Trabalho Grafico no Bairro do Bexiga

Bruno R. Padovano, Suzana M. Sacchi Padovano and Alessandro Sacchi Padovano of Padovano Arquitetura em Rede Ltda received the Gold Medal at IDSA’s IDEA 2010 Awards in the Environments Category:

The urban painting project for the façades of houses and stores in the traditional São Paulo Italian district of Bixiga was developed to meet the requirements of the “Color São Paulo Program”, which is dedicated to preserving the city’s architectural heritage in districts of cultural, historic and commercial interest. The design proposal incorporated the traditional colors of Bixiga – green, white and red from the Italian flag – that were used on house and store facades covering a two block area. The greatest challenge posed by the design was to intervene in an urban context with a strong cultural heritage while taking into account the diversity of interests and preferences among local traders and residents.

via Urban Graphic Design for Bixiga Neighborhood (Trabalho Gráfica Urbana para o Bairro do Bixiga) | Industrial Designers Society of America – IDSA.

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Rogério Duarte's poster for Glauber Rocha's movie "Deus e o Diabo na Terra do Sol", 1964

Rogério Duarte started his career as a graphic designer in the 1960s. He had begun his formation in this area by taking the experimental course offered by Museu de Arte Moderna do Rio de Janeiro MAM-RJ (‘Rio de Janeiro’s Modern Arte Museum’).

He worked with Aloísio Magalhães between 1961 and 1962. He was the art director of the Maurício Vilela Laboratory (1963), coordinator of the Visual Arts Department of União Nacional dos Estudades – UNE (‘National Students Union’) and director of the Editora Vozes (‘Vozes Publishing House’) from 1966 to 1968, director of DIA Desenho Industrial Audiovisuais –(‘Audiovisual Industrial Design’) (1972-1975), art director of Designio (1976 – 1978), and art director of Salvador’s City Hall (1985 – 1989).

Rogério is a multi-disciplinary artist. He is a poet, a musician and a graphic artist. He is famous for his collaborations with the musicians of the Tropicália movement, especially Caetano Veloso and Gilberto Gil, his book covers and movie posters. In the latter field, he designed the poster of the movie “Deus e o Diabo na Terra do Sol” (1965) of Glauber Rocha, one of his most famous works.

Holding convictions that went fervently against the dogmatism of the School of Ulm, Rogério Duarte skillfully joined constructive principles acquired during his studies of design with elements of Brazilian popular culture, making a real visual anthropophagy during the period of military dictatorship in Brazil.

Rogério Duarte also holds two titles of Notório Saber em Artes Gráficas e Desenho Industrial (‘Notorious Knowledge in Graphic Arts and Industrial Design’) awarded by the Universidade de Brasília – UNB [ National University of Brasília] and by the Federal Education Council of MEC.

Currently, Duarte teaches in the School of Communications at UFBA (the Federal University in the state of Bahia).

via :: REDE DESIGN BRASIL ::.

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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 ::.

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Alexandre Wollner

Alexandre Wollner (São Paulo, 1928- ). Graphic designer. Began his studies with the visual design course at the Institute of Contemporary Design (IAC), created at the São Paulo Assis Chateaubriand Museum of Art (Masp), in 1950, where he studied with Lina Bo Bardi (1914-1992), Poty (1924-1998) and Sambonet (1924-1995). Collaborated with Pietro Maria Bardi (1900-1999) in staging the retrospective exhibition of Max Bill (1908-1994), at the Masp, in 1951.

Interested in the Concretist movement, in 1953, he joined the Grupo Ruptura [Rupture Group], presenting his constructivist works at the 2nd São Paulo International Biennial. Also in 1953, he was chosen by Max Bill to study at the Hochschule für Gestaltung [Superior School of Form] in Ulm, Germany, where he remained from 1954 to 1958. Upon returning to Brazil, together with Geraldo de Barros (1923-1998) and others he inaugurated Form-Inform, the first design consultancy in the country.

In 1963, he took part in the structuring and creation of the Escola Superior de Desenho Industrial (ESDI) [Superior School of Industrial Design], in Rio de Janeiro, the first higher level design institution in the country. During the 1960s, he opened his own visual programming office, where he developed logotypes for major companies. He exhibited his projects at the Masp and at the Museum of Modern Art of Rio de Janeiro (MAM/RJ) in 1980, opting for a show that emphasized the process of creation, execution and implementation of visual identity systems. In 1999, the Centre of Communication and Arts of Senac, in São Paulo, held his second individual exhibition.

In 2003, Wollner celebrated 50 years of design with his book Design Visual 50 Anos, and a photography exhibition at the Maria Antônia University Centre, in São Paulo.

via Wollner, Alexandre (1928).

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"Dream" by Eduardo Recife

With Brazilian designers and companies like F. Akasaka and Melissa helping to put Brazil on the map for design (not just street art), there’s a lot of talent that’s on the brink of making it big, which is the subject of the exhibit “Brazilian Design Today: Frontiers.”

Interest in Brazil’s arts outside of the traditional cultural symbols is relatively recent, so to celebrate and showcase the variety and contributions of Brazilian design in the 21st century, the show focuses mostly on industrial design but also takes a look at digital mediums.

There are gems aplenty among those 90 picked for the show, from Eduardo Recife‘s handmade cut-and-paste fonts (like “Dream“) and Fernando Prado‘s “Bossa” adjustable lamp.

Also worth checking the pieces of Alexandre Wollner, Claudio Rocha, Tony de Marco, Rogério Duarte, and Tipos do Acaso.

via Brazilian Design Today: Frontiers.

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• DINGBATS BRASIL

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In 2008, the Industrial Designers Society of America ran a new contest in Brazil and some of the winners were included in this year’s Top International Design Excellence Awards. Amazing design and innovation is taking place in Brazil and this slideshow of winners (Brazil placed third behind the US and Korea in the number of IDEA awards in 2008) shows the wide range of activity. We tend to focus on design coming out of China, Korea, India or Japan these days, as well of Europe of course, but Brazil is booming and so is its design. Brazilians are designing sophisticated medical equipment, autos, clothes and jets. São Paulo is home is some great design consultancies that US, European and Asia companies should be tapping (many already are).

via BusinessWeek

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