rough notes on the draft The question was, and remains to make our lives a little
'history history is long, we could from the Greek philosophers Plato's ontology that separates things (bodies) from the ideas, go to the designs of Leon Battista Alberti and Leonardo, through the proto-designer who faced the first in modern series (the book) and arrive at the origin design that can be traced back to the nineteenth century when the industrial revolution in England took the field at the same time the so-called Arts and Crafts movement, through which it assists the development of applied arts and the production of commodities through the mass production ; that meant exiting restricted areas craft in favor of industrial production.
The history of design continues throughout the twentieth century in a modern logic and "rational", the built object undergoes its most significant existential, aesthetic, functional and structural crisis of Western thought is still present but latent.
The figure of the designer, rational, creative-controller of the whole process benefit of a use as possible is theorized enlarged and democratic, developed and practiced in the Bauhaus from 1919 to 1933. The closure of the school by the Nazis and their diaspora causes the spread of the teaching of design "modern" in Western Europe and the United States. Josef Albers, Marcel Breuer, Lyonel Feininger, Johannes Itten, Wassily Kandinsky, Paul Klee, László Moholy-Nagy ... are just some of the characters who contributed to the increase in the number of designers.
After the war, despite Western thought is put in front of his guilt and the horrors of two world wars by not a few voices in art, poetry, literature and philosophy, reconstruction (Restoration) takes over, the man needs dimostrasi still capable of rational control. A few sporadic attempts to resume the critical discourse on the design of the Bauhaus and Ulm occurs in Chicago, schools closed after a few years from both an industry problem, but did not want profits.
Today the designer is still looking to deliver a dynamic relationship between science and art, takes (more or less consciously) even the enormous responsibility of governments, subordinate to the technological complexity, are capable of providing.
In the best cases, the design appears to indicate a new form of culture that transforms us from mammals elegantly packaged by nature free artists with a purpose Common ... But what is this? The function of the designer is simply to break down the division between science and art? Surely you would enter into a design more aware, perhaps with shared ethics, esthetics with more and more perfect. This could have non-negligible effect, but ultimately I would give that answer before death? I would make sense?
Definitions "... the realization of our human world is inseparable from our human self-realization. Making our environment, in fact, and do ourselves was phylogenetically and ontogenetically, a single process. "
Tomas Maldonado, Project Hope, Einaudi (p. 17)
"I do not think we can talk about design without talking about desire. The project is the way in which we try to implement the satisfaction of our desire"
Gregotti
Behind the word "design / project design, project, idea, intention, purpose, intent, design, craft, strategy, structure, simulate, engineer, artificial, artifact, create, act, determination, mechanics, machinery, greek Mechoso, technical, techno, art, tekton carpenter, techno in Latin ars, power, strength and change.
Industrial design, graphic design, concept design, information design, fashion design, web design, book design, furniture design, car design, interior design, exhibition design, fashion design ...
To design or plan indicating all the activities of research, design and planning, aiming at the creation of any product range, both material (a book, a car, a city ...), the intangible asset (a software, an audio-visual, a brand ...). Within these activities include: the creation of the strategic aspects of design and function, the choice and combination of construction materials or methods of operation, the definition of the production process.
cultural components, functional, formal, aesthetic, symbolic, with their respective disciplines related (scientific, technical and aesthetic) come under a single director.
The essential components of the project (to design) can be decomposed into: projective intent (design), someone who generates a (designer), a system of representation (drawing, idea), a technology that produces the (industry ) and an environment that can accommodate the whole (the world).
The initial moment, the intention projective seems intrinsic to human consciousness, inalienable, deeply linked to our understandings of existence, driven by continued efforts of the tangibility of everything in the world who we are, and we want to do.
Described in these terms, the project action è rintracciabile in gran parte dell'attività umana, e di fatto non si può negare che quando scelgo che camicia mettermi la mattina, decido dove andare in vacanza, che cosa mangiare a pranzo non faccio altro che esprimere un'intenzione (cosciente o incosciente) di come voglio essere, di cosa voglio fare, di cosa voglio sentire: esprimo un intendimento (design), lo rappresento nella mia mente (disegno), cerco le tecnologie per attuarlo, ne verifico le reazioni nell'ambiente. Tutto questo viene praticato continuamente senza averne coscienza poiché l'attenzione viene calamitata sugli oggetti (proiezione concreta) distogliendola dal soggetto (proiezione trascendente).
Quello che si auspica e che almeno il progettista sia aware of this process!
There may be activities not involving the design, there is no plan to do? The game is a gratuitous and no rules, no established code, whose charm lies in the impossibility of designing the result. The utopia, the dream with open eyes, the only hope, desire nothing concrete to achieve.
Problems "The philosophy is set in motion only by a particular step of his existence within the basic possibilities of being in its totality. For this jump are crucial: first, make room for the institution as a whole, so No letting go, that is free from the idols that everyone has and which is used to escape and finally letting it soar to the end to be suspended so that it always returns to the fundamental question of metaphysics, which forces the same Nothing: Why is it in general ' institution and not rather Nothing? "
Martin Heidegger, What is metaphysics, Adelphi (p. 66)
Consciousness is" application ", in her wanderings, amazed at being there without understanding it 'the how, it' why, he stumbles into unfounded, his will continually frustrated, useless but necessary to give themselves a sense we can call the project. But the impact of the unfounded before any voluntary intention projective (design / project) issue of the effects. These effects are confused with the cause, reified and interpreted by the project that seeks relief from the discomfort, the escape from the encounter, fear than the serenity ...
Design can take on the burden to make sense of it all?
An essential component of design is the will, determination toward a goal. Endeavor to align with a design intent with action. This embodies the designer will deliver a power, a domain of things, is the one who manifests control over nature but at the same time it embodies the limit. Can
esistere progettazione senza volontà? Siamo sicuri di sapere o potere governare le nostre volontà?
Alla base di qualsiasi progetto c'è un momento iniziale (intenzione proiettiva) condizionato dalla nostra visione esistenziale. Questo momento risente della concezione di noi stessi, della morte, della vita, del dolore... È fondamentale se non urgente indagare questo momento iniziale, movimento esistenziale dove nascono tutti i nostri intendimenti.
Cosa c'è dietro questa "intenzione" proiettiva? Mi basta dire che è la volontà di emanciparsi da semplici mammiferi condizionati dalla natura in artisti liberi di condizionarla?
Il progettista si pone sempre fuori dal proprio progetto! As if the action plan of the removal order in a projection distance. The designer is always empathizes with his project! Expresses an attachment to his choices to his worldview that seeks to spread.
way out "attitude developed western Greek philosophy, Jewish, and then the prophecy of Christendom, science and technology. Attitude is born of an Eastern aesthetic and pragmatic approach to life that we in the West we were never able to fully comprehend. These two irreconcilable attitudes can and indeed should merge into one another. "
Vilem Flusser, Philosophy of design, Addison (p. 76)
urgently make contact with the unfounded with the appropriate arrangements. It is important to find the tools and methods for this survey. The lack of foundation (unfounded) but more profoundly from the simple and radical realization that there is something for no reason the practice of the project should go.
design is in the West, reflects the human being who intervenes in the world, is committed to the separation I-environment, subject-object. In the East the concept of design is purely aesthetic (experiment, sensitive), the experience is productive use of same as being absorbed into the environment, emerges from the environment.
Archery / Ballistics. Ikebana / Botany. Shodo / Printing
For our design culture is to transplant a practice in science "oriental" design that usually frequents places and methods traditionally kept away from our culture.
We are at the beginning of a strong commercial and cultural relationship between East and West, we can impose protectionist schemes, or create reserves and cultural parks, absorbing only superficial choreographic and transform it into a mass culture that flatten the different attitudes, ...
But what if instead a new feeling existential maturing in the consciousness of designers and found expression in the design of industrial and post-industrial?
