Publication: Dos diseñadores y un debate inacabado
Loading...
Official URL
Full text at PDC
Publication Date
2018-09-11
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Citations
Exportar
Abstract
La hipótesis de partida del presente trabajo es que «el debate», entendido como enfrentamiento binario entre dos opuestos, es un formato a través del cual el diseño ha tomado forma como disciplina y profesión en la modernidad. La cuestión se estudia a partir de un caso concreto: el debate de 1972 entre los diseñadores gráficos holandeses Wim Crouwel y Jan van Toorn, por considerarse paradigmático de la tendencia a enfrentar como incompatibles un enfoque «pragmático-tecnológico» y uno «idealista-artístico». Entendiendo que en esta tradición existe una problemática distancia entre los discursos teóricos («los debates») y las prácticas reales, se propone una lectura alternativa del caso, consistente en identificar puntos de encuentro entre las prácticas de ambos. Se atiende para ello a tres niveles de funcionamiento de su trabajo: relación adquirida con los museos de arte contemporáneo, posicionamiento respecto a los usuarios y relación con las nociones de autoría y estilo propio. Fragilizando la oposición binaria que promueve el formato «debate», se identifican ciertos límites con que el diseño, en su construcción histórica como profesión, ha incluido y excluido posibilidades de acción. Desde ahí, se esbozan nuevas posibles direcciones que el diseño contemporáneo puede explorar ante esta tradición que se cuenta a sí misma como la historia de un debate.
The following work’s initial hypothesis is that «the debate», understood as a binary dispute between two opposites, is a format through which design has taken shape as a discipline and profession in modernism. This hypothesis will be addressed through a particular case: the 1972 debate between Dutch graphic designers Wim Crouwel and Jan van Toorn. We can see in that case a common pattern of discursive confrontation between «technological pragmatism» and «artistic-idealism». This work explores an alternative interpretation of the case. Pondering the frequent gap between theories («the debates») and practices in the tradition of modern design, this study seeks to identify intersections in the work of both figures. To achieve this purpose, we will address three levels of operation of their work: acquired relationship with contemporary art museums, positioning in connection with the public and understanding of the notions of authorship and personal style. By debilitating the binary opposition that the «debate» format promotes, we can outline ideological limits with which design, in its historic construction as a craft, has included and excluded possibilities of action. From there, we will consider possible new ways of action that contemporary design can explore in light of this tradition that has been told as the history of a debate.
The following work’s initial hypothesis is that «the debate», understood as a binary dispute between two opposites, is a format through which design has taken shape as a discipline and profession in modernism. This hypothesis will be addressed through a particular case: the 1972 debate between Dutch graphic designers Wim Crouwel and Jan van Toorn. We can see in that case a common pattern of discursive confrontation between «technological pragmatism» and «artistic-idealism». This work explores an alternative interpretation of the case. Pondering the frequent gap between theories («the debates») and practices in the tradition of modern design, this study seeks to identify intersections in the work of both figures. To achieve this purpose, we will address three levels of operation of their work: acquired relationship with contemporary art museums, positioning in connection with the public and understanding of the notions of authorship and personal style. By debilitating the binary opposition that the «debate» format promotes, we can outline ideological limits with which design, in its historic construction as a craft, has included and excluded possibilities of action. From there, we will consider possible new ways of action that contemporary design can explore in light of this tradition that has been told as the history of a debate.