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Preguntas: 1. ¿Cómo y hacia dónde el diseño está guiando el desarrollo de nuestra sociedad? 2. ¿Cuál es el valor que la sociedad le da al diseño actualmente? 3. 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Miradas sobre los diseños. >> DOSSIER DE LECTURAS. DEFINIENDO EL DISEÑO. Fragmentos que definen el diseño y su práctica. Diferentes acercamientos sobre lo disciplinar. "Vamos a intentar aquí un discurso multidimensional no totalitario, teórico pero no doctrinario ( la doctrina es teoría cerrada, autosuficiente, por lo tanto insuficiente), abierto a la incertidumbre y a la trascendencia; no ideal/idealista, sabiendo que la cosa no será nunca totalmente encerrada en el concepto, el mundo jamás aprisionado en el discurso." Edgar Morin, Introducción al pensamiento complejo > AICHER, Otl (Ulm 1922, Rotis 1991) Es una de las figuras más sobresalientes del diseño moderno de los años cincuenta. Comenzó por estudiar escultura en la Academia de Arte en Múnich 1946/47. Fue co-fundador junto a su esposa y Max Bill (Suiza) de la legendaria Hochschule für Gestaltung de Ulm (HFG) en 1953, donde se convirtió en el primer profesor de comunicaciones visuales.Ha creado en la esfera del diseño corporativo imágenes tan reconocidas para las marcas Braun, Lufthansa Lineas Aereas y ERCO. Aicher también ha desarrollado la imagen corporativa de medios de comunicación, los bancos y empresas de reaseguradores. En 1967 estuvo a cargo del diseño visual de los Juegos Olímpicos de Múnich 1972. In 1972. En 1984 fundó el Rotis Institut für analoge Studien y, en 1988, el programa tipográfico conocido como "familia" Rotis. OTL Aicher murió de heridas sufridas en un accidente de tráfico el 1 de septiembre de 1991.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Miradas sobre el Diseño","attachmentId":36428858,"attachmentType":"pdf","work_url":"https://www.academia.edu/10362187/Miradas_sobre_el_Dise%C3%B1o","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/10362187/Miradas_sobre_el_Dise%C3%B1o"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="11341926" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/11341926/Qu%C3%A9_dise%C3%B1a_el_dise%C3%B1o_hoy_perpectiva_desde_la_fenomenolog%C3%ADa">Qué diseña el diseño hoy?, perpectiva desde la fenomenología</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="27518609" href="https://unal.academia.edu/JuanCamiloMoncada">Juan Camilo Moncada</a></div><p class="ds-related-work--abstract ds2-5-body-sm">¿Qué diseña el diseño hoy? 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O ¿será que el diseño se encuentra pensado en el impacto para el mundo actual y futuro? ¿Qué sucede con el diseño hoy para que sea posible la idea de lo futurible si el tiempo pretérito del diseñador se encuentra en una crisis de pensamiento crítico, relativamente dividido, inconexo a las posibilidades del mundo y viral al cuerpo instrumental consumista y destructivo de contextos naturales? Si bien todo lo anterior es pensable y por lo tanto cuestionable, estas preguntas surgen a partir de una central, ¿qué diseña el diseño hoy?, pues bien, para esto es necesario realizar el epojé, es decir, el reduccionismo de la realidad a una cuestión mucho más específica, pero sin significar que se encuentre aislada de las implicaciones de sus actos a otras realidades. Ponderando la naturaleza de la pregunta, el qué hace referencia a la cantidad o la intensidad de alguna cosa, cuando funciona como pregunta por la misma naturaleza de las cosas, en este caso la intensidad natural de algo, es importante saber si ese algo está en disposición o si es posible abordarlo en su naturaleza valorativa pero sin denotar o connotar prejuicios de alguna clase. En este caso particular hay que hacer diferencias claras</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Qué diseña el diseño hoy?, perpectiva desde la fenomenología","attachmentId":36913727,"attachmentType":"pdf","work_url":"https://www.academia.edu/11341926/Qu%C3%A9_dise%C3%B1a_el_dise%C3%B1o_hoy_perpectiva_desde_la_fenomenolog%C3%ADa","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/11341926/Qu%C3%A9_dise%C3%B1a_el_dise%C3%B1o_hoy_perpectiva_desde_la_fenomenolog%C3%ADa"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="17618100" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/17618100/El_Dise%C3%B1o">El Diseño</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="37472907" href="https://independent.academia.edu/yoselyvilla">yosely villa</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"El Diseño","attachmentId":39616815,"attachmentType":"pdf","work_url":"https://www.academia.edu/17618100/El_Dise%C3%B1o","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/17618100/El_Dise%C3%B1o"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="120671774" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/120671774/Investigaci%C3%B3n_sobre_Dise%C3%B1o_en_Espa%C3%B1a">Investigación sobre Diseño en España</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="75941223" href="https://independent.academia.edu/SebastianGarrido10">Sebastián GARCÍA GARRIDO</a></div><p class="ds-related-work--metadata ds2-5-body-xs">I + diseño, 2011</p><p class="ds-related-work--abstract ds2-5-body-sm">Medina, Santiago Miranda, e incluso considerando esencialmente como tal a Santiago Calatrava. Gracias a estos casos aislados más bien se ha difundido que es un país que, a pesar de la carencia de respaldo oficial y considerable descoordinación y desestructuración, consigue que afloren grandes diseñadores, igual que artistas, escritores, deportistas o referentes internacionales de primer nivel en cualquier disciplina.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Investigación sobre Diseño en España","attachmentId":115747288,"attachmentType":"pdf","work_url":"https://www.academia.edu/120671774/Investigaci%C3%B3n_sobre_Dise%C3%B1o_en_Espa%C3%B1a","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/120671774/Investigaci%C3%B3n_sobre_Dise%C3%B1o_en_Espa%C3%B1a"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="34531989" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/34531989/El_Problema_de_Dise%C3%B1o">El Problema de Diseño</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="68112837" href="https://independent.academia.edu/CristianAvalos10">Cristian Avalos</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Solución La observación como punto de partida El diseñador se sitúa en su contexto como un observador. Esta observación es el punto de partida para la acción de diseñar, que no es otra cosa que hacer una propuesta de realidad. La observación permite constatar, verificar y motivarse a actuar. Lo que se detecta es una tensión entre una realidad actual y una realidad deseable. De esta manera, el factor ético se hace relevante siendo la base para una propuesta estética, de la cual actúa como parámetro de lo correcto.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"El Problema de Diseño","attachmentId":54398106,"attachmentType":"pdf","work_url":"https://www.academia.edu/34531989/El_Problema_de_Dise%C3%B1o","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/34531989/El_Problema_de_Dise%C3%B1o"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="39031937" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/39031937/Dise%C3%B1o_Joven_Miradas_sobre_nuevos_abordajes_en_el_dise%C3%B1o">Diseño Joven. Miradas sobre nuevos abordajes en el diseño</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="806754" href="https://urjc.academia.edu/MarceloFraileNarvaez">Marcelo Fraile Narváez</a></div><p class="ds-related-work--metadata ds2-5-body-xs">TRP21, 2019</p><p class="ds-related-work--abstract ds2-5-body-sm">En el 2019 se conjugan dos acontecimientos extremadamente importantes dentro del diseño. En primer lugar, este año se cumplen cinco siglos de la muerte de Leonardo da Vinci (1452-1519)[1], ese famoso pintor renacentista, que además fue escultor, ingeniero, anatomista, filósofo, poeta, urbanista y arquitecto durante el siglo XV, y que aún hoy nos deslumbra a través de sus dibujos, sus pinturas y sus inventos, recogidos en lo que se conoce como Códices. Los manuscritos de Leonardo, han sobrevivido al paso del tiempo, un tesoro que registra y recopila el trabajo de su genio creador. Uno de sus dibujos más conocidos, es el llamado Hombre de Vitruvio, (actualmente conservado en la Galleria dell’accademia de Venecia), se trata de un dibujo en tinta sobre papel (34,4 cm x 25,5 cm), de dos figuras masculinas con los brazos y piernas extendidas, superpuestas, e inscriptas dentro de un círculo y un cuadrado. El dibujo se encuentra acompañado con algunas notas basadas en la obra del tratado de arquitectura de Marco Vitruvio Polión, para desarrollar un estudio de las proporciones del cuerpo humano, algo que para algunos se trataría de una perfecta síntesis de la unión entre ciencia y arte. El segundo acontecimiento a celebrar durante este 2019, es el centenario del nacimiento de la Bauhaus (1919-1933)[2], esa escuela de arte y diseño donde un grupo de jóvenes rebeldes alemanes cambiaron la disciplina para siempre. En sus catorce años de vida, y su paso por tres ciudades distintas, la Bauhaus, produciría una revolución en el diseño, que echaría por tierra la vieja academia decimonónica, y produciría un cambio de paradigma. En sus experimentos, en sus audaces innovaciones abandonarían el modelo esteticista del momento, y propondría uno basado en el valor de la máquina, y la formación de un hombre nuevo. La Bauhaus fue el crisol donde se fundieron las ideas de personajes de la talla de Walter Gropius, Paul Klee, Vasili Kandisky, Johannes Itten, y tantos otros, para producir un verdadero cisma que sacudió hasta los cimientos del diseño contemporáneo y cuyos fundamentos aún hoy podemos encontrarlos dentro del espíritu que alimenta los MediaLab en diferentes partes del mundo. Y al igual que Walter Gropius en su manifiesto de 1919, que nos animaba a comenzar de nuevo, a través de los jóvenes diseñadores, en este sexto número de la revista, decidimos dedicarlo al Diseño Joven, que, con nuevas miradas sobre el abordaje del diseño, son los que producirán una verdadera revolución.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Diseño Joven. 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