Dezembro 2014 vol. 1 num. 5 - 9th Conference of the International Committee for Design History and Design Studies

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Authorship and Anonymity in Experimental Design: Museum of the Ordinary and Museum Guixé

Moline, Katherine ;

Article:

Individual creativity is a celebrated attribute of well-known designers. Undoubtedly the attention lavished on particular star designers by consumers and the media has evolved from design exhibitions reminiscent of those in fine art museums. An alternative to the celebration of designers as quasi-artists in exhibition contexts is to draw attention to designs by unnamed and anonymous practitioners. I argue that the paradigms of authored and anonymous design since the 1990s echo the debates at the Deutscher Werkbund in 1914 and in the 1950s and 60s at the Hochschule für Gestaltung (HfG), Ulm. Against the background of these divided definitions of design, the paper analyses Museum of the Ordinary by Michael Rock, Susan Sellers and Georgianna Stout (1998), a project that drew out design’s situated meaning by transposing the institutional markers of museums to the street, and Museum Guixé by Marti Guixé (2007) which transposed the street to the museum in a design retrospective presented as a hawker’s market. Since both projects registered the trend for exhibiting design as artworks in museums and can be linked to the celebration of the designer as artist or brand the paper concludes that they represent a productive tension between authorship and anonymity as competing definitions of design. I argue that these divided definitions of design maintain the complexities of the field and mitigate reductive positions in design discourse.

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Palavras-chave: design authorship, anonymous design, experimental design, Museum of the Ordinary, Museum Guixé,

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DOI: 10.5151/despro-icdhs2014-0064

Referências bibliográficas
  • [1] Aicher, O. ‘HfG Ulm: A Concise History’, Archethese, 15 (1975). Reprinted as Appendix 3 in Heiner Jacob, ‘HfG Ulm: A Personal View of an Experiment in Democracy and Design Education’, Journal of Design History, Vol. 1, Nos. 3-4 (1988): 221-234.
  • [2] Betts, P. (2004) The Authority of Everyday Objects: A Cultural History of West German Industrial Design, Berkeley: University of California.
  • [3] Bonsiepe, G. (1999) Interface: An Approach to Design, Maastricht: Jan van Eyck Akademie.
  • [4] Fezer, J. (2008) ‘Planning and Democracy: An interview with Tomás Maldonado’, trans. Gerrit Jackson, Texte zur Kunst, No. 72, 109-11
  • [5] Garcia-Antón, K., King, E., and Brändle, C. (ed.s) (2007) Wouldn’t It Be Nice …Wishful Thinking in Art and Design, Geneva: Centre d’Art Contemporain Genève.
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  • [7] Rock, M. (1994) ‘Beyond Typography’, Eye: The International Review of Graphic Design, Vol. 4, No. 15, pp. 26-35.
  • [8] Rock, M. (1996) ‘The Designer as Author’, Eye: The International Review of Graphic Design, Vol. 5, No. 20, pp. 44-53.
  • [9] Rock, M. (2005) Interview with the author, New York, 5 October 2005.
  • [10] Rock, M., and Sellers, S. (1998a) ‘The Museum of the Ordinary’ in Jan Van Toorn (ed.) Design beyond Design: Critical Reflection and the Practice of Visual Communication, Maastricht: Jan van Eyck Akademie Edition, pp. 133-147.
  • [11] Rock, M., and Sellers, S. (1998b) ‘The Museum of the Ordinary’, Eye: The International Review of Graphic Design, Vol. 7, No. 28, Summer, pp. 32-35.
  • [12] Rock, M., and Sellers, S. (2013) ‘A Proposal for the Museum of the Ordinary’, Multiple Signatures: On Designers, Authors, Readers and Users, New York: Rizzoli, pp. 367-270.
  • [13] Schwartz, F.J. (1996) The Werkbund. Design Theory and Mass Culture before the First World War, New Haven: Yale University Press.
Como citar:

Moline, Katherine; "Authorship and Anonymity in Experimental Design: Museum of the Ordinary and Museum Guixé", p. 453-458 . In: Tradition, Transition, Tragectories: major or minor influences? [=ICDHS 2014 - 9th Conference of the International Committee for Design History and Design Studies]. São Paulo: Blucher, 2014.
ISSN 2318-6968, DOI 10.5151/despro-icdhs2014-0064

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