Design as Art: Bruno Munari (Penguin Modern Classics)

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Roses: 'These are objects that have come into being for no good reason, useful only on the most banal level: that of decoration.

Wymagające długotrwałego polerowania marmury, ułożone na podłodze, zwłaszcza te, znajdujące się przy drzwiach wejściowych, z powodów użytkowych będą musiały być zasłonięte czerwonym, eleganckim dywanem. Design] is planning: the planning as objectively as possible of everything that goes to make up the surroundings and atmosphere in which men live today. a small free gift offered by the firm to the client in case the latter wishes to start a production of these objects on his own account"), his mediations on when design needs to step back and when it needs to step up, his maddening account on the various types of chairs or knives ("and is there anyone who doesn't know about the knife for making slits in chestnuts?The designer of today re-establishes the long lost contact between art and the public, between living people and art as a living thing”. The designer of today re-establishes the long lost contact between art and the public, between living people and art as a living thing. From what I understand, this book was written in the 70s, so many design principles hold relevance even today, some do not, so in that sense, some of it is slightly dated. I learned so much more passively about vector art design principles from reading the comic books of Chris Ware! Okładka jest biało-czarna i ascetyczna w formie, ozdobiona jedynie rysunkami Munariego, które pojawiają się ponownie, lecz w większej ilości, przy okazji tekstu Character Building; w środku próżno szukać jakichkolwiek zbędnych elementów, krój pisma jest przyjemny i dobrze czytelny, a lekko brązowy papier nie powoduje męczących oczy kontrastów (należałoby pokazać tę książkę każdemu wydawcy, decydującemu się na drukowanie podręczników akademickich na obrzydliwie lśniącym, kredowym papierze).

Tekst rozpoczyna się krótkim wprowadzeniem, które wyjaśnia współczesne, zarówno wielu z nas, jak i autorowi, rozumienie luksusu. Bruno Munari (1907-1998), born in Milan, was the enfant terrible of Italian art and design for most of the twentieth century, contributing to many fields of both visual (paint, sculpture, film, industrial design, graphics) and non-visual arts (literature, poetry). If you enjoyed Design as Art, you might like John Berger’s Ways of Seeing, also available in Penguin Modern Classics.For Munari, design was not just a practical or even aesthetic practice, but an artistic one: "The designer of today re-establishes the long-lost contact between art and the public, between living people and art as a living thing.

Ogni tanto, cercando un po’ di spazio o spolverando, mi cade l’occhio su qualcosa che non posso fare a meno di riprendere in mano.Wyliczenia kolejnych elementów przypominają jako żywo te, które pojawiają się u Flauberta przy okazji opisu lektur Emmy Bovary. But it was originally published in 1966 and so the type is quite densely crammed in making the wisdom within less accessible to the casual reader.

Should we design objects on the sole merit of personal aesthetics and upon the Platonic plane of Ideal Geometry? Cose che non coesistono obbligatoriamente, insieme a molte altre che attiravano l’eclettismo di Munari. Though at times quite technical, the central premise of the book lies in how art should speak to the culture in which it belongs and the artist should be able to communicate the needs of the contemporary public in his/her oeuvre.

Dizajner ne sme da se bavi poezijom, on mora da misli drukčije i da pravu meru svakom segmentu onoga čime se bavi, a najlepše je ono što je najfunkcionalnije. A poem only communicates if read slowly: only then does it have time to create a state of mind in which the images can form and be transformed.