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Universidad De Cuenca Facultad De Artes Escuela De Diseño

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Universidad De Cuenca Facultad De Artes Escuela De Diseño UNIVERSIDAD DE CUENCA FACULTAD DE ARTES ESCUELA DE DISEÑO TESINA PARA OBTENER EL TITULO DE DISEÑADOR DE INTERIORES TEMA : DISEÑO DE UN ESPACIO INTERIOR, APLICADO A UNA AREA SOCIAL, EN BASE A LA INFLUENCIA ESTÉTICA DEL ARTE INDIGENISTA ECUATORIANO. AUTOR: EDWIN FABRICIO ASMAL ASMAL TUTOR: DISEÑADOR PAÚL ESTEBAN ROLDÁN AVILES CURSO DE GRADUACIÓN : 06/06/2013 Cuenca-Ecuador,2014 UNIVERSIDAD DE CUENCA UNIVERSIDAD DE CUENCA RESUMEN El presente trabajo de graduación se centra en la generación de diseño interior aplicado a una área social, esta es una área muy importante del hogar donde la mayoría de la gente tiende a pasar la mayor parte del su tiempo, ya sea para leer, escuchar música, charlar o ver televisión. Por esta razón, la área social puede ayudar a mejorar el valor total del hogar, nos enfocamos en este ambiente teniendo en cuenta una influencia estética al arte indigenista ecua- toriano, se seleccionó una obra del artista Oswaldo Guayasamin , inspirándonos así al uso de sus formas ,colores , texturas ,materiales naturales, llegando a utilizar esta línea para la generación del diseño de este espacio, ya que la gente va perdiendo la identidad de nuestra cultura y etnia , la gente más bien busca estereotipos que no son propios de nuestra cultura o por corrientes contemporáneas desconocidas. El propósito básico de la área social es proporcionar confortabilidad y funcionalidad al usuario, logrando un espacio en el hogar donde se sienta calidez y satisfacción estudiando así el uso de los colores, formas, materiales para la construcción del mobiliario sin mucha textura y sin mucho color, que es lo que se propone en la obra, utilizando los principios y conceptos del arte indigenista del artista Oswaldo Guayasamin. El diseñador tendrá que dar varias alternativas al momento de diseñar el espacio propuesto, por medio de bocetos para así llegar al proyecto final con los gradezco a todas las personas que me acompañaron y asesoraron para llevar a cabo mi tesina, entre ellas al Diseñador Paúl Roldán y, en especial planos o dibujos a colores donde se vea claramente texturas, formas, proporciones ergonómicas y; teniendo presente los otros ingredientes fundamentales Aa mi familia por su generosidad y apoyo a mi madre y mi abuelita más aun a mi padre Luis Mario que él ha sido mi valor para seguir adelante. que son: el interés, la dedicación, la innovación y llegar así con el deseo de experimentar. Es por eso que doy gracias a Dios por la familia y amigos que me sostienen y a Mary, mi amor, por toda su comprensión y paciencia. ABSTRACT This graduate work focuses on the generation of interior design applied to a social area , this is a very important area of the home where most people tend to spend most of their time either to read, you listen to music , chat or watch television. For this reason, the social area may help to improve the overall va- lue of the home , we focus in this environment considering an aesthetic influence the Ecuadorian indigenous art, a work by the artist Oswaldo Guayasamin was selected , and inspire the use of its forms, colors, textures, natural materials , getting to use this line to generate the design of this space, because people will lose the identity of our culture and ethnicity, stereotypes rather seeks people who are not of our own culture or contemporary trends unknown . The basic purpose of the social goal is to provide comfort and functionality to the user , making a space at home where you feel warmth and satisfaction and studying the use of colors , shapes, materials to build furniture without much texture without much color which is what is proposed in the work, using the principles and concepts of indigenous art by artist Oswaldo Guayasamin . The designer will need to provide several alternatives when designing the proposed space , through sketches in order to reach the final project plans or drawings which clearly colors textures, shapes , ergonomic look and proportions , bearing in mind the other key ingredients which are: the interest , dedi- cation , innovation and get well with the desire to experience . Autor: EDWIN ASMAL A. Autor: EDWIN ASMAL A. UNIVERSIDAD DE CUENCA UNIVERSIDAD DE CUENCA INDICE Introducción ......................................................................................................................................................................................................1,2,3. Capitulo 1. El Arte Indigenista .............................................................................................................................................................4,5,6. 1.1 Generalidades del Arte Indigenista.................................................................................................................................................................6,7,8. 1.2 Arte Indigenista ecuatoriano.....................................................................................................................................................................8,9,10,11. 1.3Oswaldo Guayasamín......................................................................................................................................................................................11,12. 1.4 Eduardo Kingman...........................................................................................................................................................................................13,14. Capitulo 2. Características estéticas del Arte Indigenista ecuatoriano ..............................................................15,16,17. 2.1 Como influye el aspecto social en la reproducción artística delArte Indigenista...........................................................................................17,18. 2.2 Selección de obras pictóricas representativas de Oswaldo Guayasamin........................................................................................................18,19. 2.3 Análisis según el trazado de la sección áurea de obras artísticas...................................................................................................................19,20. Capitulo 3. Proceso de diseño .......................................................................................................................21,22. 3.1 Cómo realizar la fusión entre el Arte Indigenista ecuatoriano y el Diseño Interior en nuestro medio..........................................................23,24. 3.2 Materialidad a utilizar en la propuesta de diseño siguiendo un lineamiento de ergonomía, confortabilidad y funcionalidad........................................................................................................................................................................................24,25,26,27. 3.3 La propuesta a realizar del área social es en base a la inspiración de una pintura u obra utilizando, colores, texturas y el trazado de la sección áurea de las obras.....................................................................................................................................28,29. 3.4 Bocetos a mano alzada..........................................................................................................................................................................30,31,32,33. 3.4.1Bocetos digitales........................................................................................................................................................................................34,35. 3.5 Propuesta final ............................................................................................................................................................................36,37,38,39,40,41. 3.5.1 Detalles constructivos .........................................................................................................................42,43,44,45,46,47,48,49,50,51,52,53. 3.5.2 Renders de Ambientación.............................................................................................................................................54,55,56,57,58,59,60. 3.6Conclusión........................................................................................................................................................................................................... 61. 3.7 Bibliografia......................................................................................................................................................................................................62,63. Autor: EDWIN ASMAL A. Autor: EDWIN ASMAL A. UNIVERSIDAD DE CUENCA UNIVERSIDAD DE CUENCA INTRODUCCIÓN Este estudio centra su análisis en la obra pictórica de Oswaldo Guayasamin y Eduardo Kingman como un modelo para describir los enfoques, tendencias e ideología que caracterizaron al Indigenismo. Esta corriente artística reunió a pintores, escritores e intelectuales ecuatorianos durante la década de 1930. El estudio propone que esta corriente surgió como una reacción de inspiración para la creación de una sala de estar enfocado en el mobiliario. En lugar de ver al Indigenismo como un movimiento o un estilo, mi aproximación al fenómeno, en cambio, es la de que se trató de una tendencia en constante evolución, en la que los artistas de países con una gran po- blación indígena negociaron una identidad distinta, aunque moderna, identidad que surgía o se manifestaba en una esfera cultural internacional. En las dos obras del artista Oswaldo Guayasamin se ve claramente las influencias indigenistas en donde hace uso de las formas ,texturas
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