Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

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National policies on design Javier Gimeno-Martínez / Chair / VU University Amsterdam / The Netherlands / Artesis University College of Antwerp / Belgium Cyntia Malaguti / Co-chair / University of São Paulo / Brazil Investigations on totally or partially state funded plans and institutions for the promotion of design, studied as signifying practices in both their economic and cultural dimensions.
The doctrines of Good Taste BÁRTOLO, Carlos / MA / IHA/FCSH Universidade Nova de Lisboa + Universidade Lusíada de Lisboa / Portugal Portugal / Propaganda / Nationalism / Education / Identity This paper try to analyse the Good Taste Campaign (Portugal, 1940’s) and understand how it was generated and produced: the intentions, sources and influences supporting it; how it derived from these usually irreconcilable concepts (modern and tradition); and, despite the authoritarian background, its decisive consequences on the present Portuguese identity and in the formation of the discipline, as probably the most successfully implemented Portuguese national Design policy. 1. An original regime It’s expected of an authoritarian regime, as Portugal was after May 28th 1926, the formulation of a set of values that should rule the country and maintain its strength and perpetuity. This essay, part of my PhD research on the dictatorship idealization of a Portuguese Home concept, try to survey how the formulation and promotion of these political, moral and social values interconnected with the Design emergence in 1930’s and 1940’s Portugal. The military coup d’état of 1926 was the outcome of an extended political crisis led by the failure on the implementation and stabilization of a liberal and democratic system experienced since the monarchy exactly one hundred years before. This coup was part of a European predisposition, between the wars, for political extremism from which derived the birth of authoritarian regimes all throughout the continent. In Portugal, after a brief and equally unstable beginning, the regime found its pace under the authority of António Salazar (1889-1970), a conservative catholic economy professor, invited in 1928 to straighten out the acute national debt as an all-powerful Finance Minister; he gradually secured a more prominent role in the government until he arose to the position of Prime Minister in 1932. With the ratification of the 1933 Constitution (establishing the power on a corporative regime entitled Estado Novo [New State]), Salazar held his position as a de facto dictator, balancing out the different factions of the Portuguese far right. For the equilibrium of these forces (from the poles of the ancien régime Monarchists to the pro-fascists National-Syndicalists) Salazar, himself a Conservative Catholic close to the Integralist-Lusitan movement, created a single-party regime. He brought together the reactionaries with the authoritarian moderns while also answering to the yearnings of different society sectors (the high-rank military, the old rural landowners, the arising industry monopolists and the crescent administrative middle-class) against a unique enemy: the socialliberal-democratic system (Rosas, 1989). Regarded in the broadest sense as fascist, Estado Novo differentiated itself from other contemporary systems as an original hybrid regime that, trying to modernize a still underdeveloped country, simultaneously kept it lost in a glorified, bucolic and pious past. Salazar, a somewhat non-charismatic and reluctant crowd pleaser, sought to incarnate a stoic persona that carried out the divine duty of fathering the country, giving up his personal freedom and happiness in the name of the Nation (Rivero, 2010). To maintain this unquestionable power Estado Novo promoted nationalistic ideals based on the celebration of its history, ethnical uniqueness and global mission as standard in authoritarian regimes regardless of their politic faction. This example of a dynamic revolution tried to recreate a modern national identity moulded on the traditional world of the bonhomous peasant, allegory of sanctioned values, and on the culmination of decades of nationalistic exaltation and of an artistic and ethnographic identity quest (in everything similar to other European movements developed since the end of 19th century). The most effective method for this identity implementation was the previous indoctrination of established truths that should irrefutably prevail and suppress opposing truths. 2. A cultural policy The SPN/SNI 1 creation in 1933 filled this need of indoctrination; a propaganda service had become an important tool for governments and a crucial one at an authoritarian regime. While refusing the idea of modernity, ironically it would be through these modern instruments that the regime would publicize its ideology. ‘Propaganda emerged as a fundamental strategy of the society acceptance of itself, and presented as revelation of its own «core»’ 2 (Melo, 2001: 54). Until 1949 SPN/SNI was run by António Ferro (1895-1956), a cosmopolitan writer associated with the Portuguese and European modernist and futurist milieu since his youth 3 . 1 SPN-Secretariado de Propaganda Nacional [National Propaganda Bureau]. In 1945, on the aftermath of World War II, and probably due to the negative connotation of the term propaganda, it would be renamed SNI-Secretariado Nacional de Informação, Cultura Popular e Turismo [National Bureau of Information, Popular Culture and Tourism]. 2 This quotation, as the others, is a free translation by the author. 3 In 1915, with just 19 years old he was editor of Orpheu, the avant-garde magazine that laid the foundations of the Portuguese modernist movement with Fernando Pessoa, Mário de Sá-Carneiro and Almada Negreiros, among others. António Ferro wrote novels, poems and plays (some of which created some public outrage) while working as journalists for various newspapers and magazines. As an international reporter he interviewed personalities like d’Annunzio, Maurras, Pétain, Rivera, Mussolini and even Hitler but also Cocteau, Mistinguett or Poiret. Politically he began as a Republican Party sympathizer, evolving to the Sidonists (authoritarian modern) and the Conservative Republicans, while gradually admiring the contemporary authoritarian regimes, especially Mussolini’s. In 1932 when interviewing Salazar they discussed the political role of the culture; months later his political career began when invited to SPN. Design Frontiers: Territiories, Concepts, Technologies / Proceedings of the 8th Conference of the International Committee for Design History & Design Studies - ICDHS 2012 / São Paulo, Brazil / © 2012 Blucher / ISBN 978-85-212-0692-7
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Priscila Lena Farias / Anna Calvera
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Design Frontiers: Territories, Conc
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The following chapter contains 28 p
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68 The Information Department at th
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179 Political Toys: Perón’s gift
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285 Design promotion in Belgium in
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396 Graphic innovations implemented
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502 The graphic translation by the
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612 About the editors / 613 About I
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Art, symbolism and power in Moche S
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JORDÁN, Régulo Franco Figure 5. H
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JORDÁN, Régulo Franco Figure 14.
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Pioneers of Brazilian Design CUNHA
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CUNHA LIMA, Guilherme Janeiro. In t
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Traditions, archaeologies and genea
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Traditions, archaeologies and genea
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History of design education Haruhik
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Academies of Art and schools of Des
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Academies of Art and schools of Des
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A fruitless misunderstanding: the h
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Japanese industrial design concepts
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AMAGAI, Yoshinori design new Japane
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Best Maugard, Elena Izcue and Theod
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BARBOSA, Ana Mae Figure 2. Surface
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BARBOSA, Ana Mae lic education. Mas
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Design history: from service subjec
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Design history: from service subjec
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Pevsner on Design education: meetin
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Pevsner on Design education: meetin
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Antipodean Design Science: applied
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WAITE, Noel nificant sea-change in
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Bauhaus pedagogy and digital design
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ANAY, Hakan / ÖZTEN, Ülkü concep
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ANAY, Hakan / ÖZTEN, Ülkü Ülkü
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The Information Department at the U
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The Information Department at the U
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Search for meaning: a study on the
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CAMARGO, Iara Pierro de / VELLOSO,
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CAMARGO, Iara Pierro de / VELLOSO,
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(not)Solving (non)problems: Design
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(not)Solving (non)problems: Design
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The role of typeface categorization
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A sparkle in people’s eyes PACHEC
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PACHECO, Heliana Soneghet / TOLEDO,
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Past, present and future of designe
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LIMA, Ana Gabriela Godinho / STEFAN
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John Ross’ pioneering role and co
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RYU, Hyun-guk The author(s) of this
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RYU, Hyun-guk The author(s) of this
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Teaching arts and crafts or the tec
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Teaching arts and crafts or the tec
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Design in Brazil: which revolution?
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NOBRE, Ana Luiza Nations Economic C
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The historical trajectory of the pi
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The historical trajectory of the pi
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Educational practice discourse on t
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OLIVEIRA, Izabel Maria de / COUTO,
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Identities and territories Oscar Sa
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The island of Italian Design? Some
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The island of Italian Design? Some
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Design without borders: the nomadic
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BARBOSA, Lara Leite be made with in
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BARBOSA, Lara Leite goods. A better
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Redesigning Turkish cult objects: f
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Redesigning turkish cult objects: f
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Incubation in isolation: how distan
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SMYTHE, Michael Figure 3. from left
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SMYTHE, Michael Figure 7. from left
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SMYTHE, Michael Figure 11. from lef
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Design Promises: the case study of
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BOONLAOR, Nanthana / CHUENRUDEEMOL,
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BOONLAOR, Nanthana / CHUENRUDEEMOL,
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Who’s who in brazilian design? No
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SOUZA LEITE, João de vironments. 4
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Territories of practice: convergenc
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TEASLEY, Sarah The author(s) of thi
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TEASLEY, Sarah The author(s) of thi
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Paradise identity, between projecti
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Paradise identity, between projecti
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Politics of fragility in Catalonia:
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MITRANI, Alex whether on a table to
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Designing ‘The House of Man’: F
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MEKINDA, Jonathan solini’s regime
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‘Swedish Modern’ meets internat
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HAGSTRÖMER, Denise specially commi
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Imported design ideas and its sprea
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CORTÉS, Dannae / CRUZ, Aura / GALL
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Political Toys: Perón’s gifts fo
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BENDESKY, Mora Figure 2. Mundo Pero
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The identity and design of the mode
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YOSHIMURA, Noriko cles were adopted
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Lira Popular, chilean broadsheets f
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MALACCHINI, Simoné pages had been
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MALACCHINI, Simoné Acknowledgment
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The signature of Portuguese posters
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The signature of Portuguese posters
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From the improvisation to the solut
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SILVA, Camila Assis Peres / LIMA, G
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Design of dissent: the multimodal d
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Figure 6/7/8/9. Glaser: 1997, Olive
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Design and the street GEIGER, Noni
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GEIGER, Noni Figure 2. Some spreads
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GEIGER, Noni Latour, B. 2008. “A
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Designing new tattoos technology. T
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Page 215 and 216: Outside looking in: foreign percept
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Page 219 and 220: Corporate identity in a global mark
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Page 223 and 224: Mapping and analysis possibilities
Page 225 and 226: PEREIRA, Fabiano Encourage recognit
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Page 229 and 230: Graphic narratives of the domestic
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Page 241 and 242: Public information: Design, visibil
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Page 245 and 246: MATOS, Sónia interactive phenomena
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Page 249 and 250: Modernity boundaries in the process
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Page 275 and 276: Transforming territories and forgin
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Contributions of design: a tool to
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Techniques and technologies Paul At
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A survey on low-income housing rese
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A survey on low-income housing rese
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Design of elastic form with paramet
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LARA, Arthur H. / MAGRI, Paulo H. G
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LARA, Arthur H. / MAGRI, Paulo H. G
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Digital personal fabrication: socia
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Living system design Studio: from d
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PAIO, Alexandra / OLIVEIRA, Maria J
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PAIO, Alexandra / OLIVEIRA, Maria J
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The evolving terrain of the book: A
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The evolving terrain of the book: A
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Joining Up: evaluating technologica
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Joining Up: evaluating technologica
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Making Space: the future places, to
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Making Space: the future places, to
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Designing through the loop: program
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SILVA-JETTER, Jorge The following e
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SILVA-JETTER, Jorge importance to n
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Sewn or Simulated: transformational
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Sewn or Simulated: transformational
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The use of ceramics within the sign
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FERRAZ, Nicoli / ALVAREZ, Cristina
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FERRAZ, Nicoli / ALVAREZ, Cristina
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History, Design and technology in t
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History, Design and technology in t
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Design for glass: a study of the hi
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Design for glass: a study of the hi
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How to supply designers effectively
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ZITKUS, Emilene / LANGDON, Patrick
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ZITKUS, Emilene / LANGDON, Patrick
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Online platforms for the co-Design
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Online platforms for the co-Design
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Relationships between Neuroscience
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Relationships between Neuroscience
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The voices of the users: how techno
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ESSI, Kuure / LINDSTRÖM, Antti tec
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ESSI, Kuure / LINDSTRÖM, Antti Enc
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Graphic innovations implemented in
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Graphic innovations implemented in
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Firebird: Alex Steinweiss’ 78rpm
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Firebird: Alex Steinweiss’ 78rpm
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The presence of the autotype techni
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Dutch maps of Pernambuco from the s
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Dutch maps of Pernambuco from the s
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Co-ordinated design policy and the
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PRESTON, David Henrion and Parkin
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From ‘Do it yourself’ to ‘Ope
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MALDINI, Irene the stages of creati
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Contributions of improvisation tech
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MASSARA, Bruno Based on a deleuzian
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Human development design centered:
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FLORES MAGóN Y JIMÉNEZ, Héctor /
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FLORES MAGóN Y JIMÉNEZ, Héctor /
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Identity across boundaries. A study
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Identity across boundaries. A study
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Digital clothing manufacture: digit
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Digital clothing manufacture: digit
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How to go from the file to the fact
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BARBOSA, Wilson / CELANI, Gabriela
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Space, information and cosmology in
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BOECHAT, Marina Pantoja tween ‘ph
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The new imperialism: the internatio
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Frontiers of looking past: a Nietzs
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Frontiers of looking past: a Nietzs
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Design, histories, empires and peri
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Design, histories, empires and peri
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Mythification of national discourse
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Mythification of National Discourse
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Mythification of National Discourse
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Towards a digital batavia: resonanc
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Towards a Digital Batavia: Resonanc
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Questionable translatability: theco
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Questionable translatability: theco
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Eastern craft in Orientalism and Mo
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Eastern craft in Orientalism and Mo
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Mapping Cup & Saucer Design in the
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Mapping Cup & Saucer Design in the
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Mappin tells the history of graphic
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“Go you too to Amazonia”: analy
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“Go you too to Amazonia”: analy
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Organic Design, MoMA 1940: the brea
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Organic Design, MoMA 1940: the brea
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Modern design meets Latin America:
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Modern design meets Latin America:
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Lina Bo Bardi and Aloisio Magalhãe
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Lina Bo Bardi and Aloisio Magalhãe
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The graphic translation by the desi
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The Graphic Translation by the Desi
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The design of Manoel Bandeira: a hi
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The design of Manoel Bandeira: a hi
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Open strand Victor Margolin / Chair
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Brazilian Graphic Design in the ‘
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Brazilian Graphic Design in the ‘
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The Design of book bovers in Brazil
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The Design of book bovers in Brazil
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The design of Fred Jordan With his
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The design of Fred Jordan Figure 2.
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Domestic technologies and moderniza
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Domestic technologies and moderniza
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la escuela de Artes y Oficios de sa
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CAsTillO, eduardo The author(s) of
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Itineraries for a Design Culture in
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FARKAS, Mónica / STERLA, Mauricio
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Sertanejo Art Deco: an inspiration
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SOUZA, José Marconi B. de / ROSSI,
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SOUZA, José Marconi B. de / ROSSI,
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Souza, José Marconi B. de / Rossi,
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Architectural lettering: from infor
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Architectural lettering: from infor
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A dialogue between art and city thr
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HANNS, Daniela Kutschat / DE MARCHI
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Vernacular design: a discussion on
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Vernacular design: A discussion on
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Italian Radicals and Dutch conceptu
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Italian Radicals and Dutch Conceptu
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Italian Radicals and Dutch Conceptu
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Art criticism and the semantic cons
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Art criticism and the semantic cons
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Interieur Kortrijk, an edu-commerci
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Interieur Kortrijk, an edu-commerci
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The story of convertible Sofa-Bed:
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MERZALI CELIKOGLU, Ozge / ER, Alpay
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MERZALI CELIKOGLU, Ozge / ER, Alpay
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Vapourware and the agency of ideas
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Vapourware and the Agency of Ideas
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Pre-Columbian Asceticism: the Tuza-
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Pre-Columbian Asceticism. The Tuza-
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The collection of textbooks “Tape
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RAMIL, Chris standards for the layo
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“Their pen draws everything, as i
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Diniz, Kollontai The author(s) of t
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Diniz, Kollontai The author(s) of t
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Cruzeiro Novo Project: Design and t
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Cruzeiro Novo Project: Design and t
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Design for a sustainable culture Fi
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Design for a sustainable culture th
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Design for a sustainable culture al
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Design and biodiversity: the produc
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Design and biodiversity: the produc
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Lightness and beauty in furniture d
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Lightness and beauty in furniture d
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About ICDHS / The International Com
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Emmanuel Ruffo / Institute for Arch
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Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

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