Bruno Munari, Curve di Peano P64.1, 1974, oil on canvas, 80 x 80 cm. Courtesy: Andrew Kreps Gallery, New York Great design is part science, part process, and part a practical set of solutions with a dash of aesthetics thrown in. Going beyond the surface, a designer inevitably discovers that great design is more about delivering solutions to problems. Our job is therefore to invent a new system of education that may lead — by way of a new kind of specialized teaching of science and technology — to a complete knowledge of human needs and a universal awareness of them.

Design as Art - Penguin Books UK

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. Frank Lloyd Wright believed so strongly in the unity of form and function that he changed the oft-misunderstood axiom, “form follows function” coined by his mentor Louis Sullivan to read, “form and function are one.” His plan for the Guggenheim “…was to make the building and the paintings a beautiful symphony such as never existed in the world of Art before.”

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As a UX designer, I always need to dig deeper, beyond the facade that one might call a potential “design” and look at the bigger picture holistically: the target audience, the use case scenarios, the context, and the device the design is intended for: TV to mobile, desktops to tablets, to ATMs, etc. And when it comes to product design, let’s not forget validation and usability testing. If design were just art, how could you test it?

Design as Art (Bruno Munari) - [PDF Document] Design as Art (Bruno Munari) - [PDF Document]

Paola Antonelli, design curator at New York's Museum of Modern Art, wants to spread her appreciation of design -- in all shapes and forms -- around the world. Munari attempts to dismantle the myth of the artist as a genius and removes the idea that those labelled as purveyors of refined taste and culture should be restricted to academicians or the general social elite. I wholeheartedly agree with this!! Affordances provide strong clues to the operations of things. Plates are for pushing. Knobs are for turning. Slots are for inserting things into. Handles are for lifting. Balls are for throwing or bouncing. When affordances are taken advantage of, the user knows what to do just by looking: no picture, label, or instruction needed.

During his long professional career, he designed graphics for some of the most important Italian publishing houses, such as Einaudi and Mondadori, and created industrial designs for Danese and other well-known Italian brands. His biography crosses paths with some of the greatest Italian artists and scholars, such as Gillo Dorfles, Umberto Eco and Enzo Mari, to name but a few. I approached Munari's book with high expectations (since it's so highly rated), but ultimately found little of interest to latch on to. One of the ideas I enjoyed reading about that truly questions the relation between art and design was Munari’s reflections on ‘wearing’. He asks us to look at how an object is ‘worn’ and becomes ‘worn’ with use. He then asks if we should design on the sole merit of aesthetics or if we should limit ourselves to user-needs? Munari suggests that maybe we should design objects after observing how they have become worn with time. 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). He was twice awarded the Compasso d'Oro design prize for excellence in his field.

Treat design as art | TED Talk Paola Antonelli: Treat design as art | TED Talk

I am ashamed to write these few lines about Munari. Not only because reading his story makes me realise how unattainable the quality and scope of his imprint is. But also because Munari did so much and so well that it is impossible to reduce him to a biography. the proliferation of quotations: 'Concern yourself with things before they come into existence.’ (Tao Te-ching); ‘The greatest freedom comes from the greatest strictness.’ (Paul Valery); ‘To understand means to be capable of doing.’ (Goethe) Art and design are inextricably combined. I consider design as a holistic endeavor which includes “art.” Design is both subjective and objective but should be primarily objective. Proper design objectivity is achieved by user research (defining the target user base, getting to know the product’s users, observing context of use), working through the essential steps of a user-centered design process (UCD) and user testing.

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Munari cites from the school prospectus of Walter Groupis, who founded the Bauhaus in 1919 in what is considered the birth moment of design, with a lens on art education that parallels Isaac Asimov’s vision for science education: Having laid down this crucial understanding, Bruno Munari goes on to explain the intricacies of visual design, through shapes of words, symbols and signs, and colours, of industrial design, through micro-art and spontaneous art forms, of research design, and of machines designed as theoretical reconstructions of totally imaginary objects. 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." (35) Bruno Munari, ‘Works 1930–1996’, 2018, installation view, Andrew Kreps Gallery, New York. Courtesy: Andrew Kreps Gallery, New York The insistence on a distinction between art and design has been like a constant, low-grade fever that’s bothered me for the last 15 years—first through my industrial design training, then during a fine arts graduate degree, and on into my career in branding and illustration.

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Partial to Bitcoin? You can beam some bit-love my way: 197usDS6AsL9wDKxtGM6xaWjmR5ejgqem7 CANCEL MONTHLY SUPPORT By virtue of this definition, design is undeniably art. It can be found in every human culture. Designing art creates objects, performances, and experiences. And, designers intentionally instill significant amounts of aesthetic interest into their work.I haven’t done a proper book review in the past few months, but since Scupp seems to be keeping up, I suppose I’m OBLIGATED to. The designer of course does not operate in nature, but within the orbit of industrial production, and therefore his projects will aim at a different kind of spontaneity, an industrial spontaneity based on simplicity and economy in construction. There are limits of how far simplicity of structure can be taken, and it is exciting to push things to these limits. Thus our task is to make a new kind of artist, a creator capable of understanding every kind of need: not because he is a prodigy, but because he knows how to approach human needs according to a precise method. We wish to make him conscious of his creative power, not scared of new facts, and independent of formulas in his own work.’ Notice I didn’t say “what people want” like the Rolling Stones song that says: “You can’t always get what you want…you get what you need.” People don’t always know what they want, it’s up to designers to figure out exactly what they need. The problem is that he treats readers as his consumers rather than his peers or pupils. This reads like a sales pitch. This is a book convincing the public that 'design is art', but not a book informing future designers what makes design that is art.