Zentner house (1964)(1965)(1966)(1967)(1968) is the only work ever built abroad by Italian architect and designer Carlo Scarpa. For nearly 50 years the house was neither accessible nor publicly documented. The house is currently being studied by a group of Swiss researchers as an example of "transnational" design, with the complete documentation (photography, drawing, three-dimensional models) of a surprisingly high number of details, materials, and designs for a building in Switzerland, also influenced by the style of Frank Lloyd Wright, who had a close relationship with the clients. The furniture of the house has a pivotal role in the further development of the work of Scarpa as a product designer. The whole house hosts a profusion of made-to-measure furniture and fixture designed by Scarpa. As well as the undocumented designs the current study highlights the impact of an Italian project on Swiss and international scenes.
Why Swiss Graphic Design Again, Now?In reviewing the two publications-"Josef Müller-Brockmann" by Kerry William Purcell and "Swiss Graphic Design: The Origins and Growth of an International Style, 1920-1965" by Richard Hollis-Michael J. Golec noted that "when it comes to the graphic design of Josef Müller-Brockmann, we had to contend with what John Walker has referred to as 'typological' approaches-or studies and categorizations of designed objects according to type." This approach applies not only to the work of Müller-Brockmann but also to the entire previous investigation of graphic design from Switzerland. Or, to put it more sharply, the construct of Swiss graphic design represents an outdated historiography based on a "sorting out of objects according to 'authorship, chronology, national and individual styles, and authenticity'" more than any other label in design history. 1 Golec goes on to ask the question, "what then constitutes an informed history of the graphic design of Müller-Brockman?" This special edition is an attempt to answer this question when related to Swiss graphic design.In graphic design history, the terms "Swiss graphic design," "Swiss typography," or "Swiss style" regularly denote an international style that can be applied to a variety of media, such as posters, books, corporate identities, and signage systems. This style emerged in Switzerland during the 1950s, was used by graphic designers in Switzerland and many other Western countries, and gained an excellent reputation worldwide. However, the term was used not only to define a certain, specific style, but also in many variations to describe graphic design from Switzerland in general, or design produced by Swiss graphic designers. This definitional blurring has in fact contributed to the success of the term. The nomination of "Swiss graphic design" as one of eight Swiss Candidatures proposed to UNESCO as an Intangible Cultural Heritage in 2014 confirms the relevance of "traditional craftsmanship." 2 From this perspective, it becomes clear that "Swiss graphic design and typography" has not yet come to an
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“Madam Butterfly” is an industrial robot produced by Euroimpianti Spa. It is the result of the unusual cooperation between a cutting-edge robot factory and Fontanatelier, an unconventional architecture studio. Although it had all started as a common machinery project, and it was almost at the end of its development phase, the need for an iconic design led the designer to involve the architect Luisa Fontana in the project. The contrasting opinions between the engineers and the architect forced everybody to change points of view, in such a complicated and challenging field as robot production. The final design conveys a strong image of the product, very uncommon for the automation industry, maintaining the functionality of a standard robot, with improvements for some specific usage.
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