Back to the future. The future in the past: ICDHS 10th+1 Barcelona 2018: Conference proceedings book

Obra dedicada a la memòria d'Anna Calvera (1954–2018).Conté: 0. Opening pages -- 1.1 Territories in the scene of globalised design: localisms and cosmopolitanisms -- 1.2 Designing the histories of southern designs -- 1.3 Mediterranean-ness: an inquiry into design and design history -- 1.4 From ideology to methodology: design histories and current developments in post-socialist countries -- 1.5 [100th anniversary of the Bauhaus Foundation]: tracing the map of the diaspora of its students -- 1.6 Design history: gatekeeper of the past and passport to a meaningful future? -- 1.7 Constructivism and deconstructivism: global development and criticism -- 1.8 An expanded global framework for design history -- 1.9 Design museums network: strengthening design by making it part of cultural legacy -- 1.10 Types and histories: past and present issues of type and book design -- 2.1 Design aesthetics: beyond the pragmatic experience and phenomenology -- 2.2 Public policies on design and design-driven innovation -- 2.3 Digital humanities: how does design in today's digital realm respond to what we need? -- 2.4 Design studies: design methods and methodology, the cognitive approach -- 2.5 Vehicles of design criticism -- 3 Open session: research and works in progress (1) -- 3 Open session: research and works in progress (2) -- Addenda: 10th+I keywords mapInternational Committee of Design History and Design Studies. Conference (11a : 2018 : Barcelona, Catalunya),ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory

Back to the Future. The Future in the Past. Conference Proceedings Book

ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory

Designing the early history of typography in Brazil

Many histories of typography in Brazil have been told from the point of view of book and newspaper publishing. A history of typography in Brazil as part of design history, however, is still to be written, or, better yet, designed. In order to help address this gap in knowledge, a digital platform able to gather data and provide information on the early history of letterpress printing in the city of São Paulo has been devised and implemented by a research team coordinated by the authors of this paper. In addition to textual and numerical information on over 200 trade printers, type foundries, type distributors, and their staff, the platform provides interactive maps showing the location of these companies, and a timeline of their activity from 1827 to 1927. It also offers a reconstruction of the printers’ repertoires—samples of the typefaces they used, built from thousands of images collected from printed pages. The result is a rich set of data accessible by anyone interested in learning more about the early history of typography in São Paulo, gathered in a system that allows for systematic updates, and which can be expanded to incorporate data from other periods, sources and location

Strayed homes: a reading of everyday space

This thesis puts forward the category of ‘strayed home.’ Might it be possible to locate public spaces which are temporarily transformed by the homely things that take place in them? Places which permit or invite intimate ways of behaving? Through an interrogation of a series of spaces in which people do things in public that might be thought of as private the thesis asks questions about habitual experience of space, about attachments to practices and places. Each chapter presents a close reading of a strayed home that takes into account its cultural representations (in film, literature and advertisements) alongside a reading of the space as the author finds it today. The collision of these imaginary and immediate spaces is explored as inseparable from the way space is experienced. As such the thesis follows the logic and the poetry of everyday speech and imagery and the way realities of expression shape reality. Taking the Jewish tradition of eruv as its starting point the thesis moves from the launderette, to the sleeper-train, the fire escape, the greasy spoon and then to the postcard. Each space (or object) is explored separately but themes that emerge highlight the simultaneous pleasure and trauma involved in the experience of a strayed home. These spaces are at once too small and pleasurably confined, sites of exposure but also encounter, of contagion but also mixing, of solitude and of society. These are spaces which trouble our natural sensitivity to time and space but which permit a certain and rare figuring of the one through the other. The handling of time in these spaces or the way in which they disrupt the handling of time is suggestive for conceptions of home, domesticity and privacy. This investigation suggests that wasted time, as well as the other bodily wastes of dirt, sound and smell, might be integral to what it is that makes a space (temporarily) a home

Strayed homes: a reading of everyday space

This thesis puts forward the category of ‘strayed home.’ Might it be possible to locate public spaces which are temporarily transformed by the homely things that take place in them? Places which permit or invite intimate ways of behaving? Through an interrogation of a series of spaces in which people do things in public that might be thought of as private the thesis asks questions about habitual experience of space, about attachments to practices and places. Each chapter presents a close reading of a strayed home that takes into account its cultural representations (in film, literature and advertisements) alongside a reading of the space as the author finds it today. The collision of these imaginary and immediate spaces is explored as inseparable from the way space is experienced. As such the thesis follows the logic and the poetry of everyday speech and imagery and the way realities of expression shape reality. Taking the Jewish tradition of eruv as its starting point the thesis moves from the launderette, to the sleeper-train, the fire escape, the greasy spoon and then to the postcard. Each space (or object) is explored separately but themes that emerge highlight the simultaneous pleasure and trauma involved in the experience of a strayed home. These spaces are at once too small and pleasurably confined, sites of exposure but also encounter, of contagion but also mixing, of solitude and of society. These are spaces which trouble our natural sensitivity to time and space but which permit a certain and rare figuring of the one through the other. The handling of time in these spaces or the way in which they disrupt the handling of time is suggestive for conceptions of home, domesticity and privacy. This investigation suggests that wasted time, as well as the other bodily wastes of dirt, sound and smell, might be integral to what it is that makes a space (temporarily) a home