Aby Warburg and Walter Benjamin are two highly anomalous figures within the European cultural landscape of the early twentieth century. It is precisely because of their anomaly that their thinking and works have proved so fruitful and full of meaning, anticipating contemporary practices and methodologies. Today, their critical attitude and research methodology offer interesting points of reflection on the disciplines and practices that revolve around the figure of the contemporary designer. Read More
1. The city and its imaginary: from the urban as spatial form to the urban as a signifying whole
Since its appearance in the second half of the XIX century, the metropolis has not been limited solely to the physical space occupied by its buildings, streets and squares – however enormous, crowded and complex that space may be. Neither the city and its more simple and ordered form can be reduced to the spatial extension defined by its walls. One could think as a prerogative of the homo sapiens the capacity to transform an activity at first simple and natural as inhabiting into an articulated form – stratified of meaning, values and functions of a social, political, economical and cultural nature. Read More
We propose hereinafter two interviews, conducted via e-mail between October and November 2011 with the Dutch collective Foundland and the graphic design historian and critic Rick Poynor. The interview is part of the research carried out by Andrea Facchetti for his Master’s degree dissertation in Multimedia and Visual Communication.
The kiss between Israeli Prime Minister Netanyahu and Palestinian President Abbas in Benetton’s Unhate campaign, 2011. The postpolitical condition of Western democracies is now promoted primarily on the communications level.
According to the public opinion, the term “archive” means and designates the collection of documents and materials—public as well as private—destined to be preserved; and thus also the place where these are stored and systematized—ordered according to specific criteria. Thus the archive would refer to an activity of conservation and preservation from the natural deterioration process, in order to hand down and leave to posterity a certain body of information and descriptions. In this sense, the archive fulfills the function of preserving and transmitting the historical memory. Read More
Our global consumption culture is the biggest over-design example
Today graphic design is everywhere. It answers to individual and public needs, produces culture and money, communicates and constructs identities. It is somehow involved in any activity. Graphic design is, to make use of Tibor Kalman’s words, the medium. And it can be traced in everything we do, see and buy. Read More
The cartographic culture’s paradigm shift
It is not at all new the conception according to which a corpus of graphic representations and communicative artifacts can be regarded as a textual work. For sure one of the examples better structured in this sense is that of cartographic culture and the production of map and atlases. Cartography here represents a precious case study about how an entire visual culture can undergo a radical epistemological transformation, and notably a valorisation of its narrative and literary elements. Read More
Where Krisis and the Unità di Crisi group come from? What are the previous experiences?
Unità di Crisi arises from our perception of a lack of awareness, on the part of the world of design and communication, about the general scenario of permanent crisis through which our culture advanced itself. Better, the impression is that the direct responsibility of these professional roles, with regard to the cognitive discomfort of the people, citizens and consumers of this new century, isn’t adequately perceived. Who gives form to things has more or less the same responsibility of those providing the content (idea and matter), because it is only through the form that we can get to know the content. Something had to be done. Read More