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Italian Design

Italian Design

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講座地點 : 松菸口 - 台灣設計館07展間

主辦單位 : 經濟部工業局
執行 : 台灣創意設計中心
協辦單位 : AIAP | associazione italiana design della comunicazione visiva / Associazione Archivio Storico Olivetti / Musée des Arts décoratifs et du Design Bordeaux / Corraini Edizioni / Domus / Tipoteca Italiana Fondazione / Memphis / Fabrica / Colors / Benetton / Tolietpaper / Studio Mut / Think Work Observe / Knoll International / Standards Manual / Rorhof / Italia oggi

感謝 : IETCPO - Italy in Taipei

策展人:田田圈文創龔維德 / 當代金工藝術家陳郁君
視覺設計 : 張軒豪

義大利,一個同時擁有古老輝煌歷史和文化,也充滿現代創造力的國家,在藝術設計領域中,傳統與現代之間不見鴻溝,經典與創意相融,更以時尚展和設計週引領世界的趨勢。

要將百家齊鳴的義大利設計囊括於展中,我們試圖以新–舊 / 經典–現代的概念來貫穿,將展間分為左右二側,一側為1920-1970年代的經典作品,另一側為1980-2019現代創意作品。分別以Style風格、Book書本 、Type字體、 Branding品牌、Identity視覺識別及Magazine雜誌六個不同的面向,每個主題下再各以經典–現代來做對比式溝通。展場的後方邀請了AIAP義大利視覺設計協會,展出目前會員的海報作品,會員都是海報和平面設計領域中的佼佼者,藉此窺看義大利平面設計的現狀。空間中同時也展出義大利近代經典傢俱與產品設計作品,從平面到立體,從閱讀到生活,冀望能讓觀展者細細品味義大利設計中的百變風格。

1909年義大利詩人F.T.Marinetti (馬里內蒂1876-1944)於法國Le Figaro(費加洛報)發表Manifesto del Futurismo『未來主義宣言』,未來主義認為,20世紀初工業、科學和交通突飛猛進,使人們的生活產生改變。他們歌頌機械和科技所帶來的速度和動能,認為這是一種全新疾速科技的美學。畫家Fortunato Depero (佛圖納托‧德裴洛 1892-1960) 和Giacomo Balla(賈科莫·巴拉 1871-1958)在1915年共同發表 Ricostruzione Futurista dell’Universo『未來主義宇宙復興宣言』,將未來主義的精神和理論帶進了人們的日常生活,超越繪畫的限制,進入服裝、戲劇和視覺設計領域。

1920年代為義大利設計啟蒙年代,Triennale di Milano (米蘭三年展)從1923年開辦,以推廣及傳播設計概念具有影響地位,如今已成為義大利最重要的當代設計博物館。義大利建築師Gio Ponti (吉奧·龐蒂1891-1979) 除了參與建築、傢俱及燈飾設計之外,於1928年創刊義大利最早建築和設計雜誌Domus,成為介紹義大利優秀設計師及作品的重要窗口,更因此促成義大利設計在世界開展。

第二次世界大戰帶給義大利毀滅性的破壞,樂觀主義的義大利人開展重建計劃,以標準化大量生產,實用和美觀為最大訴求,建構在文化、社會和設計之間的一種撞擊。1946年Vespas (偉士牌)摩托車、1955年FIAT (飛雅特)敞篷車及1950年Olivetti (奧利維提)打字機Lettera 22都是經典,Olivetti雇用Giovanni Pintori (吉奧瓦尼·平托里1912-1999 )於1947年設計Olivetti公司的logo,幫助設計產品及形象海報推廣到世界不同市場,Olivetti的企業形象設計樹立了企業識別系統最佳典範。

1960年代隨著汽車和冰箱的大量生產,塑料生產的家用品提升義大利生活水平,此現象主要是模仿美國的消費特點,促使義大利設計師前往美國希望可得到更大的發展。Unimark International (尤尼瑪克國際設計公司)於1965年由義大利Massimo Vignelli (馬西莫、維格納利1931-2014) 及荷蘭Bob Noorda (鮑勃、努爾達1927-2010)及其他四位成員在芝加哥成立,此公司發展很快,在世界各地設有48個分公司,為當時規模最大的跨國設計公司,處理企業識別系統設計案如福特汽車、日本松下電器及沿用至今的紐約地鐵指標設計系統,也帶動1960-1980年代全球企業識別系統的新格局。

Ettore Sottsass(埃托·索特薩斯1917-2007) 1981年在義大利米蘭集結設計師成立Memphis(孟菲斯)前衞設計組織 ,為了打破當時功能主義和國際主義單調乏味的風格,並捨去形隨機能的概念,以獨特造型、艷麗色彩和奇異的圖案席捲全球,再加以商業化及商品化,創造新風格及新文化,成為國際公認的後現代主義設計的代表,此風潮至今仍持續發燒,如英國平面設計師Peter Judson 以一種清新的平面表現型式呈現。

電視普及后,逐步奪去雜誌在藝文界的地位,但1992年設計開始使用電腦,軟體技術的水平越來越提昇,大量的圖像及編排都交由電腦完成,進入21世紀消費時代的來臨,電腦、網路及數位技術,讓設計師更能發揮。Fabrica為Benetton (斑尼頓時尚集團)的傳媒硏究及發展中心,於1994成立為一個工作坊、學校及展覽中心。Fabrica以融合多元文化、傳遞自由思想、用實驗的精神將概念用藝術及設計方式呈現,創造出新式視覺美學。

21世紀初全球化的趨勢,使設計產生更開放、更概念及更快速的改變,義大利設計師Leonardo Sonnoli(萊昂納多·索羅里 1962-)、Think Work Observe - Piero Di Biase (皮耶羅·迪·比斯)、Alberto Moreu (阿爾伯·托莫瑞)、Studio Mut - Thomas Kronbichler (托馬斯·克朗比希勒)、Martin Kerschbaumer (馬丁·克爾施鮑默) 等新進設計師也必須不斷地重新調整定位,在穩固其領導地位同時,繼續能夠提出原創的理念,向世界宣告–義大利設計。

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延伸活動
對談 - 義大利視覺文化從雜誌談起

10/26 2019 14:30-16:00 

江家華 | 雜誌現場
許育華 | 自由撰稿人

講座 1 - 義大利設計在哪? 從米蘭到荷蘭到西西里島
2019 11/23 14:30-16:00 
徐景亭 | 東海醫院設計工作室

講座 2 - 築夢米蘭,義大利留學設計的大小事
2019 12/28 14:30-16:30 
陳宣合 | 設計總監 / Je t'aime Beauty Glamour

講座 3 - 設計師的烏托邦? 在義大利做設計的一年
2020 1/4 14:30-16:00 
黃若潔 | 獨立設計工作者

工作坊 - 手寫義大利體
2020 1/18 14:30-17:30 
張軒豪 | 字體設計師

*講座須預先報名*


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Italian Design

Date and Times:2019/10/08 – 2020/02/09 Tue - Sun 09:30-17:30
Exhibition : Song Yan Court - Taiwan Design Museum Hall 05

Lectures : Song Yan Court - Taiwan Design Museum Hall 07
Organizers | Industrial Development Bureau, MOEA 
Executive | Taiwan Design Center
Collaborators:AIAP | associazione italiana design della comunicazione visiva / Associazione Archivio Storico Olivetti / Musée des Arts décoratifs et du Design Bordeaux / Corraini Edizioni / Domus / Tipoteca Italiana Fondazione / Memphis / Fabrica / Colors / Benetton / Tolietpaper / Studio Mut / Think Work Observe / Knoll International / Standards Manual / Rorhof / Italia oggi

Special thanks : IETCPO - Italy in Taipei
Curator : Sasson Kung / Contemporary jewelry artist Yu Chun Chen

Visual Design : Joe Cheng

Italy, a country with rich cultural heritage and modern artistic vitality, shines for its glory and pride, history and legacy. The old tradition and modern creativity are well integrated into the realm of artistic design. With Italy’s Fashion and Design weeks setting the trends of the world, their incorporations of classic and contemporary ideation are universally recognized.

It’s ambitious to try to host the great variety of Italian design in the exhibition. We try to interrelate the subject with the concept old-new / classic-contemporary, and divided the exhibition into two sides: one side is the classic works from the 1920s to the 1970s, and the other side is the 1980-2019 modern works. There are six different themes contrasted and communicated like a conversation between classical and contemporary: Style, Book, Type, Branding, Identity, and Magazine. At the rear of the exhibition, AIAP / Italian association of visual communication design is invited to present the selection of posters from the current members. With more than 700 members from the whole Italy, this presentation allows us to peek into the current situation of Italian graphic design. At the same time, space also exhibits the modern classic furniture and product design works of Italy. From graphical to three-dimensional, from reading to living, we hope this exhibition allows visitors to savor the amazing vitality of Italian design.

In 1909, the Italian poet, F.T.Marinetti, (1876-1944) published “The Manifesto of Futurism.” Futurism believed the unprecedented growth in technology and transportation would change everyone’s daily life. It praised the speed and the momentum brought by machinery and technology, considering it as a whole new kind of aesthetic. In 1915, the painter Fortunato Depero (1892-1960) and Giacomo Balla (1871-1958) jointly published the “Rocostruzione Futurista dell’Universo,” bringing the spirit of the doctrine into people’s daily lives, transcending the limitations of painting, and broadening into the fields of clothing, theater, visual design, etc.

The 1920s was the enlightenment era of Italian design. The Triennale di Milano was launched in 1923 to promote design and has become the most important contemporary design museum in Italy. In 1928, Italian architect Gio Ponti (1891-1979), in addition to his practice in architecture, furniture, and lighting design, had founded the first architecture and design magazine in Italy “Domus.” The magazine introduced the outstanding design and works of Italy and had become the important media of promoting Italian design in the world and thus contributed to its development.

Followed by the massive destruction of World War II, the Italians, with their optimistic nature, started reconstruction planning. Mass productions based on standardization, practicality, and aesthetics were the main appeal. The impact in the context of culture, society, and design could be seen in Vespa’s scooters in 1946, FIAT’s convertibles in 1955, and in 1949, Olivetti’s typewriter, the Lettera 22. Olivetti’s utmost attention to design and visual communication was very much the firm’s guiding philosophy and has brought their fame to the global market. For example, graphic designer Giovanni Pintori (1912-1999) had been the art director over a long period of time. Olivetti’s corporate identity design had set the best model for Corporate Identity System (CIS).

In the 1960s, the standard of living in Italy had increased with the mass production of automobiles and refrigerators, followed by the household goods produced in plastics. The United States was the main influence in this characteristic of consumption, prompting Italian designers to travel to the States hoping for greater development. Unimark International was founded in 1965 by Italian designer Massimo Vignelli (1931-2014) and Dutch designer Bob Noorda (1927-2010) and four others in Chicago, USA. The company has become the largest multinational design company at the time with 48 branches around the world, dealing with corporate identity system design such as Ford Motor, and Japan’s Matsushita Electric, and the New York subway index system. Unimark broke new ground and promoted the Corporate Identity System design between 1960-1980.

The famous Italian architect and designer Ettore Sottsass (1917-2007) assembled designers in Milan, Italy in 1981 and established The Memphis Group. In order to break the monotonous style of Functionalism and Internationalism and to abandon the theory of Form follows Function, The Memphis Group, with the use of uniquely sleek, colorful, and bizarre patterns, followed by the fresh trend of commercialization and commodification, took the world by storm and became the representative of postmodernist design. This trend continues to develop till today, as British designer Peter Judson presents Memphis style to create his refreshing graphic expression.

In 1992, due to the advancement of software, design procedure started to employ computer assisted design to process large amounts of images and layouts. With the age of consumption in the 21st century, computers, internet, and digital technology give designers more room for creativity. Fabrica is the communication research center of the Benetton Group, established in 1994 consisting of workshops, school, and exhibition center. Fabrica is dedicated to merging different cultures, spreading liberated ideology, and presenting concepts with artistic methods and experimental spirits, thus, creating new forms of visual aesthetics.

The globalization in the 21st century has led to a more open, more conceptual, and faster change in design. Newcoming Italian designers such as Leonardo Sonnoli, Think Work Observe - Piero Di Biase and Alberto Moreu, Studio Mut - Thomas Kronbichler, Martin Kerschbaumer, must constantly reorient their positions and, while stabilizing Italy’s leading role in design, continue to come up with original ideas and announce to the world – the Italian design.

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Dialogue - Visual culture from Italian magazine 10/26 2019 14:30-16:00  Chia Hua Chiang | Founder of Magazine report Kerstin Hsu | Writer

Lecture 1 - Italian design 11/23 2019 14:30-16:00  Gina Hsu | DHH Studio

Lecture 2 - Studying in Domus 12/28 2019 14:30-16:30  Agustín Chen | Design Director / Je t'aime Beauty Glamour

Lecture 3 - Designer's Utopia?A year in Fabrica 1/4 2020 14:30-16:00  Jo Chieh Huang | Designer

Workshop - Italian calligraphy workshop 1/18 2020 14:30-18:00  Joe Chang | Type designer



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Not Just Library - 松菸口SongYanCourt
松山文創園區 www.songshanculturalpark.taipei