Sobre o desenho e design

Resumen

The discussion about the meaning of words used to name designer activity, or “ industrial design” as it was known up to the decade of the 1970’s, mainly revolved around the notion of a constructive approach. Former texts relating to this matter by the architects Vilanova Artigas and Flávio Motta transformed the idea of project into the key-concept, proposing that designer and architect projective procedures be integrated into the political reorganization of the country. This notion gained importance from the 1964 dictatorship onwards. At this time there were but a few skeptical approaches to the matter. Perhaps Sérgio Ferro’s text O canteiro e o design, which emphasizes the oppressing aspects of projective rationality is the best example. Since 1965 the italian architectural and urban historian Giulio Cario Argan, in a similar vein, remarked the increasing dissolution between the subjecfs individuality and the objectivity of things - in such a relationship that he saw and described as a “tearing process” More recently, in 1992, the philosopher Vilém Flusser synthesized part of his theory on design by mentioning the “destructive aspects” of design activity. Argan and Flusser, besides their common views at this point, used both the word design to describe a new disciplinary levei, which has developed, according to Argan, as environmental programming, no longer concerned exclusively with the design of the objects themselves. Argan argues that what can be "designed” now is a complete Circuit that involves, besides the object, its image and therefore the image transformed into information that flows and circulates. This text tries to « put out these diverse approaches, establishing connections between them and tries to indicate the demand for new categories to understand the very nature of design today