product, artistic research.O estudo dos processos que caracterizam o trabalho de alguns reconhecidos e excelentes mestres da arte contemporânea atesta a existência de modelos compar...