Gute form, boa forma

Gute form, boa forma

by João Paulo Siqueira Lopes, Livia Debbane, Fernando Ticoulat

Part of Arte y foto

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About
A book on the institutionalization of design in Brazil and its relationship with the origins of the concrete art movement and the Ulm School of Design in Germany. At the same time that presents the concept of "gute form" (good design) and its presence in Brazil, it concludes how this influence was, in a way, inconclusive . The publication traces the trajectory of the professionals, the works and the visual thinking of the HfG Ulm and the Brazilian institutes founded for the development of design in Brazil, such as the Institute of Contemporary Arts (ICA), linked to the Museu de Arte de São Paulo Assis Chateaubriand (Masp), and the Escola Superior de Desenho Industrial (ESDI), in Río de Janeiro. The book draws clear lines between the production of names such as the Swiss Max Bill, German designers Otl Aicher and Karl Heinz Bergmiller and Brazilian artists Lygia Pape, Almir Mavignier and Geraldo de Barros.concretism.

Discussion questions for Gute form, boa forma

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  1. 1

    How does the European concept of "gute form" (good design) shift in meaning and application when it is transplanted into the mid-century Brazilian cultural landscape?

  2. 2

    In what ways did the cross-pollination between figures like Max Bill in Switzerland and Brazilian artists like Lygia Pape and Geraldo de Barros challenge or expand the boundaries between "fine art" and "functional design"?

  3. 3

    The authors describe the institutionalization of design in Brazil as ultimately "inconclusive." Do you see this lack of a neat conclusion as a failure, or as a liberating opening for a uniquely Brazilian design identity?

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