Art and design movements
Introduction
To deal with this issue, we can say that the relations between art and industry imply the consideration of the degree of reproduction of an object and the quality of the project. The design does not refer to artisanal production, but more broad concepts recognize the use of art as an instrument of design expression, highlighting the transformative potential of its intervention in traditional environments.
This theoretical discussion has important divisions for the application of public policies and design methodologies in less industrialized regions, once it accompanies emerging social trends and enables a coherent search for sustainable development, including not only the environmental issue, but also the socialand the economic one, as exalted by the World Commission on Environment and Development.
Developing
Some issues were fundamental for the approach between art and industrial design that occurred in the early twentiematerial. In response, some artists raised as aim.
The so -called constructive movements saw in the machine and in technology the possibility of providing assets accessible to the poorest layers of society and the approach between art and industrial design at this time must be understood from the concept of mass culture and thePositive evaluation of technology by artistic movements.
Both guided the relationship that was then established between art and the production of spaces and objects for everyday use. Art did not become industrial design or industrial design became art;But both established a strong dialogue that feedback them. Various aspects of the constructive movement emerged in Russia the suprematism and constructivism of Vladimir and. Tatlin and Aleksandr M. Rodchenko;Especially the Bauhaus initially under the leadership of Walter Gropius.
To understand Bauhaus, it is necessary to go back more than ten years before its creation: the Deutscher Werkbund foundation in the city of Munich in 1907. The Werkbund was an association of different professionals – such as artisans, designers and officials – who were concerned about the quality standards of German design and who wanted to match the production of the country with the great industrialized nations: England and the United States.
The Werkbund was one of the many attempts by European artists to try to understand how the art of relations and industry could in a society that is increasingly ambitious technological development. His historical work for the Electrotechnical AEG, the main German company of the time, was responsible for rethinking various aspects of the company’s industrial production:
The aesthetics of the products, the logo and the advertising of the company, the employee uniform and even the buildings. The turbines of the plant, the main work of the architect and artistic director of this company with AEG, Peter Behrens, was the first steel and glass building in the country, but this whole movement had to be interrupted due to the beginning of the First World War.
He between wars in Germany was a definitive period for world history. The severe impositions of the Treaty of Versailles, which held the country responsible for all the damages of the first war, encouraged a feeling of humiliation and resentment that ravaged the population. On the one hand, Nazi ideals boiled under the facade of exaggerated nationalism and, in a few years, they would begin a new conflict of even greater proportions. From the other, intellectual elites were born and turned into several areas of knowledge, such as the Frankfurt School and the Berlin Psychoanalysis Institute.
“The Bauhaus laid the normative bases and patterns of what we know today as industrial and graphic design;It can be said that before the existence of Bauhaus these two professions did not exist as such and were conceived within this school. Undoubtedly, the school established the academic foundations on which one of the most predominant trends of the new modern architecture would be based, incorporating a new aesthetic that would cover all areas of everyday life: from the chair in which youFeel to the page you are reading ".
Although there are important differences between the conceptions and proposals of these movements and schools, it connects the search for the integration of art work to science and technique in the process of social transformation. However, industrial design as a discipline has been developing and modifying since the 19th century.
conclusion
The other moment, which we are interested in analyzing is related to the change of industrial design nomenclature for design. Although they can sound as synonyms, they point to very different contexts and projects: Industrial Design translated as an industrial design is strongly related to the ideology and practices of which the Bauhaus was a pioneer and is directly associated with the rational-functionalist matrix.
This change of nomenclature is strongly linked to the crisis of the modern construction project. We can understand this crisis, quickly pointing to some of the criticisms made in the 1960s to industrial design, which encompasses the concept of functionalism and extends to architecture and modern urbanism. Criticisms made against practical rationalism of modern functionalist design are related to two decisive factors: economic growth and expansion of mass consumption society and severe criticism of consumption behavior in capitalist welfare societies.
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