1,721,025 research outputs found
Committenza / Clients and Patrons
No full textNumero sul tema della committenza, co-curato con Davide Fornari e con il contributo di Riccardo Falcinelli. In un momento di generale difficoltà economica e di cambiamenti continui nell'area della comunicazione visiva, "Progetto Grafico" rimette al centro della discussione il tema della committenza e della sua relazione con i progettisti
Identità Olivetti. Spazi e linguaggi 1933-1983. Olivetti identities. Spaces and languages
No full textPrimo dossier di documentazione del convegno "Identità Olivetti. Spazi e linguaggi 1933-1983". Studi in larga parte inediti su negozi, mostre tecniche, grafica, tipografia, attività formative e culturali Olivetti
Dialogo
No full textUn confronto a due voci (Gabriele Monti e Davide Fornari) sulle sovrapposizioni e le differenze fra Design Studies e Fashion Studies a partire da aree comuni (corpo, formazione, ricerca, immaginario
Olivetti Identities. Spaces and languages 1933 - 1983
No full textOlivetti’s world-famous typewriters epitomize the company’s industrial legacy and visible identity, which was both innovative and complex, material and immaterial. These identities are at the heart of an interdisciplinary research project carried out by ECAL/University of Art and Design Lausanne and the University of Ferrara, in collaboration with the Olivetti Historical Archives Association in Ivrea.
Olivetti Identities. Spaces and languages 1933-1983 presents the results of this research, with contributions from 37 authors, analysing the Olivetti phenomenon as a whole and paying particular attention to corporate evolution and the approach of designers such as Xanti Schawinsky, Carlo Scarpa, Ettore Sottsass, Hans von Klier, Egidio Bonfante, and Walter Ballmer, among others.
The book examines the development of Olivetti’s corporate identity, from the opening of the Olivetti Advertising Office in 1933 to that of the permanent Olivetti pavilion at the Hannover Fair in 1983, seen as the final step in a particularly efficient corporate identity strategy.
Divided into four sections, the work covers showroom and exhibition design at trade fairs and expos, as well as the languages that shaped the corporate vocabulary: visual communication and interaction design, cultural and promotional activities.
Designers Santiago Miranda and George Sowden, along with former Olivetti sales and training employees, add their own personal accounts in the final section, while two visual essays of published and unpublished documents from the Olivetti Historical Archives complete the book
Identità Olivetti. Spazi e linguaggi 1933 - 1983
No full textOlivetti’s world-famous typewriters epitomize the company’s industrial legacy and visible identity, which was both innovative and complex, material and immaterial. These identities are at the heart of an interdisciplinary research project carried out by ECAL/University of Art and Design Lausanne and the University of Ferrara, in collaboration with the Olivetti Historical Archives Association in Ivrea.
Identità Olivetti. Spazi e linguaggi 1933-1983 presents the results of this research, with contributions from 37 authors, analysing the Olivetti phenomenon as a whole and paying particular attention to corporate evolution and the approach of designers such as Xanti Schawinsky, Carlo Scarpa, Ettore Sottsass, Hans von Klier, Egidio Bonfante, and Walter Ballmer, among others.
The book examines the development of Olivetti’s corporate identity, from the opening of the Olivetti Advertising Office in 1933 to that of the permanent Olivetti pavilion at the Hannover Fair in 1983, seen as the final step in a particularly efficient corporate identity strategy.
Divided into four sections, the work covers showroom and exhibition design at trade fairs and expos, as well as the languages that shaped the corporate vocabulary: visual communication and interaction design, cultural and promotional activities.
Designers Santiago Miranda and George Sowden, along with former Olivetti sales and training employees, add their own personal accounts in the final section, while two visual essays of published and unpublished documents from the Olivetti Historical Archives complete the book
The New Typography in Fascist Italy. Between Internationalism and the Search for a National Style
Get PDFAfter the Second World War, it took art and architecture
scholars a number of years to realise how the equations
between style and politics (modernism = democracy; fascism
= traditionalism and neoclassicism) were far removed
from the complexity of historical reality. Today the situation
is very different. Studies and exhibitions on art and
design under totalitarian regimes have proliferated and
the topic of “fascist modernism” has even been called an
“academic fad”. As far as Italy is concerned, historians
have long addressed the relationship between artists and
architects and Mussolini’s regime. However, shifting one’s gaze
from art and architecture to
the field of design and graphics, it becomes apparent that
there are still reservations about investigating the links
between the work of designers and the political-ideological
climate of the fascist period. The aim of this contribution is
to reposition in a political perspective the debate that took
place in the 1930s, between the traditionalists and modernists
of typography, investigating in particular the contrast
between internationalism and the search for a national
style, often also identified as fascist
“Giovanni T.” and The New Typography in Italy. Discussion and Renegotiation of Tschichold’s Ideas in Italian Graphic Arts Magazines
No full textIn February 1933, the Turin magazine Graphicus published an opening article titled “Della nuova tipografia” and signed "Giovanni T.". As far as can be proven, this was the first publication in Italy of a text by Jan Tschichold, whose name was italianised in line with the linguistic nationalisation policies of Fascism. Upon textual comparison, the script turns out to be a synthetic and incomplete translation of an article that had already appeared in 1930 on the magazine Arts et Métiers Graphiques and was indeed the french version of Tschichold's introduction to his second book: Eine Stunde Druckgestaltung (1930). At the time in the midst of his extensive efforts to disseminate the ideas of the new typography, Tschichold decided to have it translated in the international trade press (it also appeared in the British periodical Commercial Arts). During the following years, his name as well as that of other protagonists of the new typography movement appeared a number of times in Italian magazines such as Campo Grafico. Although much later than in other European countries, in Italy the new typography was widely discussed in graphic arts magazines and became the focus of a cultural debate no less heated than the one that arose around rationalist architecture. This contribution will shortly reconstruct such discussion, which involved printers, typographers, architects and artists as well as intellectuals such as Pietro Maria Bardi and Edoardo Persico. By analyzing the reception of Tschichold's texts, the paper will consider the mediating channels and forms trought which the ideas of the neue typografie movement were debated and renegotiated in Italy. In particular, two themes will be addressed: the dialectic exchange between actors inside and outside the printing trade; and the controversial relationship that the Italian interpretation of new typography held with Fascist ideology and regime
Presentazione
No full textL'articolo ripercorre i temi dell'innovazione design driven nel contesto contemporaneo con particolare riferimento alle sfide dell'innovazione nella formazione dottorale del designer ricercator
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