вторник, 2 ноября 2021 г.

Latest places and castles 19/03/2022



All modern design teaching systems go back to the programs that were developed at the Ulm School, founded in 1953. VKHUTEMAS and Bauhaus are largely the heirs of the old system of art and industrial schools. In Ulm, designers were taught to understand the economics of production, technology, and marketing.

A special workshop under the direction of Hans Hugelot, created at the school, carried out orders from large firms. In particular, the entire Braun product line of the late 50s was created in this workshop. The Ulm school, for all its dissimilarity with the Bauhaus, tried to establish a connection with an interrupted tradition, looking for and hiring people associated with the avant-garde school of the 1920s. Its first rector was Max Bill, a Bauhaus graduate. Wilhelm Wagenfeld, another Bauhaus graduate, worked in the Gugelot workshop. 

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The word design came to us from the Italian language and in translation has many meanings. "Disegno" is translated from Italian as an idea, plan, intention, goal, drawing, sketch, sketch, drawing, pattern, model, template, underlying scheme, composition.

Thomas Maldonado proposed the following definition of design, which was approved at the VI Congress of ICSID (ICSID - International Council of Societies of Industrial Design).

Design is a creative activity whose purpose is to define the formal qualities of industrial products. These qualities include the external features of the product, but mainly those structural and functional relationships that turn the product into a single whole, both from the point of view of the consumer and from the point of view of the manufacturer. Design seeks to embrace all aspects of the human environment that is driven by industrial production.

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In the late 1950s, the USSR had its own school of industrial design. It was created “from above”, as a system of state institutions, and “back to front”: first they provided designers with jobs, and only then they created specialized departments in universities that produced certified designers.

The center of this system was VNIITE, the Institute of Technical Aesthetics. He published magazines, held design exhibitions, trained "graduated" specialists for universities and represented Soviet design abroad, being a member of ICSID - an international community of state "design" organizations.

Post-war European design mythologized its avant-garde past and exaggerated its importance. In the USSR, as far as can be established, this was not the case. Soviet design did not remember its past. The point is probably that the Soviet design was established in the 50s due to a keen sense of lagging behind the West.

Soviet things of the 50s, in comparison with American and European ones, looked old-fashioned, ugly. Therefore, the people who came to the design system, including its creator, Yuri Solovyov, were spontaneous Westernizers: they dressed fashionably, listened to jazz, and sought to surround themselves with hard-to-reach Western things. The harsh pathos of the Soviet avant-garde was completely alien to them.


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