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Corso Di STORIA DEL DESIGN Prof CORSO DI LAUREA IN DESIGN ANNO ACCADEMICO 2018/2019 Corso di STORIA DEL DESIGN Prof. Raffaele GIANNANTONIO PROGRAMMA DETTAGLIATO per parziale 01 Il presente Programma Dettagliato ha valore di semplice approfondimento ed è redatto per facilitare lo studio dei vari argomenti trattati a lezione da parte degli iscritti al Corso. L'unico riferimento ufficiale e formale è il Programma del Corso reso disponibile contestualmente all'inizio delle lezioni. Le indicazioni riportate nel presente Programma Dettagliato sono riferite alle sole lezioni svolte. Gli oggetti preceduti dalla parola “Focus” sono da descrivere graficamente. Il presente elenco segue l’ordine delle lezioni svolte. D02: LA RIVOLUZIONE INDUSTRIALE ED IL DESIGN (1760-1830). Il “caso” della stampa. Gli inizi della «scrittura artificiale»: la xilografia. La figura di Johann Gensfleisch detto Gutenberg: la “Bibbia a 42 linee”. L’età degli incunaboli: dati quantitativi, lingue e generi trattati. I primi best-sellers: Tommaso da Kempis, De Imitatione Christi; Martin Lutero, Nuovo Testamento. L’idea di progetto nella stampa: prima e seconda generazione della grafica. Il frontespizio. I grandi editori: Aldo Manuzio il vecchio; Claude Garamond; Christoffel van Dijck e gli Elsevier; Giovan Battista Bodoni. La Rivoluzione industriale. Le condizioni storico-sociali. L’Inghilterra. Le invenzioni tecnologiche: James Watt; Abraham Darby; Edmund Cartwright; George Stephenson. John Wilkinson, Thomas F. Pritchard, Abraham Darby: il ponte sul fiume Severn a Coalbrookdale. Lo sviluppo delle Potteries: Josiah Wedgwood e la Etruria ad Henley: Thomas Bentley, William Hamilton, John Flaxman, Thomas Hope. FOCUS: THE PORTLAND VASE (VASO BARBERINI PORTLAND). L’ETÀ VITTORIANA (1831-1901). Industrializzazione e ideologia. La dichiarazione di Robert Peel alla Camera dei Comuni del 1832. La figura di Henry Cole. Owen Jones e la Grammar of Ornament. La figura di William Morris:dall’ Art Workers Guild alle Arts and Crafts. La Great Exhibition di Londra del 1851. I giudizi di Henry Cole, Richard Redgrave ed Oscar Wilde. Il caso Thonet. Gli esordi, la trasformazione in “Gebrüder Thonet”, la fabbrica di Koritschan, l’espansione ed il successo. Il sistema produttivo, gli aspetti progettuali, di vendita e consumo. FOCUS: La sedia Thonet n. 14. D03: L’ART NOUVEAU E LA WIENER WERKSTÄTTE. L’Art Nouveau. Origini, infuenze e principi. L’architettura: Victor Horta. Il design: la figura di Henry van de Velde. Villa Bloemenwerf ad Uccle: LA SEDIA BLOEMENWERF, L’ECRITOIRE DE DAME (SCRITTOIO DA SIGNORA). Il trasferimento in Germania. Villa Esche a Chemnitz: POLTRONA VILLA ESCHE. La sede della Scuola d’arte applicata di Weimar (Grossherzogliche Kunstgewerbeschule). La figura di Charles Rennie Mackintosh. Gli esordi a Glasgow. La formazione del gruppo dei Four (dei Quattro) e la collaborazione con Herbert McNair e le sorelle Macdonald: la grafica della “Spook School”. L’architettura: il nuovo edificio per la Glasgow School of Art. La Hill House ad Helensburgh per Walter Blackie – Windyhill. FOCUS: la Ladder Back Chair per la “White Room” (“Camera Bianca’”). Il rapporto con Catherine Cranston e le “art tearooms”. Il Temperance movement. Le tearooms di Buchanan Street; Argyle Street; Ingram Street (la White Dining Room con la Sedia a schienale alto); Sauchiehall Street, le Willow Tearooms, la Room de Luxe. FOCUS: la Poltrona Willow. La Cloister Room a Ingram Street. Il trasferimento a Londra. Il riallestimento della casa di Wenman Joseph Bassett-Lowke al 78 di Derngate a Northampton. Il periodo francese. La secessione viennese in arte e in architettura. La figura di Otto Wagner: la Postsparkasse a Vienna. Joseph Maria Olbrich e la Sede della Secessione a Vienna. La figura di Joseph Hoffmann: il palazzo Stoclet a Bruxelles, il sanatorio di Purkersdorf. La Wiener Werkstätte. La fondazione di Hoffmann, Koloman Moser e Fritz Wärndorfer. Il programma di lavoro (Arbeitsprogramm). I “Laboratori degli artisti” (Kunstlerwerkstätten). Gli aspetti di produzione, vendita e consumo. L’”interno povero”. Josef Hoffmann designer: la Poltrona Alleegasse per la sala musica del dottor Hugo Koller. FOCUS: Il modello No. 670, Sitzmaschine. D04: GERMANIA 1900-1910: LA NAZIONE-AZIENDA E L’AEG. Franz Reuleaux, Briefe aus Philadelphia, 1876. L’istituzione in Germania del „museo artistico-industriale“. Il granduca Ernst Ludwig von Hessen e la colonia degli artisti di Darmstadt. La figura di Hermann Muthesius: la missione nell’ambasciata tedesca a Londra; il libro Das englische Haus (“La casa inglese”); la conferenza del 1907 a Berlino Die Bedeutung des Kunstgewerbes (“L’importanza dell’arte applicata”). Il Deutscher Werkbund. La fondazione, il programma, gli aderenti; il conflitto interno tra “tipizzazione” (Typisierung) e volontà d’arte” (Kunstwollen) e tra “permanenza”(Konstanz) e “mutamento” (Veränderung). Le origini della linea progettuale del Werkbund negli scritti di Behrens. La teoria della “pura visibilità” di Konrad Fiedler. La componente «vendita»: il ruolo grandi magazzini e l’organizzazione degli interessi economico-politici delle categorie professionali. L’AEG. La figura di Emil Rathenau. La fondazione della “Società di opportunità” (Gelengenheits- Gesellschaft), della DEG (Società-Edison tedesca per l’elettricità applicata, Deutsche Edison-Gesellschaft für angewandte Elektricität) e dell’AEG (Società Generale di Elettricità, Allgemeine Elektricitäts-Gesellschaft). Il prima-Behrens: la grafica - Otto Eckmann; l’architettura - Alfred Messel. La figura e le opere per l’AEG di Peter Behrens: la grafica, il padiglione alla Mostra delle costruzioni navali tedesche del 1908, la Turbinenfabrik a Berlino-Moabit, l opere di design. I motivi del successo dei prodotti AEG. FOCUS: la lampada a sospensione AEG “Luzette”. .
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