Covers by CasaRex for the Contemporary Art and Education" series promoted by AEP - Art Education Productions

As a winner in 2009 for the project developed for the Cool Readings book collection (Editora Biruta) and for the book “Our Movie” (Edições Jogo de Amarelinha) in 2010, this year Casa Rex has been acknowledged in the Miscellaneous Company Literature category, for the visual identity that was created for the circle of debates about Contemporary Art and Education promoted by AEP – Art Education Productions.

Casa Rex's "Contemporary Art and Education" brochure interior

In order to develop the illustrations for the programme, Casa Rex made use of seventeenth-century engravings of imaginary animals, created to play with the illusions that people often have about contemporary art: “Generally the subject of contemporary art is viewed as being almost as strange as a seven-headed animal. The concept of portraying fictional animals has been used as a way of making light of these perceptions.” says Gustavo Piqueira, head of the agency as well as the creative director on the project, together with Samia Jacintho.

Casa Rex's "Contemporary Art and Education" Poster

The project has been selected as one of the winning entries out of more than 4000 submissions and it will be featured in the September/ October 2011 issue of the Communication Arts Magazine Design Annual 52 Awards (http://www.commarts.com/annuals/2011-Design/winners).

Read Also:

• REX Design Awarded by Communication Arts Magazine
• Brazilian packaging and editorial projects win HOW 2010 International Design Awards
• Brazil: The Cultural Contemporary at the Royal College of Art
• CLIO honors Marcello Serpa with “Lifetime Achievement” award
• “The Soccer Museum” wins Gold Medal from IDSA’s 2010 IDEA awards

Tags:

"Brazil: The Cultural Contemporary" at the Royal College of Art

The Royal College of Art in London held on January 21st 2011 the one-day conference Brazil: The Cultural Contemporary, as the result of research undertaken in Brazil in the previous year. According to Wired Magazine, the event aimed to inform a UK-based audience about the country’s visual culture, with a focus on areas of craft, design and social change.

Brazilian design writer and curator Adélia Borges, former director of the Museu da Casa Brasileira and design editor for the newspaper Gazeta Mercantil, presented the keynote lecture on Brazilian contemporary craft and design. Other speakers included Calouste Gulbenkian Foundation scholar Frederico Duarte, educator Kiki Mazzuchelli, graffiti specialist Tristan Manco, and Cristiana Tejo, coordinator of Education at Fundacão Joaquim Nabuco in Recife.

Read Also:

• Fashion, architecture and graphic design from Brazil in international forum in China
• Roots: Oiticica, Hélio (1937 – 1980)
• Alexandre Wollner featured in the “Distinguished Lecture Series” of the School of Art, Design and Media at Nanyang Technological University, Singapore
• Rogério Duarte exhibition in Australia reviewed by UK’s Grafik magazine
• For the 3rd consecutive time, CasaRex Receives a Communication Arts Award

Tags:

Sebastião Salgado, Paris. 1997 © Pierre-Olivier Deschamps.

Sebastião Salgado was born on February 8th, 1944 in Aimorés, in the state of Minas Gerais, Brazil. He lives in Paris. Having studied economics, Salgado began his career as a professional photographer in 1973 in Paris, working with the photo agencies Sygma, Gamma, and Magnum Photos until 1994, when he and Lélia Wanick Salgado formed Amazonas images, an agency created exclusively for his work.

He has travelled in over 100 countries fo his photographic projects. Most of these, besides appearing in numerous press publications, have also been presented in books such as Other Americas (1986), Sahel: l’homme en détresse (1986), Sahel: el fin del camino (1988), Workers (1993), Terra (1997), Migrations and Portraits (2000), and Africa (2007). Touring exhibitions of this work have been, and continue to be, presented throughout the world.

Sebastião Salgado has been awarded numerous major photographic prizes in recognition of his accomplishments. He is a UNICEF Goodwill Ambassador, and an honorary member of the Academy of Arts and Sciences in the United States.

In 2004, Sebastião Salgado began a project named Genesis, aiming at the presentation of the unblemished faces of nature and humanity. It consists of a series of photographs of landscapes and wildlife, as well as of human communities that continue to live in accordance with their ancestral traditions and cultures. This body of work is conceived as a potential path to humanity’s rediscovery of itself in nature.

Together, Lélia and Sebastião have worked since the 1990’s on the restoration of a small part of the Atlantic Forest in Brazil. In 1998 they succeeded in tunring this land into a nature reserve and created the Instituto Terra. The Instituto is dedicated to a mission of reforestation, conservation and environmental education.

via Biography of Sebastião Salgado – | UNESCO.org.

Read Also:

• Rogério Duarte exhibition in Australia
• Luiz Carlos Barreto lifetime achievements highlighted in the New York Times
• Roots: Oiticica, Hélio (1937 – 1980)
• Roots: J. Borges (1935)
• Roots: Monteiro, Vicente do Rêgo (1899 – 1970)

Tags:

Polise De Marchi lectures at Raffles Design Institute, Shanghai

Brazilian researcher Polise De Marchi (PhD) will present the lecture “Media, perceptions and the city”, a collection of visual manifestations through the use of unconventional media, at the Raffles Design Institute – Shanghai on August 19th at 10:30 am.

The architect, urbanist, semiotic consultant and associate professor in the Digital Interface Design Graduate Course at SENAC University in São Paulo is currently in China taking part in the The Mobile City: Designing Hybrid Cities Congress.”Media, perceptions and the city” is based on an activity developed by São Paulo students portraying the way they feel, observe and perceive the biggest city in South America. The process started with conceptual key words, moving to postcards, photographs and finally a video made out of mobile phones. The final outcome of material collected and conclusions will be displayed as an information-design project, a map designed out of data.

Raffles House Auditorium (Donghua University) | 1882 Xinhua Road, corner with Zhongsanxi Road. 1st floor. | August 19th 2010, 10:30 am

Read Also:

• 9th Brazilian Graphic Design Biennial goes to China
• 9th Brazilian Graphic Design Biennial in China
• Interaction South America ’09: São Paulo, Brazil
• Brazil featured on Advertising Age’s “The Best of Latin American Marketing in 2009″
• DINGBATS BRASIL goes to Beijing ICOGRADA 2009

Tags:

Pontifícia Universidade Católica do Paraná featured on the "World's Best Design Programs" list by BusinessWeek magazine

Companies in every industry have adopted design thinking to offer fresh insight in functions from strategy to finance. BusinessWeek selected 39 master’s and MBA programs from North America, Europe, Asia, South America and Australia that significantly integrate design thinking and business. Students in these programs take classes in art, management and science, for example, and create projects in multi-disciplinary teams with students from other schools. They aim to use design for strategy rather than merely for aesthetics and may find jobs as design managers, researchers or business consultants. BusinessWeek’s Bruce Nussbaum compiled a list of 30 programs have formally established hybrid curricula:

Pontifícia Universidade Católica do Paraná

Paraná, Brazil

Program: MBA* Emotional Design
Business Partnerships: Electrolux Brazil, Volvo Brazil, Whirlpool do Brazil
Why it’s on the list: This Portuguese-language MBA started in 2008 in partnership with Electrolux. The program is offered mainly to employees of partner companies and includes 365 hours of classes. It aims to teach executives about another, softer side of business. Course titles include “Cognition and Emotion in Design.”

via World’s Best Design Programs – BusinessWeek.

Read Also:

• Business Week’s Bruce Nussbaum talk about the “Best Design From Brazil”
• 4th Information Design International Conference, Rio de Janeiro
• Interaction South America ’09: São Paulo, Brazil
• Luiz Carlos Barreto lifetime achievements highlighted in the New York Times
• Brazil outsourcing industry featured in Design Council Magazine’s “The Latin American renaissance” article

Tags:

Announcing the 4th Information Design International Conference

The SBDI | Brazilian Society of Information Design, announces the 4th CIDI | International Conference for Information Design, and the 3rd InfoDesign Brazil | Brazilian Conference for Information Design. These biannual scientific events aim at gathering professionals, researchers and students to discuss information design issues.

Also taking place is the 4th Congic | Information Design Student Conference, a scientific event addressed to students and recent graduates who have developed research in this field.

The program also includes the 3rd Seminar on Design Methodology, that aims to promote a forum about methodology on Design and presents experiences developed by the ten post-graduate programs in design of Brazil.

via ICOGRADA | Miscellaneous news.

Read Also:

• Pontifícia Universidade Católica do Paraná featured on the “World’s Best Design Programs” list by BusinessWeek magazine
• Interaction South America ’09: São Paulo, Brazil
• Inspired Mag highlights the visualization work of Brazilian Designers
• 9th Brazilian Graphic Design Biennial goes to China
• Kiko Farkas poster exhibition in China

Tags:

Interaction | South America '09

The Interaction’09 | South America will happen on 26,27 and 28 November at 9 am to 18 pm, in São Paulo.

The event aims to present and discuss the main lines of research in the design of interaction, promote the network among professionals in the community, presenting and promoting the discipline in many circles of knowledge: design, computer science, architecture, indicating that interdisciplinary and plurality of views are the way we act.

The purpose of the event is to encourage and work with the education of interaction design in Latin America, so has the support of several institutions of higher education, promoting greater visibility for professionals engaged in the development of interactive solutions.

Speakers confirmed:

• Nimish Biloria – Assistant Professor, Faculty of Architecture, TU Delft, The Netherlands
• Simon Biggs – Research Professor at Edinburgh College of Art, UK
• Ken Perlin – Research Professor at New York University, United States
• Juliana Ferreira – Interaction Designer at Nokia Design, UK
• Giselle Beigelman – Professor of the Communication and Semiotics Graduate Program at  Pontifícia Universidade Católica de São Paulo (PUC-SP)
• Antonio Carlos Figueira de Mello (Superlimão)

via Interaction South America ’09.

Read Also:

• Brazil: The Cultural Contemporary at the Royal College of Art
• Brazilian magazine joins Designing South Africa
• Fashion, architecture and graphic design from Brazil in international forum in China
• New media & semiotics lecture in Shanghai
• Schools: Escola Superior de Design Industrial (ESDI)

Tags:

Escola Superior de Desenho Industrial (ESDI)

The Escola Superior de Desenho Industrial (ESDI) [Superior School of Industrial Design] was the first school of higher education in industrial design was created in 1963 and is the oldest design college in both Brazil and in South America. Karl Heinz Bergmiller, Alexandre Wollner, Aloísio Magalhães and Goebel Weyne were some of the names involved in the project. Besides these, some important names in world design took part in its conception, such as Max Bill (1908-1994), Tomás Maldonado (1922), Max Bense (1910-1990) and Walter Gropius (1883-1969), who founded and directed Bauhaus for almost 10 years.

The first director of ESDI was Mauricio Roberto, who, at the time, was the president of Instituto de Arquitetos do Brasil (Brazil’s Institute of Architects). In the administrative structure of the school, he was a member of the Advisory Council, along with teachers and student representatives.

The school of Ulm was the original model that ESDI followed to form its first teachers. In 1968, the first re-organization in the school’s curriculum occurred, aiming to adapt it to the economic and technological conditions of Brazilian industry, and also to reconsider foreign influence exerted on the school.

The intention of joining technical, scientific, artistic, and cultural knowledge in the perspective of theoretical and practical teaching, together with the fact that the school had been recognized by the State Education Council, made the curriculum adopted by ESDI become the official model to be implemented in other courses of Industrial Design in Brazil.

Since 1975, ESDI has been a part of the Universidade Estadual do Rio de Janeiro (UERJ- the State University of Rio de Janeiro) and it is located in Lapa, Rio de Janeiro.

via :: REDE DESIGN BRASIL ::.

Read Also:

• Roots: Wollner, Alexandre (1928)
• Roots: Duarte, Rogério (1939)
• Alexandre Wollner featured in the “Distinguished Lecture Series” of the School of Art, Design and Media at Nanyang Technological University, Singapore
• 9th Brazilian Graphic Design Biennial in China
• Brazilian lectures at the Taipei 2011 IDA Congress

Tags:

"Aloísio Magalhães", by Mônica Fuchshuber

Aloísio Magalhães took his first steps in the field of graphic design took place while he was still attending law school in Recife. In 1950, during his last year as a student, he made illustrations for a book of poetry, Palhano, written by a friend of his the university, José Laurenio de Melo. Having finished his course, Aloisio headed for Paris, where he intended to study painting and engraving with Stanley Hayter at the Atelier 17 studio, an important European center of engraving.

In 1954, influenced by the renowned Brazilian poet (and his cousin) João Cabral de Melo Neto – he set up, together with some friends, a modest print shop called O Gráfico Amador that, during the eight subsequent years that it was operating, published 27 books, 3 sets of fliers, 2 bulletins and a theater program.

In 1960 Magalhães founded a design office whose name was originally Aloísio Magalhães. In 1976, PVDI became its official name (this original office is still functioning, carrying out projects in the area of visual identity systems and product design).

It is only in 1970 that his office develops its first large design project in Brazil for Petrobras, the giant state-owned Brazilian oil company. The scope of the project ranged from the design of a symbol that would be stamped on oil packaging to the entire system of visual identity that would be displayed both at distribution points and on gas pumps at all of the gas stations run by the company.

In 1976, Brazil’s Central Bank commissioned him once again to render services to the institution (in fact his office had already carried out a few jobs for it in 1967 and 1972). This assignment comprised redesigning Brazil’s units of currency. Thus the project encompassed the task of defining a complex system of creation, including aspects such as selecting the most appropriate graphic motives to be used as well as key decisions regarding the technology to be adopted – amongst the types of technology available at that time. The project, as a whole, aimed to make Brazil self-sufficient in the production of its paper bills and coins.

In 1979, Magalhães takes on the post of administrating the Instituto do Patrimônio Histórico e Artístico Nacional – IPHAN (Brazil’s Institute of Historic and Artistic National Patrimony). His ideas regarding the management of this institution had a lot in common with the ones advocated by Mário de Andrade 50 years before. Hence, he proceeded to promote a revolution in the institute’s policies, when compared with the long-lasting, deeply ingrained policies that the IPHAN upheld at the time. His broad vision, which embodied the concept of what a cultural asset should be, and his philosophy that the custody of the shared patrimony should be transferred to the community that is primarily concerned with it, set new and unprecedented paradigms in the handling of the national memory. At that time, Magalhães — taking advantage of his talent as a designer – begins drafting a new layout for the institutional framework connected to the cultural issue in Brazil.

As the outcome of intense political maneuvers and persuasiveness, IPHAN finally becomes a Secretariat directly subordinated to MEC (Brazil’s Ministry of Education and Culture) in January 1980 and soon later the Fundação Nacional Pró-Memória (Pro-Memory National Foundation) is created. Consistent to his efforts to reorganize the infrastructure of state agencies with respect to their form of handling issues related to culture, he takes up the presidency of the Fundação Nacional de Arte (National Art Foundation) and is later invited to become Brazil’s Secretary of Culture.

He dies from a stroke in Padua, Italy, in 1982.

November 5 – Aloísio Magalhães’ date of birth – has become Brazil’s National Designers Day, a homage paid to the contributions he made in the profession.

via :: REDE DESIGN BRASIL ::.

Read Also:

• Movements: O Gráfico Amador
• Roots: Duarte, Rogério (1939)
• Roots: Wollner, Alexandre (1928)
• Schools: Escola Superior de Design Industrial (ESDI)
• Roots: Gilvan Samico (1928 – )

Tags: