Lessons to Learn? Past Design Experiences and Contemporary Design Practices Proceedings of the ICDHS 12th International Conference on Design History and Design Studies Edited by: Fedja Vukić, Iva Kostešić Zagreb 2020 Lessons to Learn? Past Design Experiences and Contemporary Design Practices Proceedings of the ICDHS 12th International Conference on Design History and Design Studies Edited by: Fedja Vukić, Iva Kostešić Zagreb 2020 Lessons to Learn? Past Design Experiences and Contemporary Design Practices Proceedings of the ICDHS 12th International Conference on Design History and Design Studies ORGANIZED BY Institute for the Research of the Avant-Garde Zagreb Table of Contents UNDER THE AUSPICES OF Ministry of Science and Education of the Republic of Croatia THE BOOK PUBLISHED BY UPI2M BOOKS HR-10000 Zagreb, Medulićeva 20 phone 385(0)1 4921 389 web www.upi2mbooks.hr e-mail info@upi2mbooks.hr ON BEHALF OF THE PUBLISHERS Tomislav Dolenec, MEcon UPI2M BOOKS EDITED BY Fedja Vukić Iva Kostešić REVIEWS Helena Barbosa Jonathan Woodham Priscila Lena Farias PROOFREADING Chelsea Alethea Sanders GRAPHIC DESIGN AND LAYOUT 2D, Otto Kušec, Miran Bašić ISBN 978-953-7703-67-7 Zagreb, October 2020 Introduction: A Note From the Editor 11 Future Learning on Design, Within and With Design Fedja Vukić 1 Challenging Orthodoxies in Design History and Design Studies I 17 History and Design History: Myths, Memories and Reality Jonathan Woodham 29 Exhibition Design and the Relationship With the Spectator: Historical Notes with El Lissitzky and Hebert Bayer Renata Perim Lopes 39 Investigating Migrating Print Cultures: Graphic Memory Research Methods Applied to a Study on Typographia Hennies Irmãos Jade Samara Piaia and Priscila Lena Farias 51 Conjecturing Futures for Brazilian Design Law Cassia M. De La Houssaye and Patricia Peralta 61 Appropriation, Adaptation, Redesign, Copy, Cut and Paste: The Covers of Translated Books Published by José Olympio in the 1940s and 1950s Carla Fernanda Fontana 75 Publishing on the Periphery: Trade Design Magazines in Late 20th Century Greece Niki Sioki 85 How Socialist Self-Management Contributed to the Understanding of Participation in Design Barbara Predan 97 Sadun Ersin: An Influential Figure in the Development of Modern Design in Turkey Deniz Hasirci, Zeynep Tuna Ultav and Melis Örnekoğlu Selçuk 111 Herbert Simon in the Design Field Felipe Kaizer and Lucas Do M. N. Cunha 2 The Social Impact of Design 3 Cultural Roles of Design Practice 123 Roam Home to a Dome? The House that Bucky Barely Lived In Hsiao-Yun Chu 317 Lina Bo Bardi and Pre-Artisanship in Northeast Brazil: A Quest for the Theoretical Basis of the Concept Ana Sofía López Guerrero and Marcos da Costa Braga 137 Harmful or Useless? Victor Papanek and the Student Rebellion at Danish Design Schools 1967 – 1976 Anders V. Munch, Vibeke Riisberg and Lene Kiærbye Pedersen 327 Repairing Domestic Objects as an Act of Sustainable Design Pedro Álvarez Caselli and Antonio Batlle Lathrop Branding Japanese Olympics: The Evolution of Design Between Local Tradition and Global Trends Claudia Tranti 149 339 161 A Case Study Among Colombia’s Post-Conflict ‘Memory Machines’: Reframing Memory Through Models of Social Design and Doris Salcedo’s Anti-Monument Diana Duque The Bedroom of Mademoiselle De Roo: Private Inputs on an Official Culture of Taste in Domestic Interiors Carlos Bártolo 351 171 Design for Inclusion: From Ethical Through Aesthetic Thinking Aura Cruz and Erika Cortés The Performance of Design in the First Neoliberal Wave in Argentina Veronica Devalle 361 183 Co-Creating Bauhaus Typography in Denmark: The Avant-Gardist Vilhelm Bjerke Petersen and Printer C. Volmer Nordlunde Trond Klevgaard Echoes of Tomas Maldonado’s Bond with Uruguay: The Contact Zone Between Design, Art and Architecture Laura Cesio, Monica Farkas and Magdalena Sprechmann 371 193 Mariska Undi and Anna Lesznai: A Comparative Study of Two Early Twentieth-Century Hungarian Modernist Designers Rebecca Houze Learning From Past Design Experiences in an Educational Context: A Self-Reflective Account Miray Hamarat and Koray Gelmez 389 Exhibitions as Political ‘Demonstrations’? Artists International Association’s ‘For Liberty’ Exhibition, London 1943 Harriet Atkinson 399 Aestheticising Design: Revisiting the Concept of Commodity Aesthetics Mads Nygaard Folkmann 4 Politics and Design: Past, Present, Future 207 Torres Balbás’ Garden Design in the Alhambra in Relation to His Restoration Theory Sara Satoh 217 1980’s Brazilian Rock Album Covers: A Visual Analysis Paulo Eduardo Moretto and Priscila Lena Farias 409 231 Irish Suburban Housing: Concrete Nationalism and the ‘House of To-Morrow’ Tom Spalding The Monpe as a Totalitarian Costume: Japanese Farmer Work Pants as a Wartime Uniform for Women in the Japanese Empire Rie Mori 419 241 The Armorial Movement: Cultural Entwinements in the Legacy of Time From a Graphic Design Perspective Paula Valadares and Helena Barbosa The Significance of Fiction: The Aesthetic Politics of Speculative Design Li Zhang 431 255 Cultural Blends: A Metaphorical Method for Designing Cultural Products With Traditional Cultural Properties Zhenzhen Qin and Sandy Ng Lessons Learned About Design Policies Based on Shared Experiences Between Differentiated Territories: The Transatlantic Case of Chile — Canary Islands Bernardo Antonio Candela Sanjuán, Katherine Mollenhauer and Alfonso Ruiz Rallo 449 267 Bohemians, Craftsmen and the New Woman John Henry Martin Liberation, Nation and Salvation: South African Political Party Logos of the 2019 General Election Deirdre Pretorius 463 281 The Coexistence of Preservation and Modernisation Design Strategies for the Textiles Heritage of Phlow Karen in the Rachaburi Province (Thailand) Nanthana Boonla-or and Teerapoj Teeropas Designers as Cultural Intermediaries: Towards a Framework to Understand Design’s Engagement in Culture Wars Emrah Ozturan, Gulname Turan and Dogan Gurpinar 475 293 Italian Typographic Heritage: A Contribution to Its Recognition and Interpretation as Part of Design Heritagev Emanuela Bonini Lessing, Fiorella Bulegato and Priscila Lena Farias Benjaminian Taktisch in Contemporary Critical Design Tau Lenskjold 485 307 Richard Hamilton and the LUX 50th Anniversary Project Noriko Yoshimura Portuguese Film Posters at the Dawn of Estado Novo: Modernism Under Dictatorship Igor Ramos and Helena Barbosa 499 A Brief History of Ergonomics in the USSR: Socialist Ergonomics and Its Development at the VNIITE Institute of Industrial Design Ana Sofía López Guerrero 5 Challenging Orthodoxies in Design History and Design Studies II 509 The Eameses and Kenmochi: Interaction Between the US and Japan’s Industrial Design in the Post-WWII Era Izumi Kuroishi 521 VNIITE and Lithuania: Industrial Design on the Western Soviet Periphery Triin Jerlei 535 Objects of Desire: Consumption and Popular Luxury in Early Modern Southeastern Europe Artemis Yagou 543 6 Design and Technology Contradictions in Modern Design Aesthetics in Post-Colonial History — The Introduction of Television in Taiwan, 1960s to 1990s Ju-Joan Wong 555 The Master Approving of His Own Work Žiga Testen 567 An Experience of Synthesis and Freedom: Space and Design in Post-World War II Portugal Sandra Antunes and Maria Helena Souto 579 Alexandre Wollner, the Ulm School, and the Newspaper: The Use of Grids and Its Influence on the Formation of the Graphic Design Field in Brazil Alice Viggiani 591 ‘The School Question’: Race and Colonial Attitudes Towards Craft Education in British Malaya and the Dutch East Indies, 1900 – 1930s Mitha Budhyarto and Vikas Kailankaje 601 Women in Italian Graphic Design History: A Contribution to Rewrite History in a More Inclusive Way Francesco E. Guida 611 Surface, Deep, Implicit. Basic Design as a Signature Pedagogy in Design Education Giulia Ciliberto 623 An Analysis of the Visual Identification of Early São Paulo City Letterpress Printing Shops: Contributions for Brazilian Design History Fabio Mariano Cruz Pereira and Priscila Lena Farias 633 Discourses on Design History Methods: The Case of ‘Cooperativa Árvore’ Posters Mariana Almeida and Helena Barbosa 647 Theory vs/♥ Practice in the Design Education Curriculum: The Case of the Portuguese History of Design Helena Barbosa 661 Lost in Translation? Representing the Concept of Artificial Intelligence to the General Public Tingyi S. Lin and Jou-Yin Sun 673 The History of Parametric Design and Its Applications in Footwear Design Marilena Christodoulou 7 Epilogue: A More Adjusted Design for the Future? Conference Panels 683 Human Senses and the Enjoyment of Objects Silvia Puig Pages 695 Using AI to Classify Instagram’s Dissident Images Didiana Prata, Fabio Cozman and Gustavo Polleti 709 Decentring Design Thinking for Development Engineering Yunus Doğan Telliel and Robert Krueger 721 Digital Communication and Global Visual Image Standards of Emojis as a Challenge for an Intercultural Comparison between Japan and Germany Christof Breidenich, Keisuke Takayasu and Nicole Christ 737 Can a Nation Survive through Craft? The Colonial Past, Current Subjectivities and Sustainable Futures Yuko Kikuchi 773 The Development of Creative Industries in Russia Between 1990 – 2020 Olga Druzhinina 787 Utopia or Belief ? Matko Meštrović 807 PANEL 1 Publishing Design Research in Academic Journals 809 PANEL 2 Designing Archives and Collections The ICDHS 12th Conference was organised by the Institute for the Research of the Avant-Garde (Zagreb) and supervised by the ICDHS Board as a four-day online event from October 16 – 19, 2020. ICDHS (International Committee for Design History and Design Studies) BOARD MEMBERS Paul Atkinson, Tevfik Balcıoglu, Helena Barbosa, Priscila Farias, Lucila Fernández Uriarte, Fredie Floré, Héctor Flores Magón Y Jiménez, Haruhiko Fujita, Javier Gimeno Martínez, Yuko Kikuchi, Pekka Korvenmaa, Tingyi S. Lin, Victor Margolin (†), Oriol Moret, Viviana Narotzky, Oscar Salinas Flores, Fedja Vukic, Wendy Wong, Jonathan M. Woodham Track Chairs 1. Politics and Design: Past, Present, Future Co-chairs: Barbara Predan and Tevfik Balcıoğlu 2. The Social Impact of Design Co-chairs: Fredie Floré and Daniel Huppatz 3. Technology-Focused Design Co-chairs: Paul Atkinson and Tingyi S. Lin 4. Cultural Roles of Design Practice Co-chairs: Javier Gimeno Martinez and Priscila Lena Farias 5. Challenging Orthodoxies: Design History and Design Studies Co-chairs: Jonathan Woodham and Helena Barbosa 6. Open strand Co-chairs: Katharina Pfuetzner and Karolina Jakaite Programme Committee Paul Atkinson, Tevfik Balcıoglu, Helena Barbosa, Adelia Borges, Petra Černe Oven, Mauro Claro, Erika Marlene Cortes, Aura Cruz, João de Souza Leite, Özlem Er, R. Hakan Ertep, Kjetil Fallan, Priscila Lena Farias, Monica Farkas, Marinella Ferrara, Fredie Floré, Davide Fornari, Monica Gaspar, Javier Gimeno Martinez, Erick Iroel Heredia Carrillo, Daniel Huppatz, Karolina Jakaite, Triin Jerlei, Guy Julier, Tomoko Kakuyama, Mariko Kaname, Krista Kodres, Andres Kurg, Grace Lees-Maffei, Tingyi S. Lin, Clice Mazzilli, Enya Moore, Oriol Moret, Anders V. Munch, Sinan Niyazioglu, Shinsuke Omoya, Jesse O'Neill, A. Can Ozcan, Marina Parente, Raquel Pelta, Tina Pezdirc Nograšek, Katharina Pfuetzner, Fátima Pombo, Barbara Predan, Helena Rugai Bastos, Niki Sioki, Pau Sola-Morales, Maria Helena Souto, Keisuke Takayasu, Sarah Teasley, Saurabh Tewari, Jilly Traganou, Zeynep Tuna Ultav, Mario Uribe, Ju-Joan Wong, Jonathan Woodham, Artemis Yagou. Conference Partners Publishers Layout and Design Acknowledgements References The author wishes to thank LUXMAN executives and others - Teruyoshi Kawakami, Kazuyuki Doi, Motohide Nakago, Yasushi Kojima, Takeyuki Koyanagi, and Eri Yonezu — for offering a lot of information and support for the writing of this paper. Foster, H. (2014). The first pop age: Painting and subjectivity in the art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha. Princeton University Press. Godfrey, M., Schimmel, P. & Todoli, V. (Eds). (2014). Richard Hamilton [Catalogue of an exhibition held at the Tate Modern, London, 13 February – 26 May 2014]. London: Tate Publishing. Hamilton, R. (1982). Collected Words 1953 – 1982. London: Thames & Hudson. Hamilton, R. (1989). ‘concept | technology > artwork,’ Richard Hamilton. Stockholm: Moderna Museet. Hamilton, R. (2010). ‘concept | technology > artwork,’ Richard Hamilton. (Foster, Hal et al. eds. October Files, Book 10). The MIT Press. Lina Bo Bardi and Pre-Artisanship in Northeast Brazil: A Quest for the Theoretical Basis of the Concept LÓpez Guerrero, Ana Sofía; Master | Faculty of Architecture and Urbanism, University of São Paulo, México Braga, Marcos da Costa; PhD | Faculty of Architecture and Urbanism, University of São Paulo, Brazil Lina Bo Bardi, pre-artisanship, conceptual references, Antonio Gramsci, Giuseppe Pagano, Gio Ponti Harada, I. (Ed). (1975). Lux. Hi-Fi components series, Vol.1. Tokyo: The Stereo Sound. The purpose of this work is to understand some of the references that Lina Bo Bardi employed to build the concept of pre-artisanship, a concept she developed to study certain material productions that she found in the Northeast of Brazil, and which, according to her, constitute the basis of Brazilian culture. This text analyses the influence of three Italian thinkers on Bo Bardi's thoughts: Antonio Gramsci, Giuseppe Pagano, and Gio Ponti, and explores the convergences between each one of them and her trajectory, by comparing different documents written by and about Bo Bardi with others related to the thought and work of the three authors. Maharaj, S. (text). (1993). Richard Hamilton [exh.cat. XLV Biennale Di Venezia British Pavilion, 13 June – 10 October 1993]. The British Council. Spectre, P. (2019). Richard Hamilton: Introspective. London: Thames & Hudson Ltd. Twemlow. A. (2011). Remembering Richard Hamilton as design critic. Design observer, 19 Sep. 2011, https://designobserver.com/article.php?id=30208. Noriko Yoshimura is a Professor at Miyagigakuin Women's University, Japan, and specialises in British Art and Design History. Her recent publication William De Morgan and Victorian Art was awarded by The Japan Society of Design in 2019. She is currently researching Richard Hamilton, aiming to publish his monograph, which includes figures related to him, such as John Voelcker, John McHale, and Marcel Duchamp, among others. <yoshimura@mgu.ac.jp> 316 | Richard Hamilton and The LUX 50th Anniversary Project | 3 cultural roles and design practice Background B orn in 1914 in Italy and naturalised as Brazilian in 1951, Lina Bo Bardi arrived in Brazil in 1946. Her work, which reveals a critical posture towards the social problems in an unequal country, would go on to cover diverse fields such as architecture, design, theatre, museography, curatorship, and teaching. The importance of studying and explaining Bo Bardi's concepts and ideas regarding Brazilian material culture and the concept of pre-artisanship is multifold; on the one hand, it has contributed to the rescue, valorisation and documentation of popular Brazilian productions; and on the other hand, Bo Bardi intended to create an industrial design school that would have Brazilian artisanship culture as a reference point. Bo Bardi's insights about the aforementioned productions are the result of her training as an architect at the Faculty of Architecture in Rome; her permanence in Milan; her work with Carlo Pagani; her contact with people like Gio Ponti and Bruno Zevi; her work as a reporter alongside the photographer Federico Patellani (with whom she documented post-war Italy); and her participation in the foundation of the magazine A. All of that experience outside Brazil contributed to define her vision about popular culture, which would take on a specific and new meaning in the reality of north-eastern Brazil. Thus, in order to recognise how Bo Bardi conceptualised the notion of pre-artisanship, it is necessary to look through her theoretical and 3 cultural roles and design practice | Lina Bo Bardi and Pre-Artisanship in Northeast Brazil | 317 1 Bahia no Ibirapuera, Nordeste, Brennand cerámica, etc. 2 In the Institute Lina Bo and Pietro Bardi (The Glass House), there is a copy of Gramsci's book ‘Gli intellettuali e l'organizzazione della cultura’ [Intellectuals and the organisation of culture] with annotations and highlights possibly made by Bo Bardi. Also, there are handwritten notes by Lina Bo on Gramsci's ideas in relation to the national-popular and the nationalist. conceptual references. In order to do so, we start with two assumptions: first, that when analysing her productions, whether as a magazine editor, article producer, author of museographic texts, or exhibition curator, it is possible to trace the gradual development of the idea of a Brazilian pre-artisanship. Such development can be divided into three periods: her training as an architect in Rome and her professional work in post-war Italy; her first years in Brazil; and finally, her experience in the Northeast region. This last period, between 1958 and 1964, is when she began effectuating a series of discussions and exhibitions¹ to publicly show the objects and practices that composed, what in the future she would call, pre-artisanship (Bardi, 1967). made by the inhabitants of Northeastern Brazil, productions that reflected the lives of the people who created them; anonymous and popular artefacts that she called pre-artisanship: objects made often with industrial waste and local materials that were part of people's daily life, in which, according to the architect, existed at a high level of creativity linked to a precarious condition. It was a production that reflected the creative possibilities of the people who coexisted with the most precarious economic and human conditions. She considered these creations a precedent of what could be the Brazilian design, and thus, valued the inventive and creative capacity of ordinary people and the development of local culture. The second assumption, to which this work will try to contribute, is the influence on Lina Bo's construction of the concept of pre-artisanship by three Italian characters: Antonio Gramsci, Giuseppe Pagano, and Gio Ponti. This hypothesis is based both on notes² written by Bo Bardi and consulted in the Glass House archive, and on other specialists' research on the architect's thoughts and career. In her writings, Bo Bardi began by defining what would and what would not be popular (1951); then, she explained the concepts of craftsmanship, artisan and popular art (1958). Later, she introduced the problems she found in the industrialisation taking place in the country and the idea of the national as different from the nationalist. She also discussed the notion of folklore as opposed to popular art, and situated the context within the culture, that she considered as authentic Brazilian culture (Bardi, 1961). The idea of pre-artisanship appeared later, alongside the statement that in Brazil, a handcraft production has never existed — at least under Western European terms, — just sporadic productions that emerged for survival: It is important to state that, although the objective of this work is to verify that there are conceptual references taken from these figures in Bo Bardi's idea of pre-artisanship, we understand that those references will be complemented by a work of interpretation and translation into a specific context: the Northeast of Brazil (Pereira 2007). In addition, the proposed analysis of these three Italian personages does not mean that other references to Bo Bardi's thought and career are discarded. For example, according to Renato Anelli (2010), the ideas of Celso Furtado, Paulo Freire, and Pietro Maria Bardi, enrich and discuss the ideas of Lina Bo Bardi. However, we will not examine them in this work, because the analysis of all of these influences deserves a much larger space than currently at hand. Lina Bo Bardi and the Concept of Pre-Artisanship In 1958, Lina Bo Bardi was invited to Bahia, where she performed several activities: she gave classes and lectures, wrote for the local newspaper, restored the Solar da Unhão, directed the Museum of Modern Art of Bahia, organised exhibitions and worked on a series of ideas and concepts that made her reflect deeply on Brazilian culture, specifically on popular culture. Through these actions, she questioned the unplanned process of industrialisation that was taking place in the country, which was distinguished by the importation of processes and products, and pointed out what this would mean for Brazilian popular culture: its eventual extinction and mischaracterisation. On the other hand, she tried to preserve material productions 318 | Lina Bo Bardi and Pre-Artisanship in Northeast Brazil | 3 cultural roles and design practice ‘In the Northeast there is, if we want to continue using the word handicraft, a pre-artisanship, and northeastern production is extremely rudimentary. The family structure of some productions, such as, for example, the lace makers of Ceará or the ceramists of Pernambuco, may have a handmade appearance, however they are isolated, occasional groups, forced by the misery of this type of work, which would soon disappear with the necessary elevation of the incomes of the rural work.’ (Suzuki (cord.) 1994, p. 25). With this concept, Bo Bardi did not intend to exalt a primitive aesthetic, nor to classify it as folklore; she did not aim to preserve forms or materials, but to understand them as original creative possibilities and as a source of design renewal; in this sense, she fostered a relationship between popular and modern culture. The pre-artisanship is collective and anonymous; it is a popular production that shows the capacity of the Northeastern people's survival. The objects that would constitute the pre-artisanship would be useful, and the necessity of its existence would be easily perceived. Bo Bardi carried out an ethnographic and anthropological research of objects and practices, which formed her point of view, and presented the actual image of people's lives. 3 cultural roles and design practice | Lina Bo Bardi and Pre-Artisanship in Northeast Brazil | 319 The context that she found in Brazil contrasted with the process of industrialisation in Europe, which gradually went from being handcraft-based to become an industrial production. In the South American countries, the process of industrialisation was abrupt and based on imported models that extinguished any autochthonous manifestation that might have been developing. There was no opportunity for the creation of an artisanship, or of products made by a professional corporation, a group with a specific domain of traditional materials and techniques. For this reason, the productions that she found in the Northeast, which she associated with a national-popular production, were not called artisanship. Nevertheless, Lina Bo Bardi considered that these productions were popular manifestations rich enough in creativity, solution, and culture to have the potential to be the basis of a national-popular culture. In order to understand Lina Bo Bardi's approach and interpretation of the cultural production she saw in Brazil, her interest in popular products and their preservation, and comprehend the construction of Bo Bardi's discourse around the concept of pre-artisanship, we will now proceed to review three of her conceptual references, in which we find that, when making a difference between national and nationalism, and when talking about a national popular production, the influence of the philosopher Antonio Gramsci is clearly distinguished. On the other hand, when valourising the popular, local, and precarious production, the influence of Giuseppe Pagano is perceived. Finally, Lina Bo Bardi worked with Gio Ponti, who is known for being a great enthusiast of popular culture and Italian artisanship and for understanding the craftsmanship from a modern perspective in constant transformation. Conceptual References in Lina Bo Bardi's Writings Antonio Gramsci This question will be answered negatively because for Gramsci, the Italian national-popular culture did not exist, since the models that instructed people were imported. In the Quaderni, Gramsci wrote about the separation between Italian intellectuals and the national-popular reality, and pointed out that there was no adhesion between intellectuals and the people because the sentimental content of art and the cultural world was completely unfamiliar and remote from national-popular life, which would then remain unbundled and inexpressive. For Gramsci, the absence of the national-popular in Italy is explained by the history of the disjointed, late and incomplete formation of the Italian State, with its constitution being the product of a revolution made from above and not from the people, which generated a rupture between the elite and the people, in addition to the fact that it occurred in a social situation of delayed capitalism. Portantiero (1988, p. 48) clarifies that: ‘It is precisely these links that explain the resonance that the national popular category can have in Latin American political thought. The lack of an ‘intellectual and moral reform’ capable of overcoming the divorce between the elite and the people-nation’. The national-popular is a Gramscian category in which other fundamental concepts of the philosopher converge such as: hegemony, the intellectual and the subordinate, the national, and nationalism. Gramsci pointed out the differences between the latter two, identifying nationalism with fascism and its attempt to monopolise the meaning of national culture through practices of appropriation of the historical past. In other words, it was the appropriation of culture that created a fascist nationalistic identity. Thus, Gramsci referred to the nationalist culture as a culture imposed from above, without the participation of the people. In contrast, in the national-popular, the popular perspective was rescued, but not to recover a past or to restore traditions, but to formulate a popular identity and culture, understood as a conception of the world, a modern humanism, capable of a national unification of the people and of building a hegemonic bloc that would lead social transformation. Antonio Gramsci, a Marxist philosopher, was born in 1891 and died in 1937. He was a founding member of the Italian Communist Party, and in 1926 began writing The Southern Question, a study of southern Italy. Gramsci was an opponent of fascism, for which he was arrested in 1927 and sentenced to 20 years in prison, from where he wrote the Quaderni del carcere [Prison notebooks]. Between 1948 and 1951, these works were published in Italian and then translated into different languages. The Quaderni was composed of a programme of studies articulated in four points through which Gramsci tried to understand ‘the popular creative spirit in its different stages and degrees of development’ (Liguori & Voza (org.), 2017). Another critical concept in Gramsci is that of folklore. Understood as an ‘indigestible cluster of fragments’ (Gramsci, 1961) of different conceptions of the world, it is the people's culture, which is a disorganised one. According to Juan Carlos Rodríguez (Rodríguez, 2016, p. 3), the question underlying these texts was: ‘how have Italian intellectuals contributed to the creation of public and social life in a united Italy?’ It is important to note that the concept of folklore in Bo Bardi's work was applied differently than in Gramsci's. For Bo Bardi, folklore was the imposition of the bourgeoisie on popular culture, 320 | Lina Bo Bardi and Pre-Artisanship in Northeast Brazil | 3 cultural roles and design practice 3 cultural roles and design practice | Lina Bo Bardi and Pre-Artisanship in Northeast Brazil | 321 a category that limited production and popular culture to what the dominant classes determined, and that took popular manifestations without situating them in their context of emergency. What Gramsci would call folklore, for Bo Bardi would be the popular culture, the culture of the people. It is an extrapolation of the concept to another denomination. Pagano was interested in rural architecture, a theme to which Casabella dedicated several articles. From 1932, he began to research the architectural and artisanal production of peasants, observing its functionality and usefulness in coherence with its emergence as a manifestation that corresponded to the practical needs of the people. In 1936, he published the volume of the IV Triennial of Architecture of Milan dedicated to Italian rural architecture. There are several texts in which Bo Bardi directly or indirectly addresses the Gramscian concepts, such as: Culture and non-culture (1958), Technique and art (1960), Brennand Ceramics (1961), Northeast (1963), Five years among the ‘whites’ (1967), and Environmental planning: The design at the impasse (1976). These concepts are undoubtedly part of the conceptualisation of the idea of pre-artisanship as a production that reflects the popular cultural base of a country. Giuseppe Pagano Different researchers — Anelli (2014, 2016), Pereira (2007), and Mange (2010) — have identified Pagano as a significant reference in Bo Bardi's publications. Although the trajectory of this architect is not entirely contemporary with Bo Bardi, his work had a meaningful impact on the architectural scene in the country, even after the war. Pagano's rescue of rural architecture and his criticism of the attempt to recover the past to establish a nationalist architectural identity by the fascist party resonate with the critical actions and ideas that Bo Bardi developed in Brazil. Pagano (1896-1945) was born in what is now known as Croatia. He graduated in architecture at the Polytechnic of Turin in 1924 and, in 1936, he directed the Milan Triennale in collaboration with Guarniero Daniel, where he held an exhibition of Italian rural architecture. It was, according to Maria Airoldi: ‘the first time that the theme of minor architecture is brought to the attention of architects and the public [...]’ (Airoldi n.d.). Although Pagano was attracted by fascism in the early 1920s, in 1942 he began openly criticising the regime; for which he was arrested in November 1943, and in December 1943, the Ministry of Popular Culture suspended the magazine Casabella (of which he had been the editor alongside the openly antifascist Edoardo Persico). Pagano died of pneumonia in 1945 in the Mauthausen concentration camp. During his last years of life, he was undoubtedly influenced by his colleague Persico, and became critical of any manifestation that sought to become the art of the State and that aimed to form a nationalist identity based on the idea of a return to the past. On the contrary, he defended the universal values of architecture, and an architecture that would dialogue with the modern European movement and functionalism. 322 | Lina Bo Bardi and Pre-Artisanship in Northeast Brazil | 3 cultural roles and design practice For Marina Mange: ‘Giuseppe Pagano framed the theoretical foundations for the interpretations of Mediterranean vernacular architecture, the foundation of an entire school of architects that sought to deal with the issues of memory and traditions within the modern culture that generated, in the 1950s, the current of neo-realism.’ (Mange, 2010, p. 30). Indeed, other architects and theoreticians were also interested in rural architecture at the time — albeit with nationalist interests — that would call it Mediterranean to try to give it an aura of tradition rooted in a context. Pagano, on the contrary, did not see in these architectural manifestations, elements that contributed to formulating an identity of Italian architecture, but elements that united the whole civilisation, a rational architecture, and not a national one. Gio Ponti Like Gramsci, Ponti was born in 1891. In 1928, he started Domus, a magazine dedicated to the diffusion of design, architecture and decorative arts. Later he founded the Lo Stile magazine, which stayed in print until 1947. Several figures from the Italian architectural and artistic scene, such as Pagano, Persico, Pietro Bardi and Lina Bo Bardi contributed to both magazines. Ponti worked within the fields of design, architecture, crafts, and art. While trying to make his creations reflect an idea of Italianity, his projects also reflected rationalist and functionalist theories (examples of this are his ‘typical houses’ called ‘Domus’, and the ceramics he developed in Richard Ginori). He shared with other architects and artists the idea of creating a modern language that did not rupture with Italian traditions. In the article La casa all'italiana, with which Ponti began as editor of Domus magazine, he expressed his ideas on how: ‘[...] art, architecture and design must merge to create an environment that offers comfort, not so much in terms of the mechanical application of patterns in dimensions 3 cultural roles and design practice | Lina Bo Bardi and Pre-Artisanship in Northeast Brazil | 323 Bo Bardi, despite being heir to the European avant-garde, grew up in a country that did not fit in with this modern Europe. The history of its formation as a nation-state was characterised by great social inequalities, difficulties in social cohesion, and national unification. The development of capitalism was not similar to the rest of Europe and arrived late in a context in which the majority of the population was dedicated to agriculture while the rural aristocracy lived in opulence. From this perspective, there are several points in common between the Brazilian reality and the history of Italy, and we conclude that the Italian references are only a starting point to explain Lina Bo's performance in Brazil. that guarantee the minimum living space needed, but rather the comfort necessary to nourish the soul of modern humanity, according to the classical Italian tradition.’ (Ponti, 1928). Ponti's editorial line was based on respect for the past of the Italian culture and on the proposal of models that could reconcile the traditional with the modern (Lamonaca, 1997). Bo Bardi, in her literary Curriculum, wrote: ‘In Milan, in order to ‘acquire practice’, I joined the office of the famous architect Gio Ponti, leader of the movement for the promotion of Italian handicrafts, director of the Milan Triennials and the magazine ‘Domus’ (Bardi, 1993). Bo Bardi collaborated in both Domus and Lo Stile, where she wrote about themes that would be recurrent in the coming years: popular housing, architecture, industrial design, popular art, crafts, valorisation of the vernacular and ‘prefabrication as a new construction technique’ (Mange, 2010). The concept of pre-artisanship may reveal the European heritage through which Bo Bardi interpreted as the new reality that she faced. But it is also possible to think that it was Bo Bardi's way of naming and trying to distinguish practices that were the product of a different historical reality where non-Western pre-industrial activities existed, a context with diverse heritages (African, pre-Columbian, European) manifested through culture, a culture that could not be fully explained by a Western-modern interpretation and demanded the creation of new concepts. According to Mange: ‘The most significant lessons that Lina Bo Bardi will bring to Brazil will be those related to the studies of Italian crafts, developed by Gio Ponti as a strategy for emancipation from the Italian utility industry; and the studies of Giuseppe Pagano on minor architecture. These concepts were the embryo of the concept of popular culture and pointed to the strategies of action that Lina Bo Bardi will adopt in her work.’ (Mange, 2010). We would add that Ponti's appreciation of craftsmanship from a modern perspective, and the interest he had in the intersection between industrial and artisanal production would also be important to Bo Bardi's work. Final Considerations From her experience as an architect in Italy, Bo Bardi brought to Brazil important considerations on crafts, vernacular architecture and several issues regarding the formulation and pursuit of national identity in relation to the material culture of a country. We found that Gramsci's influence on Bo Bardi's thoughts was of a deeply theoretical ideological and conceptual nature; that Pagano's influence came both from his interpretation and critique of nationalism from the sphere of architecture, and from his valorisation of popular constructions around Italy; and finally, that Ponti's influence came from his insights on the relationship between craftsmanship/industry and design/national identity. 324 | Lina Bo Bardi and Pre-Artisanship in Northeast Brazil | 3 cultural roles and design practice Acknowledgements References This article is part of the research project entitled ‘Design in Adversity. Between Cuba and the Northeast of Brazil’, supported by the ‘Fondo Nacional para la Cultura y las Artes’ and the ‘Consejo Nacional de Ciencia y Tecnologia’. Airoldi, M. (n.d.) L'architettura rurale e la Triennale di Milano del '36 [Rural architecture and the Milan Triennale of '36]. Hevelius' webzine. http://www.hevelius.it/webzine/leggi.php?codice=190 Anelli, R. (2010). Ponderações sobre os relatos da trajetoria de Lina Bo Bardi na Italia. [Weighings on the narratives of Lina Bo Bardi's trajectory in Italy.] Revista do Programa de Pós-graduação em Arquitetura e Urbanismo da FAUUSP 17(27) 86 – 101. Anelli, R. (2014). Lina Bo Bardi and her relationship to Brazil's economic and social development policy. Lina Bo Bardi 100. Brazil's alternative path to modernism, 1ed. Berlin: Hatje Cantz, v.1, 155 – 169. Anelli, R. (2016). Recycling and restoration: Adding new meaning to historical buildings through minimal interventions. In Condello, A. and Lehmann, S. (Eds.). Sustainable Lina. Switzerland: Springer International Publishing, doi 10.1007/978.3.319.32984-0_4 Bardi, L. B. (1951). Bela criança [Beautiful child]. São Paulo, Habitat 2. Bardi, L. B. (1958). Cultura e não cultura [Culture and no culture], republished by S. Rubino and M. Grinover (org.) (2009) Lina por escrito: Textos escolhidos de Lina Bo Bardi [Lina in writing: Selected texts by Lina Bo Bardi]. São Paulo: Cosac Naify. Bardi, L. B. (1960). Tecnica e arte [Technique and art], republished by S. Rubino and M. Grinover (org.) (2009) Lina por escrito: Textos escolhidos de Lina Bo Bardi [Lina in writing: Selected texts by Lina Bo Bardi]. São Paulo: Cosac Naify. 3 cultural roles and design practice | Lina Bo Bardi and Pre-Artisanship in Northeast Brazil | 325 Bardi, L. B. (1961). Brennand ceramica [Brennand ceramics], republished by S. Rubino and M. Grinover (org.) (2009) Lina por escrito: Textos escolhidos de Lina Bo Bardi [Lina in writing: Selected texts by Lina Bo Bardi]. São Paulo: Cosac Naify. Bardi, L. B. (1963). Nordeste, introduction to Northeast exhibition cataloge in the Museu de Arte Moderna da Bahia, republished by S. Rubino and M. Grinover (org.) (2009) Lina por escrito: Textos escolhidos de Lina Bo Bardi [Lina in writing: Selected texts by Lina Bo Bardi]. São Paulo: Cosac Naify. Bardi, L. B. (1967). Cinco anos entre os ‘brancos’ [Five years among the ‘whites’], Mirante das Artes, 6, São Paulo. Bardi, L. B. (1976). Planejamento ambiental: o desenho no impasse [Environmental planning: The design at the impasse], Malasartes, n. 2, 4 – 7. Branding Japanese Olympics: The Evolution of Design Between Local Tradition and Global Trends Tranti, Claudia; Master Graduate in Communication Design | Politecnico di Milano, Italy Identity, globalisation, self-orientalism Bardi, L. B. (1993). Curriculum literário [Literary curriculum]. In Lina Bo Bardi. M. Ferraz, (cord.) 3. ed. São Paulo: Instituto Lina Bo e P. M. Bardi. In view of the postponed Tokyo 2020 Olympic Games, this paper aims to trace the evolution in the design of the past Japanese Olympics. Methods and frameworks of the discipline were gradually introduced in the Olympic communication strategy: the phantom Olympics of Tokyo and Sapporo 1940, as well as the Games of Sapporo 1972 and Nagano 1998, allow for the analysis of the development of the Olympic design following a regular time scan. The critical approach concerns the expression of national identity through the Games. From in-depth research on the subject, it is possible to identify four recurring themes within the Olympic narrative: nationalism, internationalism, universalism and globalisation. Over time, the relationship between these visions of the world has changed deeply, producing radically different design outputs. Gramsci. (1961). Observaciones sobre el folklore en literatura y vida nacional [Observations on folklore in literature and national life]. Buenos Aires: Lautaro. Lamonaca, M. (1997). Tradition as transformation: Gio Ponti's program for the modern Italian home, 19281933. Studies in the Decorative Arts, 5(1), 52 – 82. Liguori, G. & Voza, P. (org.) (2017). Dicionário gramsciano: 1926 – 1937 [Gramscian dictionary: 1926 – 1937]. São Paulo: Boitempo. Mange, G. M. (2010). Uma ideaia de arquitetura. Escritos de Lina Bo Bardi [An idea of architecture. Writings of Lina Bo Bardi]. Master's dissertation FAUUSP, Sao Paulo. Pagano, G. & Daniel, G. (1936). Architettura rurale italiana [Italian rural architecture]. In Quaderni della Triennale [Notebooks of the triennial], Milano: Ulrico Hoepli Editore. Pereira, J. P. (2007). A ação cultural de Lina Bo Bardi na Bahia e no Nordeste (1958 – 1964) [Lina Bo Bardi's cultural action in Bahia and the Northeast]. Uberlandia: EDUFU. The Olympics: A Cultural Performance of Global Proportions T he Olympic Games are one of the biggest sports events in the world. Since its birth in 1894, the Olympic Movement has been affected by the influence of consumerism. Plenty of strategies have been used to face the expenses of hosting the Games: from the sale of tickets and gadgets to long-lasting sponsorships with worldwide partners (Chappelet, Ferrand & Séguin, 2012). Despite the Olympic Charter's statements against involvement in political affairs, the movement often found itself in the middle of international conflicts: the multitude of boycotts during the Cold War era or the struggle for the recognition of the National Committees of China and Taiwan are just a few examples (Guttmann, 2002). Ana Sofía López Guerrero is a PhD student in the Design program at the Faculty of Architect and Urbanism at the University of Sao Paulo. Her lines of research are History and Theory of Design and Material Culture in Latin America. She is a beneficiary of the FONCA-CONACYT program. ORCID: https://orcid.org/0000-0002-6534-0394. <anasofialopezguerrero@usp.br> Marcos da Costa Braga is a designer, with a PhD in Social History and Professor of the Faculty of Architecture and Urbanism, at the University of São Paulo. He is a research member of the LabVisual/USP and author of several publications on the History of Design in Brazil. ORCID: https://orcid.org/0000-0002-0978-2550. <bragamcb@usp.br> 326 | Lina Bo Bardi and Pre-Artisanship in Northeast Brazil | 3 cultural roles and design practice The sturdy link between the Olympics, politics and consumerism, allows the tracing of a critical analysis which involves design: a crucial tool to express both values and identities and to enhance the mass production of consumer goods. The visual communication of the Games, as well as the design of the symbolic venues and objects related to the event, are the touchpoints which establish a link between the audience and the values spread by the Olympic Movement. The importance of these aesthetic experiences has been effectively expressed by Kang and Traganou (2008): ‘The key features of the reception of the Olympics are grounded upon the 3 cultural roles and design practice | Branding Japanese Olympics | 327