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Dirección editorial y de arte: Olalla Sío Lomba, José María Fdez. Cárcamo Coordinación de Redacción: Olalla Sío Lomba, José María Fdez. Cárcamo Dirección de contidos: Xosé Manoel González, Olalla Sío Lomba Consello de Redacción: Ofelia Cardo Cañizares, Armando García Ferreiro, Xosé Manoel González Rivera, Carmen Lage Veloso, Manuel Seoane, Javier Rodríguez, Tonho Ferreiro e César Taboada.

Colaboradores: Alumnado: Anaïs Monique Kerbrat, María Jesús Otero Ogando, Laura Lobón Castro, Ruth González Robles, Ledicia Veloso, Inés González, Javier Lopez, Alexandra Regueiro, Vicky Feijoo Quintas, Antía Rodríguez Caldeiro, Iván Fernández Babarro, Iago González González, Xesús Pacheco, Alberto Salgado Caramés, Fernando Marcos Jiménez, Jairo Ramos Rey, Maikel Lorenzo, Laura Vázque Dosil, Andrea Novelle Fernández, Carlos Alfaya, Xiana Rodríguez Canle.

Profesorado: Manuel Seoane, Carmen Lage, Xosé Manoel González, Carme Fernández, César Taboada e Tonho Ferreiro.

Extra: Colectivo Fotográfico PuntoOnce, Josep María Mir e Elías Cueto.

Deseño Gráfico e Maquetación: Cintia Pousa Domínguez Traducción ó inglés: Foreign Langauges Ourense Edición: Escola de Arte e Superior de Deseño Antonio Failde Avda. Universidade 18. A Cuña. 32005 Ourense Impresión: Rodi Artes Gráficas ISBN: 978-84-697-4115-3 Depósito Legal: OU 417-2017 Copyright 2017 dos autores.

Os textos asinados son de responsabilidade dos autores, non se identificando, necesariamente, a revista cos distintos puntos de vista. Prohibida a reprodución total ou parcial dos contidos da revista por calquera medio sen a autorización expresa e por escrito dos autores.

Publicación subvencionada pola Dirección Xeral de Política Lingüística. Consellería de Educación e Ordenación Universitaria. Xunta de Galicia.

REGRESO AO FUTURO MANUEL SEOANE Introducción Unha política española recomendou prestar atención ao acontecemento que se ía producir no planeta no ano 2009.

Mudou moito o mundo dende aquelas. Efectivamente un presidente de color e progresista nos Estados Unidos convidaba ao optimismo. En Galicia tamén estreabamos presidente logo do pequeno paréntese trala era “Fraga Iribarne”.

Semellaba que os alumnos que naquel tempo se formaban na “Faílde” tiñan ante eles un futuro moi prometedor.

E apareceu o primeiro número do “Anuario da EASD “Antonio Faílde”, un momento de moita ilusión para toda a comunidade educativa dun centro cativo do ensino público. Un centro no que residía a crenza de que o deseño tamén era outro grao de area para construír un mundo máis confortable.

Pero a cousa non tardou en torcerse, e fómonos afacendo a sortear obstáculos, a adaptarnos a un medio hostil co que non contabamos, e a sobrevivir e resgardarnos das inclemencias ata que escampe. O presidente americano rematou a rolda de mandato, e segue no posto o galego. Aprendemos que a resiliencia era unha virtude a que non se podía renunciar.

O anuario da “Faílde” coma un pequeno milagre anual aprendeu tamén a sobrevivir. Foi mudando de pel en cada primavera, e agochándose cada vez tras un novo alias, para manter viva a ilusión de que efectivamente o deseño ten que seguir como imprescindible na lista de valores dun mundo que dende o máis remoto pasado viu o feito artístico como algo necesario.

A Escola “Antonio Faílde” cumpriu entrementres os trinta anos, e celebrámolo como é debido. Celebrámolo trasladándonos a aquel máis remoto pasado de 1987, en que un pequeno grupo de persoas pensaba que este país tiña porvir, e que a prosperidade era posible, ou mellor, que era imprescindible, e que o deseño tiña moito que dicir nunha sociedade ourensá, que per certo tamén estreaba daquela presidente.

Mudou moito o mundo dende aquelas, e os máis vellos, tiñamos fe en “Doc”, aquel toleirán que cara finais dos oitenta nos movía polo tempo nun precioso DeLorean. Avanzamos unhas veces, e retrocedemos moitas outras, e este bambán temporal foi perdendo inercia ata case deterse nunha abulia provocada.

Coma no bambán, para restablecer un ritmo vivo, non é preciso agardar a que se deteña, nin sequera se precisa un impulso exterior, abonda con saber moverse, con adaptar a postura adecuada en cada momento para sincronizar as forzas de inercia, e as da gravidade. É imprescindible regresar ao futuro, regresar a aquela ilusión de 1987 cando a Escola arrancaba, e regresar a aquel futuro prometedor que tiñan os alumnos do outono de 2009, cando “fan” o primeiro anuario da Escola vía a luz. A extensión “.doc” é magnífica para non perder o que levamos camiñado, pero dende agora, “.exe”

Mart Anaïs Monique Kerbrat 006 / 009 Mikeas María Jesús Otero Ogando 010 / 011 DESEÑO GRÁFICO

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Mais alá dos muros do soño Laura Lobón Castro 012 / 013 Buzz Ruth González Robles 014 / 017 Aceñas Ledicia Veloso 018 / 023 Faro Punta Cabalo. Restaurante Alexandra Regueiro 024 / 025

DESEÑO DE INTERIORES

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Cine Lalín Javier López 026 / 027 Albergue de peregrinos Inés González 028 / 029 É de día en Australia Colectivo Fotográfico PuntoOnce 030 / 035 Campo de batalla Vicky Feijoo Quintas 036 / 037

FOTOGRAFÍA

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Traslumbre Antía Rodríguez Caldeiro 038 / 041 O outro camiño Iván Fdez. Babarro e Iago Glez. Glez 042 / 045

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EBANISTERÍA

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Rupez Xesús Pacheco 046 / 047

Crea Xosé Manoel González 078 / 081

O bosque Traballo conxunto 048 / 049

Artemob, intervención urbana Carme Fernández 082 / 083

Wave Xesús Pacheco 050 / 051

XORNADAS CREA

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Sen sur Jairo Ramos 052 / 053 Internacional César Taboada e Tonho Ferreiro 084

Pel de foca, pel da alma Laura Vázque Dosil 054 / 055 Meraki Andrea Novelle Fernández 056 / 057 ILUSTRACIÓN

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Limerencia Carlos Alfaya 058 / 061

INTERNACIONAL

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Omnifobia Xiana Rodríguez Canle 062 / 063 A cor no deporte Josep María Mir 064 / 065 Mobles de madeira na actualidade Elías Cueto 066 / 069 ARTIGOS

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Wunderkammer Carmen Lage 070 / 073

TRADUCCIÓNS

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Historia da Failde Manuel Seoane 074 / 077

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MART ANAÏS MONIQUE KERBRAT Traballo Final de Estudos Mart xorde para tomar a voz dos novos artistas galegos, outorgando relevancia e xerarquía a temáticas que non son tratadas por outros medios. Rompendo con todos os esquemas das revistas tradicionais, o seu forte contido visual é un dos principais atractivos, enganchando a afeccionados e profesionais destes ámbitos.

Buscamos rescatar outros modos de dicir, asociados á posibilidade de experimentación e a artesanía. Somos un escaparate para a cultura e as artes, accesible a todas as persoas. Ofrecemos un espazo alternativo de difusión para artistas e eventos de índole cultural, incluíndo todo aquilo que non ten cabida noutros espazo.

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MIKEAS MARÍA JESÚS OTERO OGANDO Traballo Final de Estudos Mikeas é principalmente un traballo de codeseño e deseño social. Trátase dunha campaña de achegamento dos nenos xitanos mediante a creatividade, dando voz á súa imaxinación preténdese propiciar a integración social e cultural. Constará dun obradoiro levado a cabo en diferentes sesións no que os nenos participan na creación dunha historia que posteriormente representarán en formato conto. A historia terá referencia á súa forma de vida, empregará a súa linguaxe e os protagonistas serán xitanos. No libro e nos talleres preténdese dar unha visión diferente da busca da felicidade aínda que as circunstancias non sexan as adecuadas.

Consiste en dous contos, unha edición de luxo e unha edición de baixo coste para, desta maneira, poder chegar a un maior público e facilitar así o obxectivo principal do proxecto que consiste en achegar a cultura xitana ao maior número de persoas. O proxecto contén o libro con encadernación artesanal, en libriños e tapas de madeira e a caixa cunha dobre usabilidade (maletín / estantería).

A encadernación e a caixa na que se transporta o libro son de madeira, concretamente de faia, xa que é unha madeira que en Galicia se empregou moito na realización de mobles, pero sobre todo nas traseiras dos mesmos. Esta parte era unha das primeiras en estragarse rematando nun contedor e, posteriormente, na casa de algún xitano.

O Naming e a identidade están compostos principalmente a raíz da creación do desenvolvemento da historia. O naming fíxose a partires dun listaxe de nomes xitanos votado polos propios xitanos. Na gama cromática, obsérvanse a unión entre o ceo e a terra (azul e laranxa). Con isto preténdese expresar a igualdade entre persoas e as mesmas características vitais: nacer, crecer, reproducirse e morrer. As formas que conforman o identificador crean módulos que serven posteriormente para a creación dos elementos ilustrados e das pezas de madeira que foron fotografadas.

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MAIS ALÁ DOS MUROS DO SOÑO LAURA LOBÓN CASTRO Traballo Final de Estudos Este proxecto propón unha narración alternativa sobre o relato “Máis aló dos muros do soño” de H.P. Lovecraft. Un relato de suspense e fantasía ambientado en 1900, en América, nun Sanatorio Mental. Trátase dun proxecto de simulación de estilo, unha ficción gráfica.

O produto consiste nun libro caixa con forma de arquivador. LEste contén o relato de Lovecraft, renomeado como “Memorias do Dr. Charles Slope”, unha carta da nova directora do Sanatorio, que require a túa axuda para a investigación de casos similares, a ficha de ingreso en 1900 do paciente Joe Slater, uns planos actuais que reflicten as localizacións do relato, un mapa antigo de 1855, unha fotografía do Dr. Slope xunto á súa máquina telepática, varias imaxes que amosan as alucinacións de Joe Slater, unha noticia dun xornal de época e unha folla de arquivo, que enumera todos os documentos que forman parte da investigación.

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BUZZ RUTH GONZÁLEZ ROBLES Traballo Final de Estudos O SETI (acrónimo inglés Search for Extra Terrestrial Intelligence ou procura de intelixencia extraterrestre) trata de encontrar vida extraterrestre intelixente sexa por medio da análise de sinais electromagnéticas capturadas en distintos radiotelescopios, ou ben enviando mensaxes de distintas naturezas ao espazo coa esperanza de que algún deles sexa contestado.

Utilizan o sistema BOINC, unha plataforma para a utilización da computación distribuída. Nela descárganse a aplicación propia do SETI (SETI@home), que grazas ós os ordenadores dos usuarios desinteresados, poden desencriptar datos provenintes das radiofrecuencias. O problema está en que esta app é moi pouco visual e non entendible se non es un físico da NASA, etc...

O proxecto trátase do deseño da interface para a aplicación do proxecto SETI, a fin de que os usuarios que apoian o proxecto de maneira máis comprometida, poidan entender que significan os datos que se descodifican dunha maneira moi visual e intuitiva. Esta app vaise implementar na aplicación real SETI@ home, converténdose nunha infografía que reinterpreta de maneira gráfica e audiovisual os datos obtidos polos ordenadores persoais dos usuarios que ceden o seu espazo (computación distribuída), para analizar as sinais desencriptadas.

O concepto básase na representación gráfica e sinxela comprensión por parte do usuario, dos datos científicos desencriptados e analizados. Está presente en toda a identidade así como na aplicación, fomentando que o proxecto incremente o seu número de usuarios interesados e de doazóns.

Trátase dunha gráfica baseada na lexibilidade e óptima asimilación visual, favorecendo así as relacións entre usuario e os novos medios.

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ACEÑAS LEDICIA VELOSO Premio Mestre Recén titulada en Ensinanzas Superiores de Deseño de Interiores, acada o máximo recoñecemento a nivel estatal en Escolas de Arte co seu proxecto fin de estudos, gaña o Premio Mestre 2017.

En Allariz, un lugar onde o río se funde coa historia e a tradición dun pobo estreitamente ligada ao curso das súas augas; descubrín a historia... a historia dun muíño: Un muíño ao que lle tocou estar á marxe esquerda do río Arnoia e só por ese motivo converteuse en muíño fariñeiro e non de curtidos.

Un muíño que naceu como edificio e que se converteu en referente dunha comarca, un muíño con tres pedras de moer que eran a envexa de moitos outros muíños, un muíño que escoitou cancións no seu interior, que acubillou reunións de pobo, que foi testemuña de decisións entre veciños, que albergou segredos, un muíño que sufriu os avances tecnolóxicos e tentou sen moito éxito converterse en central eléctrica, un muíño que sufriu saqueos, un muíño que o foi todo e que acabou como moitos outros sendo nada, unha ruína.

Pero unha ruína pola que aínda flúe a auga, e do mesmo xeito que o sangue mantén vivo un organismo, esta auga volverá darlle vida.

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FARO PUNTA CABALO RESTAURANTE ALEXANDRA REGUEIRA VENTOSO Cara ao atardecer, flotando á deriva na inmensidade do mar. Rodeados dos escintileos do sol, quizais sería mellor mergullarse para evitalos, pero atravésannos, perséguennos, ou en realidade guíannos?

Exploramos na variedade do fondo mariño. Pasan as horas e seguimos buscando. O que? Quen sabe.

Quizais cando sexa o momento verémolo a primeira vista, pero mentres pasan as horas, no fondo do mar.

Agora os escintileos son menos intensos, a luz volveuse máis suave, parece que nos tenta transmitir algo, como unha sensación de serenidade, de tranquilidade.

Seguimos o camiño da luz, pero desaparece, aínda que aos poucos minutos volve.

En cambio, elas sempre están aí.

Non é a luz a guía, senón esas liñas que están sobre nós.

Aí estaba, o que tanto buscaramos, sempre estaba aí, pasando desapercibido coas súas formas, tan simples..., pero en realidade son algo máis, non son un mero elemento, nin anacos de madeira..., son as que che protexen no medio do mar, son ás que chamas fogar.

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CINE LALÍN JAVIER LÓPEZ

A modernización e os cambios en gustos e costumes esixen unha adaptación constante. En moitas ocasións non queda outra que renovarse ou morrer. Iso ocorreulle ós cines de moitas vilas galegas, que non foron quen de competir con multisalas máis modernas situadas xunto a outros espazos de lecer.

Un deses casos é o do “Cine Lalín”, situado nunha vila que actualmente non conta con cines abertos, a pesar de dispoñer de dúas multisalas de recente implantación.

Agora terá unha nova oportunidade para rexurdir coa terceira intervención relevante que se realizará sobre o mesmo. Preténdese unha transformación que o dinamice e amplíe o abano de posibilidades de uso do edificio, mantendo a súa esencia, con espazos multifuncionais sen estar restrinxido únicamente ás sesións de cine. Para elo, realízase un cambio de enfoque, vertellando diversos usos e actividades en torno a unha cafetería.

Analizando o edificio actual, este conta con unha posición privilexiada respecto da súa contorna urbana. A súa volumetría adaptase ás edificacións lindeiras, con un carácter diferenciador pola configuración da fachada, con grandes ocos, protección do acceso para o público e un interesante xogo de volumes, cunha gran peza cega que sobresae con voo. Todos estes elementos facilitan a interpretación do seu uso público. No interior as vigas descolgadas de importante sección permiten adiviñar a estrutura portante. Conta nos seus vestíbulos cunha gran comunicación visual interior - exterior. Os espazos interiores configúranse con gran claridade espacial, cunha disposición de elementos que favorecen a orientación.

A hora de intervir, procúrase o respeto polo edificio actual, conservando os elementos de interese cos que conta, de xeito que se compatibilicen cos novos usos pretendidos. O programa funcional consta de cafetería, sala de proxeccións, salas complementarias e máis espazos de servizo.

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ALBERGUE DE PEREGRINOS INÉS GONZÁLEZ

A humanidade está sempre “camino de”. A ida e volta en calquera actividade humana pode recoñecerse como un camino no que se desenvolven potencialidades físicas ou espirituais, ou porque non, ámbalas duas a un tempo.

O corpo e o espíritu do home, polo propio feito de vivir, existir, pensar, querer camiñan. A búsqueda é una constante e, polo tanto, supón facer una sorte de camino no que os encontros se convirten en metas.

Y é que ao final de calquera ruta existe un lugar de chegada. Pero inda que o destino sexa chegar a una meta, no feito de facer o camino o home goza e sufre, desgasta o seu ser e alimenta o seu espíritu, vive e, no seu vivir, desplega os valores da sua humanidade. Ningún pobo, ao longo dos anos deixou de camiñar. O propio feito de ter un pasado, supón un camino. Imaxinar e construir un futuro lévanos a conquista dunha meta, tanto no individual como no colectivo.

Estivemos, estamos e estaremos sempre “camino de”.

Entendo o albergue como un lugar de encontró no camino, un punto kilométrico. Mais que simplemente un sitio para dormir ou donde acollerse, os novos espazos invitan a interactuar con outros usuarios, a intercambiar experiencias. Polo tanto, buscouse que os peregrinos non só descansen trala xornada de viaxe, senón que disfruten do camiño. Procúrase no interior fluidez e continuidade espacial, a un tempo que espazos acolledores para a interección dos visitantes, onde ler un libro, conversar diante dun lume ou seguir camiñando entorno da edificación.

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É DE DÍA EN AUSTRALIA COLECTIVO FOTOGRÁFICO PUNTOONCE

A fotografía nocturna, e todo o que iso leva desde a emoción e o pensamento, é experimentada neste proxecto de maneira diversa.

O colectivo fotográfico PuntoOnce afonda no diálogo entre a escuridade, sensible ou figurada, e o home como espectador ou habitante, respectivamente. Nese proceso de coñecemento do outro, a mirada do fotógrafo constrúe un segundo nivel de nocturnidade: mentres é de día en Australia os autores mergúllanse na noite.

Oito fotógrafos profesionais conforman o colectivo fotográfico PuntoOnce: Sara Antepazo, Tamara Barros, Lydia Castro, Natalia Figueiras, Reimon Rodellar, Miguel Rodfer, Brais Seara e Sainza Trébor. Únelles o interese pola creación fotográfica e a obra de autor, así como a vinculación entre as súas diferentes profesións e o ámbito da fotografía. Publicidade, Maxisterio, Belas Artes, Deseño Industrial, Artes Gráficas, Xornalismo, Arte e Patrimonio, son os campos que individualmente desenvolven e dos que se enriquecen como medio de achega á imaxe.

A súa natureza multidisciplinar fai que a visión conxunta medre grazas a diferenza das oito miradas fotográficas. No seu día, todos eles titúlanse na especialidade de Fotografía Artística, na EASD Antonio Faílde e é o seu paso polo centro o que os unirá. https://www.facebook.com/puntoonce/

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Fotografía: Sainza Trébor

Nocturno é o momento no o que soño impide seguir mirando.

Nocturno é a toma intencionada que o fotógrafo recolle mentres outros durmen.

Nocturno é o sentimendo de individualidade que desprende a imaxen soa.

E nocturno é o son silencioso qeu acompaña mentres é de día en Australia.

Fotografía: Lydia Castro

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FotografĂ­a: Sara Antepazo

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Fotografía: Reimon Rodellar

Fotografía: Miguel Rodfer

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FotografĂ­a: Tamara Barros

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FotografĂ­a: Natalia Figueras

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CAMPO DE BATALLA VICKY FEIJOO QUINTAS

Campo de batalla é un proxecto persoal que fala da loita constante que se desenrola dentro de un mesmo a hora de aceptarse. A través da linguaxe fotográfica, e dunha forma metafórica, tento mostrar o interior dunha persoa no momento de mirarse a un espello, ou incluso no punto no que un se para a facer unha balanza das suas características físicas e psíquicas (donde sempre pesa máis o negativo). De esa espiral nace o meu proxecto, no que o autorretrato, o desnudo, o movemento e o desequilibrio son pezas fundamentais para darlle intimidade, personalidade, dramatismo e sobre todo sinceridade, unha verdade sen maquillaxes.

Victoria Feijoo Quintas: html?m=1 viky_k_5@hotmail.es http://tusonrisaeselmayordelosregalos.blogspot.com.es/2017/03/intocables.

Ourensana do 1997. Actualmente estudante de fotografía na EASD Antonio Failde ademáis de adicar o tempo libre a escribir poesía nun pequeno blog.

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TRASLUMBRE ANTÍA RODRÍGUEZ CALDEIRO

Na zona da miña avoa, Traslumbre é un recordo vago ou mal fixado.

En Traslumbre trato de adentrarme na mirada dos enfermos de alzheimer, sitúandome na da miña avoa. Móstro un contexto protagonizado polo tempo onde a rutina está presente.

As imaxes están organizadas dun xeito cíclico, comezando a visión subxetiva cun reloxo e rematando de novo con el. A penúltima fotografía é a mesma que a primeira, só que nesta ocaión os números están cambiados de lado. Os enfermos de alzheimer acoden a unhas revisións periódicas para ver a evolución da enfermidade mediante probas. Unha delas consiste en debuxar un reloxo. Cando a enfermidade empeza a empeorar, moitos doentes debuxan o reloxo cos números cambiados de lado, tal e como saen na foto que pecha a mirada subxectiva. Na última imaxe saio da mirada subxectiva xerando unha certa distancia coa miña avoa.

Antía Rodríguez Caldeiro: rodriguezcaldeiro@gmail.com Nacín en Narón no ano 1994. No 2014 rematei os meus estudos de fotografía na EASD Antonio Failde. Actualmente son estudante de Belas Artes na facultade de Cuenca, interesándome por outros campos artísticos como a escultura e o videoarte.

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O OUTRO CAMIÑO IVÁN FERNÁNDEZ BABARRO E IAGO GONZÁLEZ GONZÁLEZ Dúas miradas fotográficas pola ruta que vai de Ourense a San Andrés de Teixido.

En xullo de 1927 os escritores Ramón Otero Pedrayo, Vicente Risco e Ben-Cho-Shey percorreron Galicia de sur a norte, dende Ourense a San Andrés de Teixido (A Coruña). Esa viaxe daría lugar dous anos despois a un libro que xa é histórico: Pelerinaxes I. En xullo de 2015 os fotógrafos, e antiguos alumnos da escola, Iago González e Iván Fernández volveron facer ese mesmo percorrido, acompañando a rodaxe do filme Pelerinaxes do director Simone Saibene.

Nesta nova viaxe, que durou nove xornadas, os fotógrafos, convertidos en camiñantes denantes que en turistas, foron construindo o relato dunha Galicia íntima, cercana e viva. Unha terra que a pesar dos cambios e do paso do tempo segue conservando a sua identidade, a mesma que tentaban descrubir os tres primeiros camiñantes.

Iván Fernández Babarro: ivanfdefoto@gmail.com Iago González González: furriqueira@gmail.com

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Fotografía: Casa de Otero Pedrayo

Fotografías: Rodaxe

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RUPEZ XESÚS PACHECO

Rupez, mergullado na xeometría. Rupez, o peixe regra.

“Rupez“ é unha orixinal peza de madeira que tanto pode ser o xoguete de calquera cativo como unha precisa ferramenta de traballo. Dotado dunha liña ergonómica, peso reducido e un aspecto simpático pode acompañar os mais pequenos en grandes aventuras polos océanos da fantasía. Pero ademais disto, este animaliño posúe ferramentas ben útiles para o estudo.

O aparello está fabricado con dúas variedades de madeira unha de cor clara, castiñeiro, e outra escura, sapeli. O contraste entre materiais na construción das espiñas, a modo de franxas dun centímetro de anchura, convertendo a Rupez nunha regra calibrada.

Ademais a súa parte traseira tamén é útil para o debuxo, apoiando a aleta no lateral do caderno podemos trazar de xeito doado e preciso rectas coas inclinacións máis comúns, 30, 45 ou 90 grados.

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O BOSQUE TRABALLO CONXUNTO

Traballo realizado de maneira conxunta por Alberto Salgado Caramés, Fernando Marcos Jiménez, Xesús Pacheco, Jairo Ramos Rey e Maikel Lorenzo, onde de forma artesanal se crean os elementos arbóreos que constrúen este singular bosque. Ó longo da historia, os deseñadores intentaron modificar os espazos, xa sexa representando a propia realidade como distorsionándoa ata puntos case incomprensibles. Buscouse sempre a innovación, aínda que a maioría dos deseños xorden, como neste caso, da observación e inspiración na propia natureza e nas súas formas contorneadas, curvadas e suaves.

Estas pezas inspíranse na corrente organicista, nesas liñas que se crean naturalmente de forma arbitraria, nesa continuidade de curvas e no seu dinamismo. Este proxecto nace ao visualizar os perfís deseñados revolucionados, como o fariamos nun torno en taller. Os seus volumes harmónicos, continuos e estilizados recordaban a todo un mundo vexetal, xurdindo así, a idea de crear un bosque figurativo.

Coa serie O bosque, inténtase deseñar unha composición equilibrada e ordenada, coidando todos os detalles, desde a elección do material ata o seu acabado natural, de xeito que, ademais da súa función decorativa, se crea o ambiente propio dun bosque.

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WAVE XESÚS PACHECO Berce para nenos entre 0 e 7 meses.

O proxecto desenvolvido na EASD Antonio Faílde de Ourense acadou o Primeiro premio no XVIII Concurso de Deseño de Mobles “Ciudad de San Sebastián”.

“Wave” é un berce, inspirado en elementos protectores propios da natureza.

Nel pódense distinguir tres partes: Unha cama interior, a membrana. É unha hamaca tecida con lá natural que envolve ao neno coma se dunha membrana ou crisálida se tratara.

A estrutura exterior, a cuncha. A cama estará suxeita a unha estrutura curvada que actuará a modo de sistema protector, ademais posúe unha dobre función como mecedora.

Sistema de movemento mediante auga. O berce aloxa dous recipientes con auga, nos cales o líquido actúa como un péndulo xerando un movemento oscilante.

“Wave” non é un volume cilíndrico como semella, senón un prisma. Isto débese ao sistema construtivo, unha variante do sistema de curvado Kerf.

Dita modificación consiste na introdución de cuñas de madeira nuns cortes executados previamente na cara interior do taboleiro. Ditas cuñas proporcionan un maior control da curvatura, ademais de reducir a perda de resistencia mecánica producida ao efectuar os cortes.

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SEN SUR JAIRO RAMOS REY

É un obra de factura artesanal composto de tres pezas con forma de corazón, que apiladas forman unha montaña. Úsanse tres madeiras diferentes que se labran para que as súas vetas coincidan coas faldras desta.

“Sen sur” son tres corazóns máis achegados á calor que a palabra “sur” emite.

Sempre que buscamos as nosas orixes, o centro, o corazón é a montaña a onde subo, ó ser a miña atalaia de referencia sempre que pretendo descifrar o relevo do terreo, tanto físico como emocional. Onde subo cargado e baixo liberado.

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PEL DE FOCA, PEL DA ALMA LAURA VÁZQUEZ DOSIL Álbum ilustrado Desde finais dos anos cincuenta artistas como Leo Leonni, Maurice Sendak ou Tomi Ungerer sentaron as bases conceptuais do que coñecemos como álbum ilustrado. Prodúcense por estas datas algúns títulos clásicos (Na noite escura de Bruno Munari (1956), Pequeno azul, e pequeno amarelo, de Leo Leonni (1959); Os tres bandidos, de Tomi Ungerer, (1961) e Onde viven os monstros, de Maurice Sendak, (1963).

A confluencia entre a linguaxe verbal e o visual resólvese no álbum ilustrado cun protagonismo esencial da imaxe, que máis aló dunha mera función decorativa, é portadora dun significado narrativo que enriquece o texto literario e participa decisivamente na xeración do sentido da obra.

A pesar de que o libro-álbum é un fenómeno editorial relativamente recente, as súas orixes remóntanse, segundo diversos expertos, a mediados do século XVII. TÉCNICA: Acuarela e técnica dixital.

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MERAKI ANDREA NOVELLE FERNÁDEZ Baralla de cartas ilustrada Este xogo de naipes vai dirixido a todos os públicos, pero en especial a persoas sordomudas. Consiste en relacionar cada insecto coa súa correspondente interpretación na linguaxe de signos.

Concibidas para ser usadas por logopedas e pedagogos, constitúen unha ferramenta lúdica para a aprendizaxe.

O proxecto tería continuidade abarcando, progresivamente, outros campos semánticos.

O nome desta colección de barallas será Meraki, palabra que provén do grego e que aínda que non ten sinónimo en ningún outro idioma, significa “facer algo con amor e creatividade”.

TÉCNICA: Acuarela e técnica dixital.

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LIMERENCIA CARLOS ALFAYA Caderno de viaxe Os cadernos de viaxe viviron a súa etapa de esplendor nos inicios da Modernidade, durante as grandes expedicións científicas e arqueolóxicas dos séculos XVIII e XIX. A través deles documentábanse mediante o debuxo os descubrimentos realizados.

Na actualidade a esta modalidade de cadernos dáselle un enfoque máis persoal como forma de expresión para reflectir as experiencias dunha viaxe ou as vivencias nun lugar determinado durante un período de tempo.

Gústame traballar en dous cadernos de bosquexos ao mesmo tempo. Un deles é para o t raballo e contén moitos debuxos, ideas para cartóns e libros. O segundo é para o pracer, con collages, pensamentos propios, persoas ás que admiro, citas de libros, noticias e críticas das películas, ese tipo de cousas.

Pablo Amargo (ilustrador) Un caderno de bosquexos é unha ferramenta para comunicar e intercambiar ideas, a inspiración para a miña obra, unha colección de momentos Agnès Decourchelle (Lda en BB.AA./deseñadora) O meu caderno de bosquexos é como un secuaz aprobatorio: independentemente do estúpida ou mala que sexa unha idea. Sentimento ou execución, o meu caderno de bosquexos sempre o aproba e permíteme continuar co meu camiño, adondequiera que leve, É un aliado constante na miña loita sen fin contra o baleiro e a lóxica.

Dominic del Torto (artista/diseñador/animador/ilustrador) A miña memoria é caprichosa e selectiva e por este motivo estou decidido a valala. Esfórzome ao máximo por ir deixando constancia do meu camiño, os sinais e as marcas que mostra o meu proceso e o meu punto de chegada. As miñas ilustracións e escritos son pequenos fitos ao longo do camiño, que proporcionan probas de que estou a vivir.

Isidro Ferrer (ilustrador/deseñador) TÉCNICA: Acuarela e técnica dixital.

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OMNIFOBIA XIANA RODRÍGUEZ CANLE Guía didáctica ilustrada Fobos, fillo de Ares e Afrodita, é a personificación do horror e o pánico.

Partindo desta representación divina, denomínase fobia a un trastorno psicolóxico e emocional caracterizado por unha sensación de pánico, intenso e irracional, ante determinadas situacións, obxectos ou seres.

A serie Omnifobia é un encargo da Sociedade Española de Psiquiatría para ilustrar unha guía de difusión desta problemática dirixida a un público adulto.

TÉCNICA: Acrílico e técnica dixital.

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A COR NO DEPORTE JOSEP MARÍA MIR

Agora que se celebra o 25 aniversario dos Xogos Olímpicos de Barcelona’92 é, sen dúbida, un bon momento para reflexionar sobre a cor e o seu papel no deporte.

Sentir as cores Un anaco de tea, dun ou varias cores, que se emprega como insignia ou sinal, é -segundo define o diccionario- unha bandeira.

As bandeiras sempre están no máis alto (“encheuse ata a bandeira”), dado que a súa función depende da súa visibilidade. As bandeiras son fillas do enfrontamento, da confrontación, estandartes visibeis aos que acollerse, expresivos do bando ao que se pertence ou co que se simpatiza.

A unha bandeira pódela xurar, servir, saudar, agraviar e desagraviar. Hai bandeiras de conveniencia, mulleres de bandeira e Antonio Banderas. Mesmo se fala de “guerra das bandeiras”, como se estas tivesen vida propia que perder.

Este é un mundo de bandeiras. As bandeiras de sempre e as bandeiras de hoxe: as marcas. Non hai bandeira se non hai cor. É a cor (e a maneira en que esta se manifesta) o que determina a identidade propia e singular de cada unha das bandeiras. As habidas e as por haber.

Dunha detida observación do conxunto das distintas bandeiras (e marcas!) existentes, pódese deducir que, a pesar de ser inmensa a súa pluralidade, a singularidade diferencial e específica de cada unha delas obtense mediante o manexo dunha ou varias cores, elixidas entre un repertorio composto de tan só seis (amarela, vermella, verde, azul, branca e negra) en distintos matices.

Reducido repertorio, aínda que a todas luces, do que en maior ou menor medida, e salvo contadas excepcións, todas elas participan.

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Ocorre, en certa maneira, como nos números, nos que tan só a primeira decena é singular (1, 2, 3, 4, 5, 6, 7, 8, 9, 0), pertencendo todos os demais ao terreo da multiplicidade. Así, o 69, por pór un exemplo, é consecuencia da unión dun 6 e un 9.

Elixir e combinar é crear. amarela, vermella, verde, azul, branca e negra; seis cores que aparecen esenciais e protagónicas na nosa vida cotiá. Aparecen en canto nacemos. Son as primeiras que aprendemos a distinguir e a nomear e, ademais, ao aprendelas adquirimos consciencia da existencia das demais cores.

se debe ao gran poder que atesouran de ser inmediata e inequivocamente recoñecidas como aquelas que son máis diferentes entre si, que posúen unha maior personalidade individual.

Aspecto este no que é indubidabel que non hai cor. Gañan por goleada. Van líderes.

Probabelmente é por todo iso que os deportistas se enfundan na súa bandeira, ben sexa de clube, ben sexa de selección. De feito mais que suar a camiseta o que realmente súan é a bandeira. E se a senten o que en definitiva senten son as súas cores, mentres os visten para ser vistos.

Son as cores dos obxectos e xoguetes infantís: cubo, pa, Lego, parchís...

Son as cores do lecer, do xogo e do azar: dominó, billar, xadrez, poker, ruleta...

Son as cores con que nos guiamos, ordenamos e advertimos: auga fria e quente, semáforos, sinais de tráfico, transporte público, sinalización viaria...

Son as cores de Miró, de Mondrian, de Rietveld...

Cores omnipresentes. Vistas mais tamén ditas: desde o planeta azul observamos o planeta vermello que se dicía habitado por homiños verdes. Pódese estar vermello de ira, porse vermello de vergoña ou ser un vermello. Pódese ser un vello verde sendo un pel vermella, pero non se pode ser príncipe azul sen ser de sangue azul, aínda que conte chistes verdes. Mesmo un pode estar demasiado verde para liderar aos verdes.

Alguén se imaxina un deporte sen bandeiras? Ao fin e ao cabo a bandeira deportiva por excelencia non é outra que a olímpica, e as súas cores non son outras que as seis de marras: amarela, vermella, verde, azul, branca e negra.

Todas elas e ningunha máis.

E que gañe o mellor, que sexa o que sexa sen dúbida ostentará unha ou varias desas seis cores.

Está cantado. Vai unha porra?

“A prensa amarela púxoo verde por acudir branco de medo a ese mercado negro, cheo de xente con negras intencións, mentres redactaba o libro branco da novela negra”.

Non coñecemos cal é a referencia do “Pantone Vermello de Vergoña”, nin é verdadeiramente vermella a cor dun pelirroxo. O vermello actúa como cor de referencia esencial, paraugas de todos os vermellos.

Hai outros vermellos, pero están neste.

Toda cor que parece vermella é vermella, e éo polo principio de identificación suficiente. E o mesmo ocorre coas outras cinco cores desa paleta esencial.

Unha vez establecido que a inmensa mayoria de bandeiras se xeran a partir desa paleta tan escasamente variada, e visto que esas mesmas seis cores aparecen como funcionalmente esenciais no desenvolvimiento da vida cotiá, podemos convir en que son os “cores básicas” na comunicación, e que iso 065

MOBLES DE MADEIRA NA ACTUALIDADE ELÍAS CUETO Tradicionalmente o moble foi un obxecto duradeiro, un investimento familiar destinado a durar toda a vida. Era habitual atopar en calquera casa mobles herdados; como tamén era normal reparalos e actualizalos para contribuír á súa conservación e prolongar a súa vida útil.

Nos últimos anos esta realidade cambiou. Hoxe a maior parte do gasto en mobiliario non é investimento en bens duradeiros, senón consumo. A forma de relacionarnos coa oferta de mobiliario cambiou e fíxoo seguindo as pautas da moda. Por unha banda grandes almacéns con produtos de baixo custo que fan posible comprar mobles de tempada ou simplemente por variar. Por outra banda boutiques con produtos cargados de prestixio a través do apoio de marcas e firmas internacionais. No século XXI o moble xa non é unha construción senón un artigo de moda.

A historia do moble estivo fortemente ligada á burguesía. O moble non só era un investimento duradeiro, tamén era un símbolo de status. Aínda que hoxe segue sendo así, os usos sociais cambiaron e recibir na casa é unha cerimonia que cada vez se practica menos.

Por iso, outros produtos de consumo máis visibles desprazaron o moble na súa capacidade para representar o status persoal en sociedade. Un teléfono móbil de última xeración pode custar máis que un moble de deseño e desde logo perdurar moito menos, pero a maior parte dos consumidores prefiren empregar os seus aforros no teléfono.

Como resultado deste cambio nas preferencias dos consumidores e os modelos de consumo, a porcentaxe de renda dedicado á adquisición de mobiliario descendeu de forma significativa nos últimos anos. Esta menor disposición ao gasto en mobiliario súmase á crise demográfica e o envellecemento da poboación que caracterizan a nosa contorna. O resultado é un retroceso do consumo dentro do ámbito do moble doméstico.

A pesar do anterior, outros sectores vinculados ao lecer experimentaron un forte desenvolvemento nas últimas décadas. O tempo e renda dedicados a actividades de turismo e lecer intensificáronse. Como resultado desta tendencia, a demanda de moble para hostalería e hotel multiplicouse, desenvolvendo unha nova industria da fabricación de mobles: o contract. Esta actividade asume o deseño, fabricación e subministración de contornas completas: hoteis, restaurantes, etc.

A súa oferta baséase preferentemente en servizos antes que en produtos e dá prioridade á dirección e á coordinación artística fronte ao deseño en si.

O CUSTO NUN PRODUTO DE DESEÑO Cando gastamos 100 euros nun moble de madeira de deseño, unha parte do diñeiro xera beneficios pero outra parte destínase a pagar custos. Sendo 066

así, cabe facerse unha serie de preguntas: Con que conceptos se relaciona a maior parte do gasto? Canto diñeiro se consome propiamente na adquisición de madeira? E canto en salarios de deseñador? Estas sinxelas preguntas permítennos identificar cales son as principais barreiras ás que se enfronta a empresa que representa entrar no mercado do moble como ofertante.

A partir dos estudos de AIDIMA e utilizando cifras redondas, a comercialización e distribución representa algo máis do 50% do custo do produto cando chega ao cliente. A fabricación apenas un 35%. A materia prima empregada, de cando en cando supón máis do 10%, sendo o uso de madeira unha das formas de reducir o seu impacto. Os custos de deseño representan un 5% do custo do produto aínda que neles se inclúen tanto os honorarios do deseñador como o custo de prototipado e desenvolvemento de produto, a certificación, o packaging, etc.

A realidade actual é que a maior parte do custo dun produto corresponde aos gastos comerciais e de distribución. Por ese motivo a venda on-line desenvolveuse de forma tan rápida, porque supón unha drástica redución de custos naqueles factores que contribúen en maior medida ao prezo do produto. O modelo da comercialización on-line fai posible reducir a fracción máis importante do custo do produto e é por tanto un modelo que veu para quedar. Con iso non pretendemos afirmar que a distribución física estea condenada a desaparecer. Por volume e peso así como pola necesidade de probalo e tocalo para valorar a súa calidade, o moble ofrece unha certa resistencia á comercialización na Internet. Debido a que o custo de distribución e comercialización é o máis relevante na estrutura de custos do produto, a capacidade dos comerciais para definir a produción, crear marca e actuar como editores de deseño é maior que a dos propios fabricantes. O éxito de empresas como Ikea ou Muji é elocuente. Son empresas comerciais, cuxa fortaleza radica precisamente en aglutinar -baixo o seu propio sinal e marca- deseños e fabricacións de terceiros.

Na actualidade o principal valor dunha marca de deseño é o seu mercado antes que a súa capacidade produtiva. Nun contexto de forte loita polo mercado e abundante capacidade produtiva ociosa, é máis importante controlar a sensibilidade dos potenciais compradores que dispoñer dunha capacidade de aprovisionamento e fabricación especialmente competitivos. Por iso, para lanzar un proxecto de mobiliario de madeira o prioritario non é unha carpintería, o prioritario é un mercado e unha rede comercial; e sobre eles a construción dunha personalidade propia, algo que xeralmente resumimos como unha marca. O uso dun determinado material, tecnoloxía e deseños pode contribuír a definir unha liña editorial e facer posible unha marca, pero o maior investimento corresponde á efectiva toma de postura desa marca e deses produtos no mercado.

Falar de personalidade propia fainos pensar no carisma dos deseñadores, pero hoxe a liña editorial e a dirección artística son máis relevantes que o elenco de deseñadores e os deseños en si. A realidade actual é que, socialmente, o termo? firma? cada vez designa menos a personalidade concreta dun profesional e máis a dunha marca comercial. Os deseñadores falan de Hans Wegner (o deseñador), pero os clientes refírense a Carl Hansen (o fabricante).

alcanzan o importe do desconto básico para distribuidores. O verdadeiramente relevante é a coordinación entre empresas produtivas especializadas en cada fase da fabricación; o liderado no ámbito da coordinación editorial e; sobre todo, a capacidade para penetrar comercialmente no mercado.

MATERIAL E DESEÑO FRONTE A MERCADO E CANLES Coma se se tratase dun iceberg, aquilo que apreciamos no caso dunha cadeira de madeira de deseño é só unha pequena fracción do que a constitúe realmente. Levámonos á casa unha certa cantidade de madeira mecanizada e ensamblada de tal forma que resulte esteticamente atractiva; pero o que en maior medida estamos a pagar é a capacidade de organizar de forma eficiente procesos produtivos e comerciais.

Non é casual que as principais firmas de mobiliario de deseño se sitúen en rexións industrializadas, pero sobre todo en rexións cun mercado potencial relevante, isto é, unha poboación concentrada e con poder adquisitivo alto así como cunha longa tradición comercial. Desde Amsterdam e nunha área de seis horas en coche, é posible alcanzar todo o norte de Alemaña (Berlín, Hamburgo, Hannover, Frankfurt, Colonia?), toda Holanda, Bélxica e Luxemburgo así como o sueste de Inglaterra -incluíndo Londres- e o nordés de Francia contando con París. Ese territorio reúne case 100 millóns de persoas cun poder adquisitivo que duplica o español.

Cando analizamos o mercado dos produtos de deseño de madeira, a realidade é que a abundancia de árbores e deseñadores é menos relevante que outros factores. O custo da materia prima e o deseño dun produto de cando en cando

Outro exemplo clarificador é Milán. A menos de seis horas de distancia en coche abárcase toda Suíza, o sueste de Francia -unha das súas rexións máis ricas- e o sur de Alemaña, incluíndo Múnic. De novo un mercado potencial

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en termos de número de clientes e poder adquisitivo resulta ser extraordinariamente maior do que podemos abarcar nas mesmas condicións desde Santiago de Compostela.

AO SERVIZO DE QUE OU DE QUEN A pesar de que os exemplos anteriores poden resultar desalentadores, o certo é que desde a nosa posición existe a posibilidade de definir proxectos empresariais de éxito e de facelo apoiándose na madeira e o deseño. Os exemplos de relevancia que forman parte do sector da madeira existen e son numerosos.

Galicia exporta produtos de primeira transformación, embalaxe e produtos intermedios de madeira apoiándose no privilexiado acceso á materia prima así como na adecuada definición de produto e control de calidade. É o caso de pequenas empresas fortemente comprometidas coa exportación como Seistag, Madeiras Ornanda ou Laminados Villapol; así como grandes empresas responsables da maior parte do emprego dentro do sector como son o Grupo Losán ou Finsa.

Tamén no ámbito dos produtos de consumo final ou de deseño, a nosa comunidade conta con exemplos de éxito en diferentes ámbitos. Desde as portas de madeira e o moble modular aos servizos de contract e a edición de deseño. Aliusporta, Moblessence, Industrias Cándido Hermida ou Galopín son exemplos de proxectos nos que o deseño do produto de madeira é un factor crucial no seu éxito empresarial.

Onde material e deseño poden crear riqueza en maior medida -tanto desde o punto de vista económico como cultural- é precisamente sobre as capacidades da industria existente e sobre as canles e actividades comerciais existentes. Para iso é preciso un compromiso centrado na madeira que efectivamente é abundante e competitiva, como é preciso un compromiso de deseño referido aos produtos e servizos que efectivamente son viables, que contan con estruturas propias e inercias positivas.

En 1961, desde as páxinas da revista Domus -entón dirixida por Gio Ponti, extraordinario deseñador autor da Superleggera- o arquitecto español José Antonio Coderch afirmaba que non eran xenios o que necesitaba a arquitectura española, senón profesionais que desde o modesto exercicio da súa profesión impulsasen a construción e o urbanismo ao servizo do progreso da sociedade.

De forma similar, hoxe nin a sociedade nin a industria precisan de divos do deseño ou creativos histriónicos. O que necesitamos é un xeneralizado e continuado aumento do valor e rendibilidade das nosas actividades produtivas a través do aproveitamento do talento e os materiais propios.

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Ulm foi impulsada no sur de Alemaña con fondos norteamericanos como parte do programa de investimentos para a estabilización de Europa. Anteriormente o Black Mountain College desenvolveuse co obxectivo de reactivar a decadente economía produtiva do cinto industrial de Michigan, contando para iso cos profesores da Bauhaus exiliados de Europa por causa da gran guerra. Os grandes nomes do deseño da historia así como as principais editoriais de deseño, todos eles remiten a ambiciosos programas colectivos cuxo obxectivo primordial foi desenvolver a actividade económica en xeral e en particular a industria e o comercio.

Na actualidade o desafío da colaboración entre deseñadores e industriais non é outro que embarcarse nunha misión compartida. Para iso é preciso compartir unha visión e cooperar para alcanzala. Dá igual que a motivación xurda dunha empresa tan ambiciosa como ir á lúa, ou dun desquite comercial como o Made in Germany, en todos os casos o éxito da misión depende fundamentalmente de que o obxectivo compartido sexa capaz de inspirar a colaboración e motivar o esforzo de todas as partes.

O RETO DA COOPERACIÓN Se algo caracteriza a sociedade moderna é que a importancia da organización supera a dos recursos dispoñibles ou os esforzos individuais. Os resultados alcanzados dependen máis da capacidade para fixar obxectivos compartidos e cooperar en conseguilos, que da dispoñibilidade de recursos para abordalos. Dá igual que falemos de nacións ou de empresas, e dá igual que o obxectivo sexa mellorar a calidade de vida ou gañar diñeiro: en todos os casos o factor clave, o que marca diferenzas, é a capacidade para xestionar o talento e para mobilizar os recursos necesarios para alcanzar os obxectivos previamente fixados. Non foi á lúa o país que estaba máis preto dela senón o que conseguiu articular o maior programa científico, tecnolóxico e industrial máis ambicioso da historia da humanidade.

Vivimos na era das organizacións e o noso éxito depende cada vez menos da materia prima ou do esforzo e máis da capacidade para actuar como unha organización: definir obxectivos, captar talento e establecer vínculos de colaboración. Quen tentou abordar unha empresa de relevancia é consciente de que as principais barreiras competitivas son a falta de confianza e a insuficiente visión antes que a escaseza de medios ou a ausencia de formación. Os recursos e a formación poden importarse ou adquirirse, pero a confianza mutua e a visión compartida deben ser construídas internamente.

Foi desta maneira como a Alemaña industrial de finais do XIX transformou o Made in Germany nunha marca de calidade. Os ingleses estableceron orixinalmente esa etiqueta como unha barreira comercial destinada a impedir e vetar a entrada de produtos alemáns no comercio británico e por tanto no comercio mundial. O goberno alemán, xunto coas principais fortunas e cerebros do país, desenvolveu un programa orientado a aumentar a competitividade da súa economía. Desenvolveron a especialización, o control de calidade e a normalización. Crearon as soadas normas DIN -Deutsche Industrie Normen- así como o sistema de formación profesional máis práctico do mundo. Desta forma converteron un estigma estranxeiro en orgullo nacional.

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WUNDERKAMMER CARMEN LAGE

Se os cadernos de viaxe non existisen, habería que inventalos. Non hai mellor antídoto contra o medo á páxina/lenzo en branco.

Ferramenta común de científicos, artistas e exploradores, os cadernos de John White, Alexander von Humboldt, Carl Linneo, David Livingstone, Charles Darwin, Franz Boas, Howard Carter, pero tamén de Eugène Delacroix, Joseph Mallord William Turner, Lle Corbusier ou Miquel Barceló, gardan topografías do físico e do intanxible, arquivos polos que navegar.

Exploradores de terras afastadas, de novos mundos, levaron detallados rexistros que describían as súas travesías. Grazas a eles amplíase o noso cosmos, gañando progresivamente terreo ao caos. (1) Fernando II de Austria posuía no Palacio de Ambras, en Innsbruck, unha colección á que se refería como Wunderkammer. Tal denominación -gabinete de curiosidades ou marabillas-, pasou a designar xenericamente a reunión de obxectos variados á que eran moi afeccionados tanto aristócratas como estudosos nos séculos XVI, XVII e XVIII. Floreceu, mesmo, un xénero espe-

cífico, as pinturas de gabinete, onde aparecían estes obxectos coa presenza, a miúdo, dos seus orgullosos propietarios. Antes de que a especialización irrompese en escena, pinturas, espécimes naturais, minerais, reliquias, antigüidades, mobles, xoias e obxectos arqueolóxicos procedentes dos extremos máis afastados do mundo, compartían espazo. Como as cámaras de marabillas, o caderno de viaxe admite todo tipo de contidos, sen censuras, sen molestias, cartografando o real. Na colonización dos enclaves do imaxinario, foron igual de audaces e decisivos. (2) As actividades dos primeiros científicos naturais, a ilustración científica e os cadernos de viaxe teñen con este mundo de curiosidades, vitrinas e gabinetes, relacións de proximidade. Naturalia e artificialia convertéronse, nos albores da modernidade, en protagonistas dunha estética relacionada coa observación empirista e, por tanto, coa emerxencia da ciencia. Describir, clasificar e reproducir de maneira meticulosa a realidade son operacións que delatan unha vontade de visión panóptica, unha ambición propia da expansión que inicia nestes momentos a súa andaina.

Xunto aos trinta e seis mil soldados de Napoleón que desembarcaron en Alexandría en 1798, atopábase un equipo multidisciplinar sen precedentes.

Máis dun centenar de investigadores e científicos tomaron rumbo cara O Cairo. Baixo as ordes do matemático e xeómetra Gaspar Monge (creador do actual concepto de “xeometría descritiva”) figuraban ao redor de 25 arquitectos e debuxantes. Cando avistaron por primeira vez as impresionantes pirámides de Giza, a súa misión transcendeu o afán puramente bélico e imperialista para abordar outra colosal e máis produtiva tarefa. A Descrición de Exipto, un fabuloso traballo composto por vinte e catro volumes repletos de belísimas ilustracións realizadas a partir da documentación alí reunida, converteuse nunha das publicacións máis exitosas do seu tempo. E na descrición máis fidedigna realizada ata entón daqueles exóticos territorios e os seus monumentos.

En 1908 Olivia Tonge iniciou así o seu sketch book Winsor & Newton :“Resulta que certa avoa, cando xa estaba preto dos 50 anos (...) díxose a si mesma: Mira, vou empezar a pintar”. E iniciou unha aventura que a levou á India e Paquistán, realizando 16 marabillosos cadernos. (3)

(1) John White. Mapa da costa este de Norteamérica que inclúe varias especies acuáticas.

1585. Acuarela realizada durante a expedición de Walter Raleigh. De valor incalculable, o caderno de White contén as representacións máis antigas da flora, a fauna e a vida dos americanos, que axudaron a conformar a primeira visión que a Inglaterra de Isabel I tivo das marabillas do Novo mundo.

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Os procesos creativos transitan, en ocasións, polo terreo do insondable. Edgar Allan Poe parece, a primeira vista, o exemplo perfecto. E, con todo relatos policíacos, como A carta roubada ou poemas como O Corvo, caracterízanse por unha arquitectura absolutamente racional e premeditada. O autor, nos seus artigos sobre teoría da narración, móstranos a caixa transparente do artificio, desvela os recursos utilizados. No polo oposto, a caixa negra da escritura surrealista nútrese dos automatismos psíquicos.

(2) Pedro P. Rubens e Jan Brueghel o Vello, Alegoría da Vista, óleo sobre táboa, 1617. Unha cámara das marabillas, probablemente de Isabel Clara Eugenia e Alberto, gobernadores de Flandes, cuxa residencia, o Palacio de Coudenberg aparece ao fondo.

(3) Acuarela de Olivia Tonge. Notas persoais, fauna, costumes da India e calquera cousa que chamase a súa atención como este cangrexo que “nada coa graza do voo dunha anduriña e aliméntase de presas vivas, que persegue coa velocidade dunha quenlla” atesóuranse en cada caderno.

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O versátil caderno, apto para o científico e o seu afán de catalogación taxonómica, e á vez, para o aventureiro audaz e trotamundos, acolle o predicible e o velado, o íntimo e o estraño, o común e o diverso. Nas súas páxinas, rexístranse os debuxos que identificaron o mimetismo batesiano, a teoría da evolución, as fases da lúa, as bases da xeografía e a antropoloxía moderna, as tumbas exipcias, a aparición da abstracción pictórica, os cumes do Himalaya, a selva do Amazonas ou os recunchos de África. (4) A viaxe a Oriente, é unha tese doutoral que reconstrúe e interpreta a viaxe feita por Le Corbusier entre o 23 de maio e o 1 de novembro de 1911, como dun dos momentos definitivos na súa formación. Baixo a dirección de Josep Quetglas, o autor, Ricardo Daza Caicedo, sostén que na produción posterior do mestre moderno latexa con forza o influxo das impresións recollidas no seu caderno de viaxe.

Non importa a idade, non fai falta ser un gran investigador, nin un intrépido explorador, nin un artista que realiza o seu grand tour. Por iso cada ano, como coleccionistas victorianos, confeccionamos os nosos pequenos wunderkammer. (5, 6, 7 e 8)

(4) Eugène Delacroix. Caderno do viaxe a Marrocos. 1832. O pintor forma parte da delegación enviada polo goberno francés ante o sultán de Marrocos, no contexto do expansionismo galo por este país e Alxeria. A viaxe a Oriente era cita obrigada para os románticos polo seu exotismo.

España e o norte de África enchéronse no século XIX de buscadores do pintoresco e o estraño.

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(6) Manuel Gallego. Caderno 2017

(7) Enrique Gistau. Caderno 2017

(5) Lía Soto. Caderno 2017

(8) Lucía Espino. Caderno 2017

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HISTORIA DA FAILDE MANUEL SEOANE O tempo que vai do Naranjito ao Faildinho Falar de deseño no Ourense dos anos oitenta do século pasado tiña algo de snob.

Sen ternos recuperado aínda do rubor do mundial en España do 1982, con aquel “Naranjito” e unha identidade gráfica tan pouco afortunada, e faltando algúns anos para que a olimpíada de Barcelona dese a coñecer ao mundo enteiro a contaxiosa euforia e o acertado deseño que se comezaba a facer en España.

Naqueles mediados dos 80 o novo panorama musical post-dictadura como caixa de resonancia da Movida Madrileña, xa tiña chegado con moita forza a Galicia, en particular a Vigo, con ramificacións importantes en Ourense coa banda Los Suaves que nacera no 1979.

José Luis Baltar tomaba posesión como presidente da Deputación no ano 1987, e no Polígono de San Cibrao, aínda que xa deixara de fabricar a emblemática cervexa San Martín, mantíñase aínda un tecido industrial de certa importancia onde Coren-UTECO emerxía con forza, ao lado da factoría de Citroen. Pero o que alí nos interesa é unha importante manufactura de mobles e outros derivados da madeira da man de Muebles Calvo, e Orember, que xunto con Muebles Cordeiro, e outras fábricas de menor importancia, configuraban un sector puxante na provincia.

No panorama artístico e creativo, Ourense mantiña certa inercia do importante movemento creado nos anos sesenta e que alentado por Vicente Risco arredor do bar Tucho, “ o Volter”, agrupaba a xente como Xaime Quessada, Virxilio, José Luis de Dios, Acisclo, Arturo Baltar, Buciños, e outros próximos como Vidal Souto e Quique Ortiz.

Nese contexto, no ano 1986 nace a Escola de Artes Aplicadas e Oficios Artísticos “Antonio Faílde”.

ANTECEDENTES As Escola de Artes e Oficios, creáranse en España na segunda metade do século XIX, inicialmente nas cidades máis industrializadas, chegando algo máis tarde ás cidades periféricas. En Ourense a Deputación Provincial tiña unha Escola de Debuxo desde 1856, pero a Escola de Artes e Oficios abriu as súas portas como tal no ano 1891, concretamente iniciou a súa actividade o día dous de outubro. Era no seu momento un dos poucos centros que permitían a instrución dos mozos ourensáns, xunto co Seminario, e a Escola Normal. Na primeira etapa chamouse Escuela Obrera Provincial, e o nome que aínda hoxe mantén de Escola de Artes e Oficios, foi oficial desde 1930.

Nas outras cidades galegas en que tamén se crearan as Escolas de Artes Aplicadas e Oficios Artísticos, Coruña, Lugo e Santiago, fusionáronse coas vellas Escolas de Artes e Oficios, pero en Ourense mantivéronse ata o día de hoxe as dúas institucións independentes e diferenciadas, se ben, no primeiro momento compartiron sede e parte das instalacións.

A PRIMEIRA SEDE NO ANTIGO HOSPITAL Iniciou a andadura a Escola de Artes Aplicadas e Oficios Artísticos no curso 1986-1987, con un claustro de catro profesores, que dende o primeiro momento se nutría con xente de belas artes, entre os que estaba o pintor de raíces ourensás e afincado en Vigo Anxel Huete, e arquitectos, coa representación dun moi mozo Juan Carlos Cabanelas A sede, no pabellón nº 1 do vello Hospital, un edificio que pertencía a Deputación Provincial, e que fora rehabilitado polo arquitecto Emilio Fonseca Moretón, para acoller á naquel momento case centenaria Escola de Artes e Oficios. Durante eses primeiros anos o edificio foi compartido polo tanto pola vella Escola de Artes e Oficios, dirixida naquel momento polo pintor D. José Corral, e a recén creada Escola de Artes Aplicadas e Oficios Artísticos, en horario diurno, dirixida por Dna. Elena Carpintero.

Esta cohabitación simbolizaba dalgún xeito a tradición desas históricas escolas que avogaban polo bo facer dos vellos artesáns, e a modernidade que se lle supoña ás novas, na que a palabra “deseño” era case un lema.

A convivencia destes dous espíritos xeraba algunha anécdota e pequenos conflitos, cos modelos de escaiola que uns utilizaban para “mancha”, e que os outros manipulaban cunha vocación “pop”, que tanto irritaba ao Sr. Corral.

O primeiro claustro de profesores celebrado o día 26 de marzo de 1987, presidido por Angel Huete, como director en funcións, pola ausencia da directora da Escola Elena Carpintero, na que o secretario Juan Carlos Cabanelas,

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deixa constancia dos acordos, entre os que salienta a solicitude para poder impartir o recentemente creado Bacharelato Artístico nas Escolas de Arte, e tamén a petición da creación dunha Facultade de Belas Artes para Galicia.

Sirva como anécdota que neste claustro ademais do director en funcións, e o secretario só asistiu a profesora Beatriz García Trillo.

O Consello Escolar do Centro non se creou ata o curso 1987-1988, como queda recollido na acta do día 3/11/87. Estabamos xa no segundo curso de funcionamento da escola, e no que o claustro se compuña xa de cinco profesores.

No curso 1988-1989, no que se ía completar o ciclo inicial dos cursos de comúns, do plan de 1963, e no que se iniciaba o primeiro curso de especialidade o claustro era xa de 9 profesores, incorporándose un mestre de taller, a unha plantilla de seis titulados en belas artes, e dous arquitectos.

A Especialidade coa que arrancaba a Escola era a de Deseño do Moble, que se tiña escollido pola tradición en Ourense dos artesáns da madeira, e a presenza de fábricas importantes xa citadas “Muebles Cordeiro” no barrio da Ponte, e “Muebles Calvo” no polígono de San Cibrao, aos que secundaban outras factorías de menor tamaño.

Foi tamén neste curso 1988-1989, concretamente no claustro do 5 de abril de 1989, cando se acordou solicitar para a Escola unha segunda especialidade, que sería a de Deseño Gráfico, por ser a máis demandada polo alumnado, e que iniciaría a andadura no seguinte curso.

Neste curso realízase tamén a primeira actividade que transcende ao propiamente académico, con un seminario de deseño impartido por D. José Ramón Méndez, profesor dun centro de referencia a nivel nacional, o DZ de Bilbao.

No Consello Escolar do 25 de xaneiro de 1990, xa se fala de que os estudos que se rexían polo plan de 1963, van ir sendo relegados a medida que se implanten os plans experimentais que se desenrolan equiparándoos aos do territorio MEC. Angel Huete abandona o centro para incorporarse á facultade de Belas Artes a final do curso 1989-1990, polo que no seguinte, será Guillermo Iturralde o que ocupe a dirección.

Un fito importante no curso 1990-1991 foi que o por aquelas puxante Colexio de Arquitectos de Galicia, concedeu unha axuda de 500.000 pts para o desenrolo dunhas conferencias, nas que ían participar destacados arquitectos galegos relacionados co deseño de mobiliario. Nas xornadas, que se desenvolveron na aula de cultura de Caixa Ourense, con moito éxito de público,

participaron o arquitecto vigués Xosé Bar Boo, o coruñés Andrés Reboredo, que explicou os mobles que recentemente deseñara especificamente para o Parlamento de Galicia. Contaron asimesmo as súas experiencias o tamén vigués León López de la Osa, e o Ourensán Alfredo Freixedo, que por aquelas era o encargado do deseño dos locais comerciais, e mobiliario dos puntos de venda de Adolfo Domínguez, marca punteira na moda en España, en expansión a Europa e Xapón.

Tamén neste 1991, a Escola realizou a primeira exposición cos traballos dos alumnos, na sala de Caixa Ourense, con un notable éxito de público e repercusión nos medios. Gastouse nesta exposición a cantidade de 14.214,00 pts (segundo consta na acta do CE de data 28 de outubro de 1991 ).

10 TRASLADO Cara final do curso 1990-1991 comezou a falarse do traslado da Escola a unha nova sede, porque o edificio que estaba ocupando, no campus universitario, fora cedido á universidade, para as instalacións da nova titulación de informática de xestión. Informouse inicialmente que o traslado estaba previsto para final de curso, e os locais que se ocuparían serían os da Escola de Prácticas do Edificio de Maxisterio, que se prevía compartir co Conservatorio de Música.

Non foi así, e o curso 1991-1992, comezouse con normalidade, e non só se mantivo nos espazos anteriores, senón que se ocuparon algúns recintos novos dentro do inmoble, coma a antiga capela do vello hospital, e algunha sala da segunda planta, previa solicitude á Deputación Provincial, que seguía sendo a propietaria do edificio.

A medida que avanzaba o curso, os rumores do traslado ían intensificándose, e mesmo cada departamento fixo unha previsión dos espazos necesarios, sen que se coñecese aínda o lugar elixido para o traslado.

Cara final de curso, a orde de desaloxo xa era efectiva, e o descontento entre o alumnado e o profesorado patente, porque o rumor que circulaba con insistencia era que agora o lugar agora elixido serían dependencias baleiras do Seminario Menor.

A falta de información dende a Delegación Provincial de Educación, co delegado Sr. Muños Lechón ao frente, era xa esaxerada, enténdese que por temor a unha protesta na rúa e na prensa do alumnado e do profesorado. Tanto é así, que o primeiro claustro do curso, en setembro de 1992, celebrouse aínda no edificio do Campus, informando o Director que xa se estaban realizando as obras na nova ubicación, pero sen aclarar cal sería, e indicando tamén que o curso comezaría ao longo do mes de outubro, retrasándose se fose necesario, tanto o comezo do curso, coma os exames de setembro.

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A PROVISIONAL SEDE DE BARROCÁS En Barrocás a Escola pasou a ocupar un edificio no que antes estaba un Centro de Educación Especial, no que se fixeron unhas pequenas reformas para adaptalo ás novas necesidades dunha Escola de Artes Aplicadas e Oficios Artísticos, que ese era o nome oficial por aquelas datas. En realidade o edificio compúñase dun volume con prefabricados de formigón, e tellado de chapa a dúas augas, dun andar, no que estaba a biblioteca, a secretaria, un par de despachos e catro aulas. Tiña tamén un semisoto máis amplo, onde estaban os talleres de ebanistería, a sala de máquinas, unha aula para Deseño de Moble, e outra para Serigrafía, estas últimas sen ventilación exterior.

A situación era tan precaria, que parte do laboratorio de fotografía estaba no curruncho que deixaba debaixo unha escaleira exterior.

Na acta do Consello escolar de data 9 de decembro de 1992 constan as reivindicacións dos alumnos, con queixas pola falta de espazo, escasa altura de algunhas aulas, que tampouco contan con extracción nin ventilación.

Incúmprese tamén a normativa de seguridade en caso de incendio.

Como o edificio axiña se quedou pequeno, a dirección chegou a un acordo coa Asociación de Veciños de Barrocás, para a cesión duns locais veciños no que se instalou no curso 1993-1994 a primeira aula que ocuparía o novo Ciclo de Proxectos e Dirección de Obras de Decoración.

As insistentes queixas da dirección pola precariedade das instalacións que non permitían desenvolver con certa normalidade a docencia, fixeron que dende a Delegación Provincial de Educación, que seguía tendo ao fronte ao Sr. Muñoz Lechón, se fose prantexando sen moita presa, a necesidade de contar cunha nova sede.

Inicialmente realizouse un proxecto por parte dos Servizos Técnicos da Delegación Provincial de Educación, asinado polo arquitecto David Ortiz ampliando e adaptando o edificio existente. Era certamente unha solución de compromiso, e pouco acertada, que foi rexeitada de plano pola dirección e o profesorado da Escola. Nin a solución arquitectónica nin a propia situación en Barrocás semellaban as máis axeitadas.

Ante tal situación, barallábase a posibilidade de ocupar o solar da actual Residencia Universitaria nas Lagoas, pero ao pertencer os terreos á universidade, a cousa non era doada. Nese medio tempo apareceu a posibilidade de facer un edificio de nova planta no recinto da Universidade Laboral.

Nesta etapa a Escola tentou abrirse á cidade e toda Galicia, realizando diferentes actividades, exposicións colectivas entre as que cabe salientar as levadas a cabo na Escola de Arquitectura de Coruña, e a do ano 1994 no claustro de San Domingos de Bonaval en Santiago.

PRIMEIROS INTENTOS NO RECINTO DA UNIVERSIDADE LABORAL A insistencia por parte da dirección que xa ocupaba César Taboada dende o curso 1994-1995, fixo que a Consellería encargase un novo proxecto, xa para o recinto da Universidade Laboral.

O encargo recaeu no arquitecto madrileño Jerónimo Arroyo, que contactou co profesorado para elaborar o programa de necesidades. O anteproxecto que presentou non resultou satisfactorio. Propuña unha ampla planta rectangular con un patio central a modo de claustro, ao que se abrían tódolos espazos, pechándose completamente ao exterior. Os percorridos labirínticos, e as dependencias pouco funcionais fixeron que se acordase facer unha serie de modificacións para adecuar mellor o edificio ás necesidades que por aquelas xa eran moi definidas.

O certo é que uns meses despois chegou o definitivo proxecto de execución, ser ter en conta as modificacións que se solicitaran.

Ante a disxuntiva de opoñerse ao proxecto, ou seguir en precario nas instalación de Barrocás, o profesorado, optou por unha tolerancia critica, manifestando o parecer, ante os representantes da Consellería de Educación en Santiago, pero sen opoñerse ao proxecto xa elaborado.

Quixo a sorte que naquel momento no Servizo de Obras da Consellería de Educación, en Santiago estivese José Luis Cousillas un arquitecto con sensibilidade que tivo o acerto de detectar a escasa adecuación do proxecto arquitectónico elaborado ao lugar no que se pretendía implantar, e a escasa funcionalidade do edificio, para un centro de ensinanzas artísticas.

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Grazas a el, e a o apoio da Subdirectora Xeral de Educación Dna. Inmaculada Paz que compartiu a opinión, rexeitouse o proxecto, e propúxose un concurso de proxecto e obra, no que debía participar un arquitecto con unha empresa construtora, que ofertaba ao tempo un orzamento global.

O NOVO EDIFICIO NO RECINTO DA UNIVERSIDADE LABORAL. Entre os equipos presentados ao concurso, estaba o que ao cabo resultou elixido, formado polos arquitectos María Jesús Blanco Piñeiro e Alfredo Freixedo Alemparte, xunto coa empresa construtura Alea S.L. Un edificio sinxelo, de tres andares, e planta alongada, con amplos e abertos espazos de relación.

D. José Luis González, Delegado de Educación en Ourense, e o Conselleiro D. Celso Currás asistiron pouco despois á colocación da primeira pedra, e ao inicio das que se desenvolveron con rapidez ao longo dos anos 1997 e 1998.

O curso 1998-1999 comezouse xa nesta nova e definitiva sede, que foi oficialmente inaugurada o 26 de febreiro de 1999, coa participación do alcalde Manuel Cabezas, o Presidente da Xunta de Galicia, e Monseñor Carlos Osoro, por aquelas bispo de Ourense.

A familia de Antonio Faílde, doou no ano 2001 seis debuxos do escultor, o baixorelevo de “Adán e Eva, e outras tres figuras de vulto redondo, que se conservan no centro.

Ao longo destes anos impartíronse os Ciclos Formativos de Gráfica Publicitaria, e Proxectos e Dirección de Obras de Decoración, desenrolados segundo a LOGSE.

No Curso 2005-2006 comezaron a implantarse nas Escolas de Arte galegas os Estudos Superiores de Deseño, en Ourense matriculáronse os primeiros alumnos de Deseño de Produto, formándose unha única promoción, porque no 2006-2007 xa non se admitiron novos matriculados. Nese mesmo curso 2006-2007 implántanse as especialidades de Deseño gráfico e Deseño de Interiores, que eran equivalentes a unha Diplomatura Universitaria.

Paralelamente os Ciclos formativos de Fotografía, Ebanistería Artística, e Ilustración, foron adaptándose tamén a cada unha das variacións lexislativas.

O edificio pronto se quedou pequeno, e o 23 de Xaneiro de 2009 inaugúrase a ampliación das novas aulas e salón de actos. Visitou a Escola para o evento a conselleira de Educación Laura Sanchez Piñón.

O funcionamento destas tres décadas permitiu unha expansión da Escola cara ao estranxeiro, participando en multitude de programas de intercambio internacional, participando tamén activamente na vida cultural da cidade, e co recoñecemento tanto nacional coma internacional dos alumnos en concursos exposicións e certames. Permitiu tamén que no ano 2009 aparecese o primeiro número do Anuario da Escola, unha publicación que co impulso de Xosé Manoel González recolle traballos tanto da comunidade educativa coma doutros destacados profesionais do deseño, e que se mantén coma unha “rara avis” no mundo creativo galego.

Coa celebración no 2017 do trinta aniversario da Escola, entre os moitos eventos, aparece a misteriosa figura do “Faildinho Antón”, un pequeno trasno de madeira que se gañou o agarimo da comunidade da “Faílde”.

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XORNADAS CREA XOSE MANOEL GONZÁLEZ

No ano do seu XXX aniversário, a Escola de Arte e Superior de Deseño Antonio Faílde apresentou a primeira ediçom de CREA, Xornadas de Arte e Deseño, que se desenvolverom entre a segunda-feira 3 e a sexta-feira 7 de abril de 2017 en distintos espaços da cidade de Ourense, principalmente no Centro Cultural Marcos Valcárcel.

Cada um dos 5 días estivo dedicado a umha das especialidades da sua oferta formativa; Ciclos Formativos de Grao Superior de Fotografía, Ilustración e Ebanistería Artística, así como Ensinanzas Superiores de Deseño Gráfico e Deseño de Interiores.

Participarom em palestras e colóquios, professionais de reconhecido prestígio: Rosa y Bleda, Premio Nacional de Fotografía, os laureados arquitectos Javier Franco e Vicente Pintos, o ilustrador Chema Román, prémio ao melhor livro editado no Estado, Elías Cueto, arquitecto e um dos melhores exponhentes em design e inovaçom no ámbito da madeira e R2 Design, estudo português de máxima actualidade e referéncia a nível internacional en design gráfico. Houvo também demostraçons prácticas, exposiçom de projectos finais de carreira e outras actividades. Pretendíamos, por umha banda, visibilizar a EASD Antonio Faílde na cidade de Ourense, concentrando nuns poucos días umhas actividades que habitualmente se realizam ao longo do curso no prédio da escola no barrio da Cunha e, por outra, achegar ao conjunto da cidadania ourensana a oportunidade de conhecer a visom e os projectos de figuras de primeiro nível en diferentes campos da arte e do design.

Através da mostra de projectos finais de carreira, foi também umha excelente ocasom para constatar o enorme potencial criativo de várias das promoçons de graduados/as da escola. Com a participaçom da práctica totalidade da escola, as jornadas desenvolverom-se exitosamente con pleno de asisténcia em várias palestras e actividades, que tiverom bastante repercusom mediática a nível local. Deste ponto de vista podemos considerar atingidos os objectivos programados ao respeito.

Queremos desde aquí agradecer a colaboraçom e participaçom de ponentes, professorado, alunado e ao pessoal do Centro Cultural Marcos Valcárcel da Deputación de Ourense, especialmente ao seu director Paco Rodríguez, que disponibilizou para a escola um espaço imelhorável no que desenvolver a maior parte das actividades programadas. Vêmo-nos na segunda ediçom o curso próximo! http://escolarte.com/crea/ http://www.escolarte.com/crea-2017/ 078

ACTIVIDADES

Demostracións de ebanistería

Segunda 3 de abril. Fotografía.

Palestra: María Bleda e José María Rosa Un Proxecto fotográfico: Carla Otero, Pablo Araújo, Iván Fernández e Miriam Méndez. Desenvolvido no local El Cercano.

A realidade da profesión: Brais Lorenzo (prensa), Berto Macei (arte), Miguel Pena (moda), e Brais Seara (natureza).

Terça 4 de abril. Deseño de Interiores.

Palestra :Javier Franco e Vicente Pintos.

5 visións, 5 proxectos: Ledicia Veloso, Cristian Andrade, Sheyla Pérez, Miriam González e Teresa Rodríguez.

Reflexións. A praxis no deseño de interiores: Sheila Pérez, Mirian González, Leticia Formoso, Silvia Fernández e Martiño Fontes.

Palestra: Chema Román

Quarta 5 de abril. Ilustración.

Palestra: Chema Román. De Angoulême a Santiago; el Camino francés o la senda del dibujante.

ARTEMOB Ilustración: David Acuña, José Antonio Alonso, Ángela Álvarez, Antía Antepazo, María Costas, Jennifer Da Silva, Marta Fernández, Isidro Manuel García, Héloïse Eglantine, Lucía González, Alba González, Santiago Martínez, Moisés Míguez, Daniel Mo, Ilduara Moreiras, Olalla Moreiras, Pedro Oliveira, Noelia Pascual, Pablo Andrés Pereira, Andrea Puente, Alejandro Rey, Ana Laura Rey, Ivana Luisa Rodríguez, Pablo Saiz, Silvia Santamarina Campos.

Fotografía: Olga María Otero, Antía Álvarez, Carmen Blanco, Alejandro Castiñeiras, Noemi Cordeiro, Marta Dorribo, Elsa Fernández, Endiara Ferreiro, Ramón Follente, Alba González, Jonathan López, Xurxo Márquez, Mauro Martínez, Cristal Martínez, Maria L. Prieto, Roberto Rodríguez e Cristina Saiz

Conferencia Deseño Gráfico

Quinta de abril. Ebanistería.

Palestra: Elías Cueto. Algúns casos prácticos de innovación en madeira.

Demostracións de ebanistería: Torneado de madeira: Antonio Tojeiro. Carpintería de Armar: Agustín Castellanos.

Proxectos de alumnado: María Jesús Lamas, Manuel González, José Luis Fernández, Daniel Vázquez, María Rouco e Iria Rivas.

Sexta 7 de abril. Deseño Gráfico.

Palestra: R2 Design. Do papel ao betao.

Proxectos finais: Daniel Vila e Iago Novoa, Olaia Ferrando, Ruth González, Laura Lobón e Anaïs Kerbrat.

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Mostra Centro Cultural Marcos Valcárcel

Palestra: María Bleda e José María Rosa

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MOSTRA: Coordinaçom: Lucía Rodríguez e Mónica Sabariz Design espaço expositivo: Ana Besada, Erika Duarte, Javi Pérez Rodríguez, Mauricio Losada, Natalia Collazo e Sofía Regueiro Design gráfico: Cristina Escarda, Manuel de la Fuente, Simón Seoane e Xosé Manoel González.

Projectos expostos: Ebanistería: Mariana Morán, Jesús Pacheco, Víctor González, Rubén González, Alexandre Fernández, Borja Rodríguez Vitrina Ilustración: Mariana Aravena, ­­Daniel Dopazo, Adrián Eirey, Lucía Espino, Manuel Gallego, Enrique Gistau, Ángela González, Lorena Marante, Cayetano Salvia, Gladys Otero, Paula López, Javier González, Antía Goberna, Nerea González, Alicia Ortal, David Segade, Xoel Sorribas, Lia Soto, Marcos Viso, Christian Vázquez, Jorge Campos, Carlos Alfaya, Rodrigo Chao.

Vitrina Deseño de Interiores: Erika Estévez, Alexandra Prada, Alberto Rodríguez, Michele Pérez, Javier Fernández, Marta Pérez.

Vitrina Fotografía: Julio Eiroa Vitrina Deseño Gráfico: Alba Pérez, Xosé Manuel Rodríguez, Joan Ríos, Anaïs Kerbrat, Ruth González, Carlos Alonso.

A seguir, a listagem de participantes, coordinadores/as e colaboradores/as.

Desculpas em caso de erro ou omisom.

Director EASD Antonio Faílde: César Taboada Director Centro Cultural Marcos Valcárcel: Francisco Rodríguez Concepçom CREA: Armando García e Xosé Manoel González Coordinaçom CREA: Xosé Manoel González EEAASS Deseño de Interiores: Javier Rodríguez, Manuel Seoane, Marisol López, Iria Rivas, Lola Pelaez e Lucía Rodríguez EEAASS Deseño Gráfico: Mónica Sabariz, Olalla Sío e Xosé Manoel González EEAAPP Ebanistería: Ofelia Cardo, Javier Fernandez e José Luis Casas EEAAPP Ilustración: Miguel Ángel Mantilla, Luis Carreira e Carmen Lage EEAAPP Fotografía: Armando García, Antón Freire, Carme Fernández e Virginia Barros Comunicaçom: Olalla Sío Design gráfico: Xosé Manoel González Web: Programaçom; Simón Seoane e Antonio Ferreiro. Design; Xosé Manoel Glez.

Tipografia; “Gaspar” de Carlos Alonso.

Reportagem fotográfica: Agostiño Iglesias Video Jornadas: Agostiño Iglesias e Inés Mirás Video Artemob: Maria L. Prieto e Endiara Ferreiro Video Fotografía: Manuel Justicia Impressom: Offset: Rodi Artes Gráficas. Grande formato: Oficode. Paneis expo: Aceroplus 081

ARTEMOB, INTERVENCIÓN URBANA CARME FERNÁNDEZ Artemob xurdiu como unha actividade complementaria máis a integrar dentro das Xornadas Crea, que se ían desenvolver entre o 3 e o 7 de abril; a semana grande das celebracións do 30 aniversario da EASD Antonio Faílde.

Pero, de súpeto, algo cambiou. O choque coa realidade ourensán foi determinante na recondución dos obxectivos: unha intervención urbana pode modificar a realidade gris dunha cidade cun elevado índice de avellentamento? Noutras cidades europeas isto si semella posible, cando a cor se espalla dunha maneira non planificada polo poder municipal e cando son os propios cidadáns os que toman a iniciativa.

Por iso, cando o 5 de abril medio cento de alumnos e profesores de Ilustración e Fotografía saímos á rúa, fixémolo para rachar, dun xeito efémero, coa monotonía a uniformidade e a impersonalidade que predominan actualmente no espazo urbano. Dispostos a xerar desacougo e sorprender a tódolos que circulaban polas zonas de máis elevado tránsito da cidade, desfilamos polo centro neurálxico da cidade en hora punta, vestidos con monos brancos e mascariñas.

Despregándonos en grupos, cubrimos as árbores da Alameda de Ourense e as marquesiñas do centro da cidade con enormes pinturas (realizadas uns días antes polos alumnos de 1o curso de Ilustración). Despois de 48h na rúa fomos retiralas, e puidemos comprobar que ningunha delas fora estragada polos cidadáns.

O proceso completo foi recollido en imaxes e filmado en vídeo polos alumnos de 1o de Fotografía. Posteriormente, o resultado desta acción artística foi exposto ao publico na Casa da Cultura Manuel María de Barbadás.

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INTERNACIONAL CÉSAR TABOADA E TONHO FERREIRO

Na actualidade contamos cunha proxección ao exterior para promoción dos nosos estudiantes en diferentes programas Erasmus, tendo intercambios tanto dentro do territorio da Comunicdade Económica Europea coma en países fora da Comunidade Europea en zonas Orientais. Existen programas de intercambio, talleres no exterior, exposicións Etc. Xa é unha realidade o funcionamiento dun programa consorcio (CARTES) no que se atopan máis de 20 socios colaboradores de varias especialides de Artes: Facultades de Belas Artes, Escolas de Imaxe e Son, Centros de Restauración, Conservatorios Superiores de Música e moitas EASDs de todo o territorio nacional (Galicia, Asturias, Navarra, Madrid, Cataluña, Castela e Andalucía) e todas elas dirixidas pola EASD Antonio Faílde de Ourense, as cuales xa disfrutaron este ano de intercambios con países e diferentes facultades de India, Albania e Xordania. Cada vez máis institucións adicadas os estudos artísticos tenta sumarse a este consorcio, e no curso 2017-2018 contamos chegar a ser preto de 30 institucións participantes, e tamén ampliaremos países de intercambio cos que xa temos contacto, coma poden ser Thailanda, Bosnia Erzegovina, Vietnam...

Máis de 40 alumnos participan este ano neste proxecto de intercambio e tamén preto de 30 profesores disfrutaron das facultades de Xordania, India e Albania. O noso centro tamén tivo o placer de recibir profesores e artistas de Albania neste programa de intercambio Continuámos tamén traballando con outros centros Europeos e de Oriente para atraer alumnado en prácticas dos Emiratos Árabes, Abu Dhabi, Turquía e este ano participaremos na Trienal de arte que se celebrará en Istambul na Marmara University como referente de promocións artísticas a nivel inter-

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nacional. Temos moi boa comunicación con estas facultades, e con outras Europeas como a Albertina de Turín, referentes na organización de mostras de Arte a nivel mundial para que tanto o noso alumnado coma o profesorado podan participar destas actividades expositivas.

Despois de albergar a exposición “Beyond the Abaya“ dos Higher Colleges of Tecnology de Abu Dhabi, este ano participamos con eles e coa Zayeb University con exposicións de intercambio entre os nosos alumnos e profesores e os seus.

Todo elo sen esquecer os diferentes talleres, conferencias, seminarios e simposiums nos que participa a EASD Antonio Failde ampliando as suas fronteiras, participando tamén coa Doğuş University de Estambul, e as Academias de Arte de San Petesburgo e de Colonia.

Falamos destes intercambios sen esquecer o programa de intercambio Erasmus+ no que estamos mergullados en moitos países de Europa, no que ano tras ano acadamos máis socios para ditos intercambios. Ata o día de hoxe traballamos con países coma Portugal, Italia, Dinamarca, Lituania con escolas de referencia como a EASD de Matosinhos, Kea, ISIA, Vilnius e un sin fin delas máis. E non contentos con esto, ampliamos tanto escolas ou facultades nos países xa socios e número de países e facultades de intercambio, como son o caso das Academias de referencia de Lodz e Cracovia en Polonia.

Cada curso que pasa tamén ampliamos as solicitudes de estudantes dos países antes mencionados que queren disfrutar do seu intercambio con nós, xa que as ensinanzas artísticas e de deseño na nosa Escola foron acadando un nivel do cual nos sentimos orgullosos, equiparable a outros centros moi alonxados desta terra, desenvolvendonos con confianza e soltura.

TRADUCCIÓNS RETURN TO THE FUTURE / MANUEL SEOANE Intro A Spanish policy recommended to pay attention to the event that was going to occur on the planet in the year 2009.

The world had changed a lot from that one.Effectively a president of color and progressive in the United States is a cause for optimism. In Galicia we also premiered a president after the small parenthesis of the era “Fraga Iribarne”. It seemed that the students who were forming at that time in the “Faílde” had a very promising future.

The first issue of the “Anuario de la EASD Antonio Faílde” appeared, a moment of a lot of enthusiasm for all the educational community of a small center of public education. A center in which grow up the belief that design was also another grain of sand to build a more comfortable world.

But the thing early was twisting, and we were used to pass obstacles, to adapt to a hostile environment that we did not have, and to survive and shelter from the inclemency until it breaks down. The American president finished the mandate round, and Galician is still in the position. We learn that resilience was a virtue that could not be renounced.

The yearbook of the “Faílde” as a small annual miracle also learned to survive. He changed his skin every spring, and hiding each time behind a new alias, to keep alive the illusion that design has to continue as essential in the list of values of a world that from the most remote past ,saw the artistic fact as something necessary.

The School “Antonio Faílde” has marked while the thirty years, and we celebrate it as it deserve it. We celebrated by moving to that remote past of 1987, when a small group of people thought that this country had a future, and that prosperity was possible, or better, that it was essential, and that design had a lot to say in the society of Ourense, which was premiering a president.

From that time he moved a lot the world, and the older ones, we had faith in “Doc”, that crazy man that towards the end of the eighties moved us through the time in a beautiful DeLorean. We advance a few times, and we retreat many others, and this temporary bamban was losing inertia until almost he stoped in a provoked apathy.

As in the bambán, to restore a lively rhythm, it is not necessary to wait for it to stop, it does not even need an external impulse, it’s enough to know how to move, with adapting the right posture at every moment to synchronize the forces of inertia, and of gravity.

It is essential to return to the future, return the illusion of 1987 when the school started, and return to the promising future that had the students of the autumn of 2009, when they “make” the first yearbook of the School saw the light. The extension “.doc” is great to not lose what we have working, but from now is, “. exe “

MART /ANAÏS MONIQUE KERBRAT Final project of high Graphic Design Teachings Mart emerges to represent the voice of the new Galician artists, granting relevance and hierarchy to a thematics that are not treated by other media. Breaking with all the schemes of traditional magazines, its strong visual content is one of the main attractions, engaging amateurs and professionals in these areas.

We seek to rescue other ways of saying, associated with the possibility of experimentation and craftsmanship. We are a showcase for culture and arts, accessible to all people. We offer an alternative space of diffusion for artists and cultural events, including everyone that has no place in other spaces.

BEYOND THE WALL OF SLEEP / LAURA LOBÓN CASTRO Final project of high Graphic Design Teachings This project proposes an alternative narration about the story ‘Beyond the wall of sleep’ of H.P. Lovecraft. A story of suspense and fantasy set in 1900, in a Mental Hospital in America.

It is a project of style simulation and a graphic fiction.

The product consists of a book box in a file form. It contains the story of Lovecraft, renamed as ‘Memories of Dr. Charles Slope’, a letter from the new director of the Sanatorium, which requires your help for the investigation of similar cases, the entry form in 1900 of the patient Joe Slater, current plans that reflect the locations of the story, an old map of 1855, a photograph of the Dr. Slope next to his telepathic machine, several images which show the hallucinations of Joe Slater, a news from a newspaper and a file sheet, that lists all the documents that are part of the investigation.

MIKEAS / MARÍA JESÚS OTERO OGANDO Final project of high Graphic Design Teachings Mikeas is mainly a work with social design. This is a campaign of approaching Roman children through creativity, giving opportunities to their imagination, intended to promote social and cultural integration. It consists of a workshop carried out in different sessions in which the children participate in the creation of a story that they will represent later in story format. The story is linked to their way of life, used their language and the protagonists will be gypsies. In the book and in the workshops we try to give a different vision of the search for happiness even if the circumstances are not appropriate.

It consists of two stories, a luxury edition and a low-cost edition, in order to reach a wider audience and facilitate the main objective of the project, which is to bring the Roman culture closer to the greatest number of people. The project contains the book with artisan binding, in booklets and wooden covers and the box with a double usability (case / bookcase). The binding and the box in which the book is transported are made of wood, specifically of beech tree, it is a wood that in Galicia was used a lot in the realization of furniture, but especially in the backs. This part was one of the first that break down ending up in a container, later, in the house of some gypsy.

Naming and identity are composed at the root of the creation of the development of history.

The naming was made from a list of gypsy names voted by the gypsies themselves. In the chromatic range the union between the sky and the earth (blue and orange) is observed. This is intended to express the equality between people and the same vital characteristics: be born, grow, reproduce and die. The forms that make up the identifier, create modules that later serve for the creation of the illustrated elements and the pieces of wood that were photographed.

BUZZ / RUTH GONZÁLEZ Final project of high Graphic Design Teachings The SETI (acronym in English Search for Extra Terrestrial Intelligence) seeks to find intelligent extraterrestrial life through the analysis of electromagnetic signals captured in

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different radio telescopes, or by sending messages of different nature to the space hoping that some of them being answered.

They use the BOINC system which is a platform for the use of distributed computing. In it they download the own application of the SETI (Seti@home) that can decrypt data coming from the radiofrequencies thanks to the computers of the disinterested users. The problem is that this application is very visual and not understandable if you are not a NASA physicist, etc...

Perhaps we will see it at first when it is the moment after hours in the bottom of the sea.

Now, the sun flashes are less intense, the light has become softer, it seems that it tries to transmit something to us, like a sensation of serenity and tranquility.

We follow the light path, but it disappears, although it returns after a few minutes later.

However, it is always there.

The project deals with the design of the interface for the SETI project application, so that the users who support the project, in a more integrated way, can understand the signification of the data that is decoded in a visual and intuitive way.This application is going to be implemented in the real application seti@home, making it an infographic that reinterprets in a graphic and audiovisual way the data obtained by the personal computers of the users that give up their space (distributed computing), to analyze the decrypted signals.

The concept is based on the graphic representation and a simple understanding by the user of the scientific data decrypted and analyzed. It is present in all the identity as well as in the application, encouraging the project to increase its number of interested users and donations. It is a graphic based on legibility and optimal visual assimilation, favoring the relations between the user and the new media.

ACEÑAS / LEDICIA VELOSO

She recently graduated in Interior Design and her final year project won the 2017 Premio Mestre, the highest national award for Art School.

In Allariz, where the river merges with the history and tradition of a town linked to the water course; I discovered the story... the story of a mill: A mill that had to be on the left bank of the river Arnoia and only for that reason became a flour mill and not tanned.

A mill that was born as a building and became a referent of a region, a mill with three grinding stones that many other mills envied it, a mill that listened to songs inside, that hosted village meetings, which was the witness of neighbors decisions, which keep secrets, a mill that suffered technological advances and tried to become a power station without lot of success, a mill that suffered looting, a mill that was everything and ended up like many others being nothing, a ruin.

But a ruin which water still flows through it, as blood keeps an organism alive, this water will give it life again.

FARO PUNTA CABALO RESTAURANT / ALEXANDRA REGUEIRO

The light is not the guide, but it is those lines that are above us.

It was there, which we had looked for so much, it was always there, often pass undectectable by its simple shapes..., but in reality it is something else, it is neither simple unit, nor pieces of wood...,is that protect you in the middle of sea, it is what you call home.

CINE LALÍN / JAVIER LÓPEZ

Modernization and changes in tastes and customs require constant adaptation. In many occasions there is no other alternative to renew or die. That happened to the cinemas in many Galician towns, which were not the ones to compete with more modern multiplexes next to other leisure areas.

One of these cases is the “Cine Lalín”, located in a town that currently has no cinemas opened, in addition, it has two recently installed multiplexes.

Now you will have a new opportunity to resurface with the third relevant intervention that will be carried out on it. It is intended a transformation that will dynamize and expand the range of possibilities for use of the building, maintaining its essence, with multifunctional spaces without being restricted only to film sessions. To do this, a change of focus is realized, articulating various uses and activities around a coffee shop.

The current building has a privileged position with its urban environment. Its volume is adapted to adjoining buildings, with a differentiating character for the configuration of the facade, with large gaps, protection of access for the public and an interesting set of volumes, with a large blind piece that protrudes with flight. All these elements facilitate the interpretation of the public use. In the interior, the detached beams of important section allow to guess the supporting structure. Also its halls with a great internal-external visual communication. The interior spaces are configured with big spatial clarity, and it disposition of elements that favor orientation.

At the time of intervention, respect is sought for the current building, retaining the elements of interest available, so that it is compatible with the new intended uses. The functional program includes a coffee shop, screening room, complementary rooms and more service spaces.

PILGRIMS HOSTEL / INÉS GONZÁLEZ Towards the evening, drifting in the immensity of the sea.

Surrounded by the sparkle of the sun, perhaps it would be better to submerge to avoid it, but it cross us, it persecute us, or do it guide us?

We explore the variety of the sea bed. The hours pass and we continue searching. Searching for what? Who knows.

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Humanity is always “on the way to...”. The round trip in any human activity can be recognized as a way in which develop physical or spiritual potentialities, or why not, both at the same time. The man’s body and spirit, by the own fact of living, existing, thinking, loving... walk. The search is a constant, and therefore involves making a kind of road in which the meetings become goals.

And at the end of any route there is an arrival. Although the destiny is to reach a goal, during the act of making the way, the human beings enjoy and suffer, they wear out their being and feed their spirit, they live and, in their life, they display the values of his humanity.

gative always weighs more). My project born from that thread, in which the self-portrait, the nude, the movement and imbalance are a fundamental pieces to give intimacy, personality, drama and espacially sincerity, a truth without make-up.

No people, over the years, stopped walking. The own fact of having a past, involve a way. To imagine and to build a future leads us to goal conquest, both individually and collectively.

From Ourense, was born in 1997. Currently student of photography in the EASD Antonio Failde also dedicate the free time to writing poetry in a small blog.

We were, we are and we will always be “on the way to ...”

Victoria Feijoo Quintas: viky_k_5@hotmail.es

I understand the hostel as a meeting place on the road, a kilometer point. More than just a place to sleep or where to stay, the new spaces invite to interact with other users, to exchange experiences. Therefore, it was sought that pilgrims not only rest after the journey, but they enjoy the route. In the interior, fluency and special continuity are sought, along with they enjoy the route. In the interior, fluency and special continuity are sought, along with welcoming spaces for the interaction of the visitors , where to read a book, chat in front of a fire or continue walking around the building.

http://tusonrisaeselmayordelosregalos.blogspot.com.es/2017/03/intocables.html?m=1

IT’S A DAY IN AUSTRALIA / PUNTO ONCE PHOTOGRAPHIC COLLECTIVE Collective work Night photography, and everything that guide from the emotion and thought, is experienced in this project in a different way. The collective photographic PuntoOnce link in the dialogue between darkness, sensitive or figurative, and man as spectator or inhabitant, respectively.

In this process of knowledge, the photographer’s view builds a second level of nocturnality: while it is daytime in Australia, the authors submerge in the night.

Eight professional photographers make up the PuntoOnce photographic collective: Natalia, Sainza, Miguel, Brais, Reimon, Tamara, Lydia and Sara.

They are joined by the photographic creation interest and the work of the author, as well as the connection between their different professions and the field of photography. Advertising, teaching, fine arts, industrial design, graphic arts, journalism, art and heritage, are the fields that individually develop and enrich themselves as a means of contributing to the image.

Its multidisciplinary nature makes the joint vision grow thanks to the difference of the eight photographic views. In their day, all of them are titled in the Art Photography specialty, in the EASD Antonio Faílde and its path through the center will unite them.

TRASLUMBRE / ANTÍA RODRÍGUEZ CALDEIRO

In my grandmother area, Traslumbre is a vague or a wrong fixed memory In Traslumbre I try to venture into the Alzheimer’s patients, puting myself in my grandmother’s situation. I show a starry background by the time where routine is present.

The images are organized in a cyclical way, starting the subjective vision with a clock and ending with it again. The penultimate photograph is the same as the first one, only that this time the numbers are changed side. Alzheimer’s patients attend periodic check-ups to see the evolution of the disease through tests. One of them is to draw a clock. When the disease begins to get worse, many patients draw the clock with changed side numbers, as they appear in the photo that closes the subjective gaze. In the last image I leave the subjective gaze generating a distance with my grandmother.

Antía Rodríguez Caldero: rodriguezcaldeiro@gmail.com I was born in Narón in 1994. In 2014 I finished my photography studies at the EASD Antonio Faílde. I am currently a student of Fine Arts at the Faculty of Cuenca, interested in other artistic fields such as sculpture and video art..

THE OTHER WAY / IVÁN FDEZ. BABARRO & IAGO GLEZ. GLEZ.

Two photographic views on the route from Ourense to San Andrés de Teixido.

The night is the moment in which sleep prevents you to continuing watching.

The night is the intentional agreement that the photographer collects while others sleep.

The night is the feeling of individuality that the image emerges from.

And the night is the sound of accompanying silence while it is a daytime in Australia. https://www.facebook.com/puntoonce/

BATTLEFIELD / VICKY FEIJOO QUINTAS

Battlefield is a personal project that speaks the constant struggle within yourself at the time of acceptance. Through the photographic language, and in a metaphorical way, I try to show the interior of a person at the moment of looking at a mirror, or even at the point where someone stops to make a balance of the physical and psychic characteristics (where the ne-

In July 1927 the writers Ramón Otero Pedrayo, Vicente Risco and Ben-Cho-Shey traveled from south to north of Galicia, starting in Ourense to San Andrés de Teixido (A Coruña). That trip would lead two years later, to a historical book: Pelerinaxes I. In July 2015 photographers, and old students of the school, Iago González and Iván Fernández returned to do the same route again, holding the filming of Pelerinaxes by director Simone Saibene.

In this new trip, that lasted nine days, the photographers, were more walkers than tourists. They were building the story of an intimate, close and alive Galicia. A land that despite the time and changes still retains its identity, the same that the first three walkers were trying to discover.

Iván Fernández Babarro: ivanfdefoto@gmail.com Iago González González: furriqueira@gmail.com

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RUPEZ / XESÚS PACHECO

Rupez, immersed in geometry. Rupez, the fish rule.

“Rupez” is an original piece of wood that can be the toy of any kids or a precious work tool.

Equipped with an ergonomic line, reduced weight and a nice appearance. It can accompany the little ones in great adventures through the oceans of fantasy. In addition, this animal has a useful tools for studying.

The device is manufactured with two varieties of wood one colored, brown, and the other is dark, sapeli. The contrast between the materials in the construction of the thorns, a strips mode of a centimeter wide, turning the Rupez into a calibrated rule.

In addition, its back is also useful for drawing, supporting the flap on the side of the notebook, can trace easily and accurately recipes with the most common inclinations, 30, 45 or 90 degrees.

THE FOREST / VARIOS AUTORES Singular objects Work done jointly by Alberto Salgado Caramés, Fernando Marcos Jiménez, Xesús Pacheco, Jairo Ramos Rey and Maikel Lorenzo, where the arboreal elements that make up this unique forest are handmade.

Throughout history, the designers tried to modify the spaces, representing the reality as distorting until an incomprehensible points. Innovation was always sought, although most of the graphic designs, as in this case, of observation and inspiration in the own nature and in its contoured, curved and soft forms.

These pieces are inspired by the current organicist, in those lines that are created naturally in an arbitrary way, in that continuity of curves and in their dynamism. This project is born for visualizate the revolutionary profiles, as we would do in a turn in a workshop. Its harmonic, continuous and stylized volumes are reminiscent of a whole plant world, creating the idea of creating a figurative forest.

The series “The forest”, tries to design a balanced and arranged composition that allows to care of the details, from the choice of material until the natural end, in addition to its decorative function, the own environment of the forest is created.

WAVE / XESÚS PACHECO Cradle for children between 0 and 7 months The project developed in the EASD Antonio Faílde of Ourense earned the first prize in the XVIII Furniture Design competition “City of San Sebastian”.

“Wave” is a cradle, inspired by protective elements typical of nature. In it you can distinguish three parts: An interior bed, the membrane. It is a hammock made with natural wool that surrounds the child as if it was a membrane or chrysalis.

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The external structure, the conch. The bed will be subject to a curved structure that will act as a protective system, in addition it has a double function as a rocking chair.

Water movement system. The cradle houses two containers with water, where the liquid acts as a pendulum generating an oscillating movement.

“Wave” is not a cylindrical volume as it might seem, but it is a prism. This is due to the construction system, a variant of the Kerf curve system. Some modification consists of the introduction of wooden cradle in some cuts previously executed on the inside face of the board. These cradle provide greater control of the curvature, in addition to reducing the loss of mechanical resistance produced while cutting.

WITHOUT SOUTH / JAIRO RAMOS REY

It is a handcrafted work composed of three pieces with a heart shape, which stacked together with a form of a mountain. Three different wood have been used and worked to match the sides.

“Without South” are three hearts closer to the heat that the word “south” emits.

Whenever we look for our origins, the center, the heart is the mountain where I climb, being my watchtower of reference whenever I intend to decipher the relief of the terrain, both physical and emotional. Where I go up charged and turn down discharged.

SEAL SKIN, SKIN OF THE SOUL / LAURA VÁZQUEZ DOSIL Illustrated album Since the end of the 1950s, artists such as Leo Leonni, Maurice Sendak and Tomi Ungerer have made the conceptual foundations which known as illustrated album. Some classic titles (In the dark night by Bruno Munari (1956), Small blue, and small yellow, by Leo Leonni (1959), The three bandits, by Tomi Ungerer, (1961) and Where the monsters live, by Maurice Sendak, (1963), are produced.

The confluence between verbal and visual language is resolved in the illustrated album with an essential role of the image. It is not just a decorative function but also it carries a narrative meaning that enriches the literary text and participates decisively in the generation of the sense of the work.

Although the book-album is a relatively recent publishing phenomenon, according to various experts, its origins go back to the mid-seventeenth century.

TECHNICAL: Watercolor and digital technique

MERAKI / ANDREA NOVELLE FERNÁNDEZ Illustrated deck of cards This card game is aimed at all audiences, especially the deaf people. It consists of relating each insect with its corresponding interpretation in the sign language.

Conceived to be used by speech therapists and pedagogues, is a playful tool for learning.

The project would progressively continue, other semantic fields.

THE COLOR IN SPORT / JOSEP MARÍA MIR

The name of this collection of cards is Meraki, is a Greek word. Although it has no synonym in any other language, it means “doing something with love and creativity”.

TECHNICAL: Watercolor and digital technique

LIMERENCE / CARLOS ALFAYA Travel notebook The travel notebooks lived their splendor stage at the beginning of Modernity, during the great scientific and archaeological expeditions of the 18th and 19th centuries. Through it, the discoveries were documented with drawing. At present, this modality of notebooks gives a more personal approach as a form of expression to reflect the trip experiences or the experiences to live in a specific place during a period of time.

I like to work on two sketching notebooks at the same time. One is for work and it contains many drawings, ideas for cartons and books. The second one is for pleasure, with collages, personal thoughts, people I admire, quotes from books, news and critiques of movies, that kind of thing.

Pablo Amargo (illustrator) A sketchbook is a tool to communicate and exchange ideas, my work inspiration, a collection of moments Agnès Decourchelle (Lda at BBAA / designer) My sketchbook is like an approving henchman: independly of how stupid or bad an idea is.

Feeling or execution, my sketchbook always approves it and allows me to continue on my way, wherever I may be. In my endless struggle against emptiness and logic, it is my constant ally Dominic de él Torto (artist / designer / animator / illustrator)

Now, and while the 25th anniversary of the Barcelona’92 Olympic Games is celebrating it is a good time to reflect on color and its role in sport.

Feel the colors A piece of cloth, of one or several colors, which is used as a badge or signal, according to the dictionary it is defined as a flag.

The flags are always at the top (“se llenó hasta la bandera”), because its function depends on its visibility. Flags are the daughters of the confrontation, visible banners to which to receive, stand for the side to which one belongs or with which one sympathizes.

A flag can be sworn, served, saluted, offended and redressed. There are flags of convenience, women of flag and Antonio Banderas. Even there is talk of “flags war”, as if it had a life to lose. This is a world of flags. The flags of always and the flags of today: the brands. Without color there is no flag. It is the color (and the way it manifests) that determines the own and unique identity of each flags. The existing and those to come.

A detailed observation of all the different flags (And brands) Existing, reflect that, in spite of their immense plurality, the differential and specific singularity of each one is obtained through the management of one or more colors, chosen from a repertoire composed of only six colours (yellow, red, green, blue, white and black) in different shades. Reduced repertoire, although in all the sufficient light, of which to a greater or lesser extent, and with a few exceptions, all participate.

In a certain way, it could happen as in the numbers, in which only the first ten is singular (1, 2, 3, 4, 5, 6, 7, 8, 9, 0 ), all the rest belonging to the terrain of the multiplicity. Thus, the 69, to give an example, is a consequence of the union of a 6 and a 9.

My memory is capricious and selective and for this reason I am determined to fence it. I try my best to put my path on the record, the signs and the marks that show my process and my arrival point. My illustrations and writings are a small step further in the way, which provide evidence that I am living.

Isidro Ferrer (illustrator, designer).

To choose and to combine is a creation. Yellow, red, green, blue, black and white; are the six essential colors in our daily life. They appear as soon as we are born. They are the first that we learn to distinguish and to name it. In addition, when we learn it we acquire awareness of the existence of the other colors.

TECHNICAL: Watercolor and digital technique

They are the colors of children’s objects and toys: bucket, shovel, lego, parchís ...

OMNIPHOBIA / XIANA RODRÍGUEZ CANAL Illustrated teaching guide

They are the colors of leisure, games and chance: dominoes, billiards, chess, poker, roulette...

These are the colors which we guide, ordered and warned: cold and hot water, traffic lights, traffic signs, public transport, road signs ...

Phobos, son of Ares and Aphrodite, is the epitome of horror and panic.

They are the colors of Miró, of Mondrian, of Rietveld ...

On the basis of this divine representation, it is called a phobia a psychological and emotional disorder characterized by an intense and irrational sense of panic, of certain situations, objects or beings.

The Omniphobia series is commissioned by the Spanish Psychiatric Society to illustrate a dissemination guide to this problem addressed to the adult audience.

TECHNICAL: Acrylic and digital technique

Omnipresent colors. Seen but also said: from the blue planet we observe the red planet where a little green men are living. You can be red with anger, turn red with shame or bea red. You can be an old green being a red skin, but you can not be a blue prince without blue blood, even if he tells green jokes. Some one can be too green to lead the greens.

“The yellow press criticized him because he went scared to that black market, full of people with black intentions, while he was writing the white book of the black novel”.

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We do not know what is the reference of the “Red Pantone of Shame” is, nor if the color of a redhead is really red. The Red acts as an essential reference color, umbrella of all reds.

There are other reds, but here they are.

Any color that looks red is red, and it is sufficient with the principle of identification. The same is happening for the other five colors of that essential palette.

Once established that the majority of flags are generated from that palette scarcely stocked, and seems that those same six colors appear as functionally essential in the development of daily life, we can agree that they are the “basic colors” in communication. This is due to the great power of being immediately recognized as those that are most different from each other, that have a greater individual personality.

The aspect is that there is no doubt that there is no color. They win by a landslide. They are leaders.

It is probably that because of that, the sportsmen wear their flag, could be a club or a national team. In fact they sweat the flag more than the shirt. And if they feel what they ultimately feel are their colors, while they dress to be seen.

Does anyone imagine a sport without flags? After all, the sporting flag with excellence is none other than the Olympic flag, and its colors are none other than the six of yore: yellow, red, green, blue, white and black. All of its and none else.

Let to win the best one, no matter what it is, it will have for sure one or several of those six colors.

It is sung. Is a club going?

WOODEN FURNITURE NOWADAYS / ELÍAS CUETO

Traditionally furniture has been a durable object, a family investment designed to last a lifetime. It was common to find inherited furniture in any house; it was also normal to repair and update it to contribute to its conservation and prolong their useful life. In recent years, this reality has changed.

Today most furniture spending is not for a durable investment, but for consumption. The way we relate to furniture supply has changed to follow the fashion guidelines. On the one hand there are a large stores with low-cost products that make possible to buy a temporary furniture or just for change. On the other hand, there are a boutiques with products loaded with prestige through the support of brands and international firms. In the 21st century the furniture is no longer a construction but a fashion item.

The history of the furniture has been strongly linked to the bourgeoisie. The furniture was not only a lasting investment, it was also a symbol of status. Although today it still by that way, social uses have changed and receiving at home is a ceremony that is less and less practiced.

Therefore, other more visible consumer products have displaced the furniture in its capacity to represent personal status in society. A next-generation mobile phone can cost more than a designer piece of furniture and certainly last much longer, but most consumers prefer to use their money on the phone.

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As a result of this change in consumer preferences and consumption patterns, the percentage of income devoted to the purchase of furniture has fallen significantly in recent years.

This lower furniture spending is added to the demographic crisis and the aging of the population that characterize our environment. The result is a decline in consumption within the scope of domestic furniture. Other sectors related to leisure have also experienced a strong development in recent decades. The time and income dedicated to tourism and leisure activities have intensified. As a result of this trend, the furniture demand for hospitality and hotels has multiplied, developing a new furniture manufacturing industry: the contract.

This activity assumes the design, manufacture and supply the complete environments: hotels, restaurants, etc. The offer is based preferentially on services rather than on products and prioritizes artistic direction and coordination over the design itself.

THE COST IN A DESIGN PRODUCT When we spend 100 euros on a designer wooden furniture, part of the money generates profits but another part is used to pay costs. So, a series of questions can be asked: With which concepts does spending relate most? How much money is consumed in purchasing wood?

And how much in designer salaries? These simple questions allow us to identify the main barriers faced by the company that represents entering the furniture market as a bidder.

From the studies of AIDIMA and using round figures, the marketing and the distribution represents more than 50% of the cost of the product when it reaches the customer. Just 35% for the manufacturing. The raw material used rarely accounts for more than 10%, the use of wood is one of the ways to reduce the impact. The design costs represent 5% of the cost of the product, although it includes both the designer’s fees and the cost of prototyping and product development, the certification, the packaging, etc.

The current reality is that most of the product cost corresponds to commercial and distribution expenses. For this reason online sales have developed so quickly, because it supposes a drastic reduction of costs in factors that contribute to a greater extent to the product price. The model of online marketing makes possible to reduce the most important fraction of the cost of the product, therefore it is a model that has come to stay. We do not intend to affirm that the physical distribution is doomed to disappear. The furniture offers a certain resistance to Internet marketing, as well as the need to test and touch the product to assess its quality.

The ability of commercials to define the production, create brand and act as design editors is greater than manufacturers themselves because the cost of distribution and marketing is the most relevant in the cost structure of the product. The success of some companies like Ikea or Muji is eloquent. They are commercial companies, whose strength lies precisely by bringing designs and fabrications of third parties under its own imprint and brand.

Currently the main value of a design brand is the market than the productive capacity. In a strong market competition and abundant productive capacity, it is more important to control the sensitivity of potential buyers than to have a particularly competitive supply and manufacturing capacity. Therefore, the priority of a wooden furniture project is not a carpentry, but is a market and a commercial network; and the construction of its own personality, something as a brand. The use of a certain material, technology and designs can help to define an editorial line and make a brand possible, but the greatest investment corresponds to the effective positioning of that brand and those products in the market.

Talking about the own personality makes us think about the charisma of the designers, but today the editorial line and the artistic direction are more relevant than the cast of designers and the designs themselves. Nowadays, the term “signature” designates less the concrete personality of a professional and more a commercial brand. The designers talk about Hans Wegner (the designer), but the customers refer to Carl Hansen (the manufacturer).

MATERIAL AND DESIGN IN FRONT OF MARKET AND CHANNELS As an iceberg, that we appreciate in the case of a designer wooden chair is only a small fraction of what really constitutes it. We take home a certain quantity of mechanized and assembled wood in a way that it seems attractive; But what we are paying in addition is the ability to organizein an efficient way a productive and commercial processes.

When we analyze the market of wood design products , the abundance of trees and designers is less relevant than other factors. The cost of the raw material and the design of a product rarely reach the amount of the basic discount for distributors. What is really relevant is the coordination between specialized production companies in each phase of manufacturing; leadership at the level of editorial coordination and espacially the ability to commercially penetrate the market.

It is no coincidence that the main design furniture firms are located in industrialized regions, espacially in regions with a relevant potential market, that is a concentrated population with high purchasing power and a long commercial tradition.

From Amsterdam, in an area of six hours by car, it is possible to reach all the north of Germany (Berlin, Hamburg, Hannover, Frankfurt, Cologne...), all Holland, Belgium and Luxembourg as well as the south east of England including London and the northeast of France counting on Paris. That territory gathers almost 100 million people with a double purchasing power of the Spanish.

Another clarifying example is Milan. Less than six hours away by car, covers all of Switzerland, the southeast of France , one of its richest regions, and southern Germany, including Munich. A potential market in terms of customers number and purchasing power turns out to be extraordinarily greater than we can cover in the same conditions from Santiago de Compostela.

AT THE SERVICE OF WHAT OR FROM WHOM Although the above examples can be discouraging, the truth is that from our position there is the possibility of defining successful business projects and doing it based on wood and design. There are a numerous relevant examples part of the wood sector. Galicia exports products of first transformation, packaging and intermediate wood products, relying on the privileged access to the raw material as well as the adequate product definition and quality control. This is the case of small companies strongly committed to exports such as Seistag, Maderas Ornanda or Laminates Villapol; as well as a lot of companies responsible for most of the employment within the sector such as Grupo Losán or Finsa.

Also in the field of final consumer products or design, our community has examples of success in different areas. From wooden doors and modular furniture to contract services and design editing. Aliusporta, Moblessence, Industrias Cándido Hermida or Galopín are examples of projects in which the design of the wood product is a crucial factor in the business success.

Where material and design can create a greater wealth extent in both economically and culturally level, is espacially about the capacities of existing industry and existing channels and commercial activities. This requires a commitment focused on wood that is effectively abundant and competitive, as it is necessary a design commitment adressed to products and services that are really viable, with their own structures and positive inertias.

In 1961, from the pages of Domus magazine directed by Gio Ponti, extraordinary designer of the Superleggera - the Spanish architect José Antonio Coderch affirmed that it was not genius what Spanish architecture needed, but professionals who promoted the construction and the urbanism at the service of the society progress from the modest exercise of his profession . In a similar way, today neither society nor industry need a perfectionist designer

or histrionic creativity. What we need is a generalized and continuous increase in the value and profitability of our productive activities by the use of talent and our own materials.

The great furniture designers of the twentieth century have been part of large projects of commercial, industrial and political nature. Therefor, the Ulm school was promoted in the south of Germany with North American funds as part of the investment program for the stabilization of Europe. Previously the Black Mountain College had been developed with the aim of reactivating the productive economy of the industrial belt of Michigan in consultation with professors of the Bauhaus exiled of Europe because of the big war. The big names in the design history as well as the main design editorials, all of them were forwarded to ambitious collective programs whose main objective was to develop economic activity in general and in particular industry and commerce.

THE CHALLENGE OF COOPERATION Modern society is characterized by the importance of the organization that exceeds available resources or individual efforts. The results achieved depend more on the ability to set shared objectives and cooperate for obtaining it, than on the availability of resources to address it.

Never mind we talk about nations or companies, and that the goal is to improve the quality of life or to earn money: in all cases the key factor, which makes the difference, is the ability to manage talent and to mobilize necessary resources to achieve the previously set objectives. It was not the closet country to the moon which went there, but the one that managed to articulate the most ambitious scientific, technological and industrial program in the history of humanity.

We live in the era of organizations and our success depends less and less on the raw material or the effort and more on the ability to act as an organization: defining objectives, attracting talent and establishing collaborative links. Who has tried to address a relevant company is aware that the main competitive barriers are the lack of confidence and the insufficient vision rather than the lack of resources or the lack of training.

Resources and training can be imported or acquired, but mutual trust and shared vision must be internally built. It was in this way that the industrial Germany of the late nineteenth century transformed Made in Germany to a quality brand. The English originally established this label as a commercial barrier designed to prevent the entry of German products into British trade and into the world trade. The German government developed a program aimed at increasing the competitiveness of its economy with the main fortunes and brains of the country. They developed a specialization, the quality control and the standardization. They created the famous DIN standards -Deutsche Industrie Normen- as well as the most practical training system in the world. In this way they converted a foreign stigma into national pride.

At present, the challenge of collaboration between designers and industrialists is no more than to embark on a shared mission. For this, it is necessary to share a vision and cooperate to achieve it. Never mind the motivation arises from an ambitious Entreprise such as going to the moon, or from a commercial rematch like the Made in Germany, the success of the mission depends fundamentally on the shared objective that must be able to inspire the collaboration and motivate the effort of all parties.

WUNDERKAMMER / CARMEN LAGE VELOSO Illustrated teaching guide If the travel notebooks did not exist, they would have been invented. There is no better antidote against fear of the blank page or canvas.

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Common tool of scientists, artists and explorers, the notebooks of John White, Alexander von Humboldt, Carl Linnaeus, David Livingstone, Charles Darwin, Franz Boas, Howard Carter, also Eugène Delacroix, Joseph Mallord William Turner, Le Corbusier or Miquel Barceló, they keep the topographies of a physical and an intangible archives for which they navigate.

Explorers of distant lands, of new worlds, carried detailed records describing their journeys.

Thanks to them our cosmos have been expanded, progressively gaining ground to chaos.

Ferdinand II of Austria owned at the Ambras Palace in Innsbruck,a collection at which he referred as Wunderkammer. This denomination -cabinet of curiosities or wonders-, designated generically the meeting of colorful objects to which both aristocrats and scholars were very fond of in the sixteenth, seventeenth and eighteenth centuries. There flourished, even, a specific genre, the cabinet paintings, where these objects appeared with the presence, often, of their proud owners. Before the specialization broke into the scene, paintings, natural specimens, minerals, relics, antiquities, furniture, jewelery and archaeological objects from the far ends of the world, shared space. Like the cabinet of curiosities, the travel notebook admits all kinds of contents, without censorship, without restrictions, mapping the real. In the colonization of the enclaves of the imaginary, they were equally audacious and decisive.

The activities of the first natural scientists, the scientific illustration and the travel notebooks have a relations of proximity with this world of curiosities, chamber and cabinets. Naturalia and artificialia became, at the dawn of modernity, protagonists of an aesthetic related to empiricist observation, therefore, to the emergence of science. Describing, classifying and reproducing reality in a meticulous way, are operations that reveal a willingness to panoptic vision, an ambition of the expansion that begins at this time its journey.

The thirty-six thousand soldiers of Napoleon landed at Alexandria in 1798 with an unprecedented multidisciplinary team. More than a hundred researchers and scientists headed towards Cairo. Under the orders of the mathematician and geometer Gaspar Monge (creator of the current concept of “descriptive geometry”) there were around 25 architects and draughtsmen. When they first saw the impressive pyramids of Giza, their mission transcended the purely military and imperialist desire to tackle another colossal and a more productive task. The Description of Egypt, a fabulous work composed of twenty-four volumes full of beautiful illustrations made from the documentation gathered there, became one of the most successful publications of its time. And the most reliable description made until those exotic territories and their monuments.

In 1908 Olivia Tonge started her sketch book Winsor & Newton: “It turns out that a certain grandmother, when she was already close to 50 years old (...) said to herself: Look, I’m going to start painting.” And began an adventure that took her to India and Pakistan, making 16 wonderful notebooks.

Creative processes pass sometimes, through the terrain of the unfathomable. Edgar Allan Poe seems, at first glance, the perfect example. However, detective story, such as the stolen letter or poems such as El Cuervo, are characterized by an absolutely rational and premeditated architecture. The author, in his articles by narrative theory, shows us the transparent box of the artifice, reveals the resources used. At the other extreme, the black box of surrealist writing is nourished by psychic automatisms.

The versatile notebook, suitable for the scientist and his desire for taxonomic cataloging, at the same time, for the bold and globetrotting adventurer, receive the predictable and the veiled, the intimate and the strange, the common and the diverse. In its pages, it had been registrated the drawings that identified Batesian mimicry, the theory of evolution, the phases of the moon, the bases of geography and modern anthropology, the Egyptian tombs,

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the appearance of pictorial abstraction, the summits of Himalayas, the Amazon jungle or the corners of Africa.

The trip to the East, is a doctoral thesis that reconstructs and interprets the trip made by Le Corbusier between May 23 and November 1, 1911, as one of the definitive moments in its formation. Under the direction of Josep Quetglas, the author, Ricardo Daza Caicedo, holds that in the later production of the modern master beat with strength the influence of the impressions collected in his travel notebook.

Never mind the age, you do not need to be a great researcher, nor an intrepid explorer, nor an artist who performs his grand tour. That’s why every year, as Victorian collectors, we made our little wunderkammer.

(1) John White. Map of the east coast of North America that includes several aquatic species.

1585. Watercolor made during Walter Raleigh’s expedition. Of inestimable value, White’s notebook contains the oldest representations of the flora, fauna and life of the Americans, which helped shape the first vision that Elizabeth I’s England had of the wonders of the New World.

(2) Pedro P. Rubens and Jan Brueghel el Viejo, Alegoría de La Vista, óleo sobre tabla, 1617. A cabinet of curiosities, probably of the archdukes Isabel Clara Eugenia and Alberto, governors of Flanders, whose residence, the Coudenberg Palace appears in the background.

(3) Watercolors of Olivia Tonge. Personal notes, fauna, customs of India and anything that caught their attention like this giant crab that “swims with the grace of the flight of a swallow and feeds on live prey, that chases with the speed of a shark” are treasured in each notebook.

(4) Eugène Delacroix. Travel notebook to Maroco. 1832. The painter is part of the delegation sent by the French government to the sultan of Morocco, in the context of Gallic expansionism for this countrxy and Algeria. The trip to the East was a must for romantics because of its exoticism. Spain and North Africa were filled in the 19th century with searchers of the picturesque and the strange.

(5) Lía Soto. Notebook, 2017.

(6) Manuel Gallego. Notebook, 2017.

(7) Enrique Gistau. Notebook, 2017.

(8) Lucía Espino. Notebook, 2017.

HISTORY OF FAILDE / MANUEL SEOANE The time from Naranjito to Faildinho Speaking about the design in Ourense in the eighties of the last century had something of a snob.

We haven’t recovered yet the blush of the World Cup in Spain in 1982, with that “Naranjito” and a graphic identity so unfortunate, and missing some years so the Barcelona Olympiad start to known the whole world the contagious euphoria and the successful design that It was beginning to be done in Spain.

In the mid-80s the new post-dictatorship music scene as a sounding board for the Movida Madrileña, had already arrived with great force in Galicia, in particular Vigo, with important ramifications in Ourense with the band Los Suaves that had been born in the 1979.

José Luis Baltar took office as president of the Diputación in 1987, and in the San Cibrao industrial estate, although he had already stopped manufacturing the emblematic San Martín beer, he kept an importance industrial fabric where Coren-UTECO emerged with strength, on the side of the Citroën factory. But what we are interested in is an important furniture

and other wood products manufacturing by the hand of Muebles Cordeiro, and other minor factories, which formed a thriving sector in the province.

In the artistic and creative scene, Ourense maintained a certain inertia of the important movement created in the sixties and encouraged by Vicente Risco around the bar Tucho, “the Volter, grouped people like Xaime Quessada, Virxilio, José Luis de Dios, Acisclo , Arturo Baltar, Buciños, and others like Vidal Souto and Quique Ortiz.

In this context, the School of Applied Arts and Artistic Trades “Antonio Faílde” was born in 1986 BACKGROUND The Schools of Arts and Crafts, had been created in Spain in the second half of the nineteenth century, initially in the most industrialized cities, arriving later to the peripheral cities.

In Ourense the Provincial Council had the School of Drawing since 1856, but the School of Arts and Crafts opened its doors in 1891, specifically started its activity on October 2. It was at the time when one of the few centers that allowed the instruction of the Ourense boys, together with the Seminary, and the Normal School. In the first stage it was called Provincial Workers’ School, and today, it maintains the name of the School of Arts and Crafts which had been official since 1930.

In the other Galician cities where the Schools of Applied Arts and Artistic Trades had also been created as in Coruña, Lugo and Santiago. they were merged with the old Schools of Arts and Crafts, but in Ourense the two institutions have remained until today. independent and differentiated, although, in the first moment they shared headquarters and part of the instalations.

THE FIRST HEADQUARTERS IN THE OLD HOSPITAL The School of Applied Arts and Artistic Trades began its journey in the 1986-1987 academic year, with a group of four professors, who were nourished from the first moment with people of fine arts, among them was the painter from Ourense and settled in Vigo Anxel Huete, and architects, with the representation of the young Juan Carlos Cabanelas.

The headquarters, in pavilion nº1 of the old Hospital, a building that belonged to the Provincial Council, and that had been rehabilitated by the architect Emilio Fonseca Moretón, to accommodate the centennial School of Arts and Crafts. During those first years the building was shared to the old fashioned School of Arts and Crafts, directed at that time by the painter D. José Corral, and to the recently created School of Applied Arts and Artistic Crafts, during daytime, directed by Mrs. Elena Carpintero.

This cohabitation symbolized in some way the tradition of those historic schools that advocated the good work of the old craftsmen, and the modernity that is supposed to be the new ones, in which the word “design” was almost a motto.

The coexistence of these two spirits generated some anecdote and small conflicts, with the models of plaster that some used for “stain”, and that the others manipulated with a vocation “pop”, that so irritated Mr. Corral.

The first faculty of teachers held on March 26, 1987, chaired by Angel Huete, as acting director, for the absence of the director of the Elena Carpintero School, in which the secretary Juan Carlos Cabanelas, records the agreements , among them who stands out the request to be able to teach the newly created Artistic Baccalaureate in Art Schools, also the request for the creation of a Faculty of Fine Arts for Galicia. It serves like anecdote that in this cloister with the acting director, and the secretary attended only the professor Beatriz García Trillo.

The School Board of the Center was not created until 1987-1988, as it was recorded in the minutes of November 3, 1987. We were already in the second course of operation of the school, in which the cloister was already composed of five teachers.

In the 1988-1989 academic year, when the initial cycle of the common courses was going to be completed, the plan of 1963, in which the first specialty course was started, the teaching staff was already composed by 9 professors, joining a teacher of workshop, a staff of six graduates in fine arts, and two architects.

The Specialty with which the School started was the Furniture Design, which had been chosen because of the wood craftsmen tradition in Ourense, and the presence of important factories already mentioned “Cordeiro Furniture” in the neighborhood of the Bridge (el Puente), and “Calvo furniture” in the polygon of San Cibrao, which were seconded by other smaller factories.

It was also in the 1988-1989 course, specifically in the cloister of April 5th , 1989, when it was agreed to request a second specialty for the School, which would be Graphic Design, as it was the most demanded by the students, and which would begin walking in the next course.

In this course, the first activity that transcends the academic itself is also carried out, with a design seminar given by Mr. José Ramón Méndez, a professor at a national reference center, the DZ of Bilbao.

In the School Council of January 25th ,1990, it was already mentioned that the studies that were governed by the plan of 1963 will be relegated as the experimental plans that are developed will put in place, in the MEC territory.

Angel Huete leaves the center to join the Faculty of Fine Arts at the end of the 1989-1990 academic year, so that in the next course, Guillermo Iturralde will occupy the management direction.

An important milestone in the 1990-1991 academic year was that those powerful College of Architects of Galicia, granted an aid of 500,000 pts. for the development of conferences, in which prominent Galician architects related to furniture design were to be participated. In the conference, which took place in the culture classroom of Caixa Ourense, with a lot of public success, participated the architect Xosé Bar Boo from Vigo, the Andrés Reboredo from Coruña, who explained the furniture that they had designed was specifically for the Parliament of Galicia. Their experiences were also shared by León López de la Osa from Vigo, and Alfredo Freixedo from Ourense, who were responsible for the design of the commercial premises, and furniture for Adolfo Domínguez points of sale, the leading fashion brand in Spain, expanding to Europe and Japan.

Also in 1991, the School made the first exhibition with the works of the students, in the room of Caixa Ourense, with a remarkable success of public and repercussion in means. The amount of 14,214.00 pts was spent on this exhibition. (as recorded in the minutes of the EC dated October 28, 1991).

1st TRANSFER Towards the end of the 1990-1991 academic year, the transfer of the School to a new center began to be discussed, because the building it was occupying, on the university campus, had been transferred just to the university, to set up the new management computer science degree. It was initially reported that the transfer was scheduled for the end of the course, and the sites that would be occupied would be the Teaching Building of the Practice School, which was planned to be shared with the Conservatory of Music.

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It was not like that, the course 1991-1992, began normally, and not only remained in the previous spaces, but they occupied some new enclosures within the building, such as the old chapel of the old hospital, and some room of the second floor, upon request to the Provincial Council, which stilled the owner of the building.

As the course progressed, the rumors of the transfer intensified, and each department made a forecast of the necessary spaces, without knowing yet the place chosen for the transfer.

At the end of the course, the eviction order was already effective, and the discontent between the students and the professors was obvious, because the rumor that circulated insistently was that the place now chosen would be empty dependencies of the Minor Seminary.

The lack of information from the Provincial Delegation of Education, with the delegate Mr. Muños Lechón al frente, was already exaggerated, it could be for fear of a protest in the street and in the press of the students and the teaching staff. So much so, that the first cloister of the course, in September 1992, took place in the Campus building, informing the Director that the works were already underway in the new location, but without clarifying what it would be, and indicating that the course would begin throughout the month of October, delaying if necessary, both the beginning of the course and the exams in September.

THE PROVISIONAL HEADQUARTERS OF BARROCÁS In Barrocás the School went on to occupy a building in which there used to be a Special Education Center, in which some small reforms were made to adapt it to the new needs of a School of Applied Arts and Artistic Trades, which was the official name for those dates.

Actually the building consisted of a volume with prefabricated concrete, and roof of sheet metal to two waters, of a walk, in which was the library, the secretary, a couple of offices and four classrooms. It also had a larger semi-basement, where there were the cabinetmaking workshops, the machine room, a classroom for furniture design, and another for screen printing, the latter without outside ventilation. The situation was so precarious, the part of the photo lab was in the corner and under it there was an outside staircase below.

In the minutes of the School Board dated in December 9, 1992, the students’ claims are recorded, with complaints about the lack of space, low height of some classrooms, which also do not have extraction or ventilation. The safety regulations in case of fire are also breached.

As the building soon became small, an agreement was reached by the management with the Association of Neighbors of Barrocás, for the cession of some neighboring premises in which the first classroom that would occupy the new Project Cycle and Decoration Works Management was installed in the 1993-1994 academic year.

The management insist complaining for the precariousness of the instalation that did not allow to develop with certain normality of teaching, made the Provincial Delegation of Education, that stilled having Mr. Muñoz Lechón, to raise without much hurry, the need to have a new headquarters.

Initially, a project was carried out by the Technical Services of the Provincial Delegation of Education, signed by the architect David Ortiz, expanding and adapting the existing building. It was certainly a compromise solution, and unwise, that was rejected by the school’s management and faculty. Neither the architectural solution nor the situation in Barrocás seemed the most suitable.

Faced with this situation, the possibility of occupying the site of the current University Residence in Las Lagoas was considered, but as the land belonged to the university, it was not easy. In that half time appeared the possibility of making a new building in the campus of the Labor University.

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In this stage a school tried to open to the city and all of Galicia, carrying out different activities, collective exhibitions which include those carried out at the School of Architecture of Coruña, and the year 1994 in the cloister of San Domingos de Bonaval In Santiago.

FIRST ATTEMPTS AT THE LABOR UNIVERSITY SETTING The insistence on the part of the direction occupied by César Taboada from the course 19941995, caused that the Ministry ordered a new project, already for the enclosure of the Labor University.

The commission appointed the Madrid architect Jerónimo Arroyo, who contacted the faculty to develop the needs program. The preliminary project he submitted was not satisfactory. It proposed a wide rectangular floor with a central square as a cloister, to which all the spaces were opened, completely closing to the outside. The labyrinthine routes, and the little functional dependencies made that it was agreed to make a series of modifications to adapt better the building to the needs that were already defined.

The truth is that a few months later came the final implementation project, without taking considering the changes that had been requested.

Before the dilemma of opposing the project, or remain precarious in the Barrocás instalations, the teachers opted for a critical tolerance, stating the opinion, before the representatives of the Ministry of Education in Santiago, but without opposing the project already developed.

Perhaps is the luck that in that time in the Service of Works of the Department of Education, in Santiago, José Luis Cousillas was an architect with sensitivity who had the wisdom to detect the poor adaptation of the architectural project prepared to the place where it was intended to be implemented, and the poor functionality of the building, for a center of artistic education.

Thanks to him, and to the support of the Deputy Director General of Education Mrs. Immaculate Peace who shared the opinion, the project was rejected, and a competition of project and construction was proposed, in which an architect with a construction company had to participate, offered a global budget at the time.

THE NEW BUILDING IN THE UNIVERSITY LABORAL ENCLOSURE. Among the teams presented to the competition, was the one that finally and ultimately chosen, formed by the architects María Jesús Blanco Piñeiro and Alfredo Freixedo Alemparte, together with the construction company Alea SL. A a simple building, with three gaits, and a long floor, with wide and open spaces of interaction.

D. José Luis González, Delegate of Education in Ourense, and the Councilor Mr. Celso Currás attended shortly after the instalation of the first stone, and at the beginning of those that developed rapidly throughout the years 1997 and 1998.

The course 1998-1999 began already in this news and definitive headquarters, which was officially inaugurated on the 26th of February, 1999, with the participation of the mayor Manuel Cabezas, the President of the Xunta de Galicia, and Monsignor Carlos Osoro, for that bishop of Ourense.

The family of Antonio Faílde, donated in 2001 six drawings of the sculptor, the bas-relief of “Adam and Eve”, and three other figures of round shape, which are preserved in the center.

Throughout these years the Training Cycles of Advertising Graphics, and Projects and Direction of Decoration Works were delivered, developed according to LOGSE.

In the 2005-2006 academic year, the Higher Studies of Design began to be implemented in the Galician Art Schools. In Ourense, the first students of Product Design were registered, forming a single promotion, because in 2006-2007 a new registered students were no longer admitted. In the same academic year 2006-2007 the specialties of Graphic Design and Interior Design were implemented, which were equivalent to a University Diploma.

Parallel to this, the Photography Cycles, Artistic Cabinetmaking, and Enlightenment were also adapted to each of the legislative variations.

The building soon became small, and on January 23, 2009 the expansion of the new classrooms and assembly hall was inaugurated. The CounselorFor Education Laura Sánchez Piñón visited the School for the event.

The operation of these three decades allowed an expansion of the School abroad, participating in a trope of international exchange programs, also actively participating in the cultural life of the city, and with both national and international recognition of students in competitions, exhibitions and events. In 2009, the first edition of the Yearbook of the School appeared, a publication that collects works from both the educational community and other leading design professionals with the encouragement of Xosé Manoel González, and that remains a “rare avis “in the Galician creative world.

With the celebration in 2017 of the thirty anniversary of the School, among the many events, the mysterious figure of “Faildinho Antón” appears, a small wooden goblin who won the affection of the community of “Faílde”.

XORNADAS CREA / XOSE MANOEL GONZÁLEZ

In the year of its XXX anniversary, the high School of Art and Design Antonio Faílde presented the first edition of CREA, Art and Design conference, which took place between Monday 3rd and Friday 7th of April, 2017 in different spaces of the city of Ourense, mainly in the Marcos Valcárcel Cultural Center.

Each day was dedicated to one specialty of its training offer; Training Cycles of Photography Higher Degree , Illustration and Artistic carpentry, as well as Superior Teachings of Graphic Design and Interior Design.

Prestigious professionals participated in lectures and colloquiums: Rosa and Bleda, National Prize of Photography, the award-winning architects Javier Franco and Vicente Pintos, the illustrator Chema Román, award for the best book published in the State, Elías Cueto, architect and one of the best exponents in design and innovation in the field of wood and R2 Design, Portuguese study of topicality and international reference in graphic design. Also, there were practical demonstrations, final projects exposition and other activities. We wanted to make visible EASD Antonio Faílde in the city of Ourense by a band, concentrating in a few days some activities that are usually carried out during the course in the neighborhood the school building, La Cuña, on the other hand, give the Ourense citizens the opportunity to know the vision and the figures projects of first level in different fields of art and design.

Also, the sample of final projects was an excellent opportunity to verify the enormous creative potential of several graduate school promotions. With the participation of the school practice, the seminar was successfully developed by the full assistance in several lectures and activities, which had a quite media impact at the local level. So,we can consider that the programme objectives are reached.

We want to thank the collaboration and participation of speakers, teaching staff, students and the stuff of the Cultural Center of Ourense community, Marcos Valcárcel , especially the director Paco Rodríguez, who offer the school an impeccable space where to develop most of the programmed activities. We will see again in the second edition next year! http://escolarte.com/crea/ http://www.escolarte.com/crea-2017/ ACTIVITIES Monday, 3rd of April. Photography.

Palestra: María Bleda and José María Rosa A photographic project: Carla Otero, Pablo Araújo, Iván Fernández and Miriam Méndez. Developed in the “ El Cercano” local .

The reality of the profession: Brais Lorenzo (press), Berto Macé (art), Miguel Pena (fashion), and Brais Seara (nature).

Tuesday, 4th of April. Interior Design.

Palestra: Javier Franco and Vicente Pintos.

5 visions, 5 projects: Alegría Veloso, Cristian Andrade, Sheyla Pérez, Miriam González and Teresa Rodríguez.

Reflections: The Praxis in interior design: Sheila Pérez, Mirian González, Leticia Formoso, Silvia Fernández and Martiño Fontes.

Wednesday, 5th of April . Illustration Palestra: Chema Román. From Angoulême to Santiago; the French Way or the path of the draftsman.

ARTEMOB Illustration: David Acuña, José Antonio Alonso, Ángela Álvarez, Antía Antepazo, María Costas, Jennifer De la Silva, Marta Fernández, Isidro Manuel García, Héloïse Eglantine, Lucía González, Alba González, Santiago Martínez, Moisés Míguez, Daniel Me lo, Ilduara Moreiras, Olalla Moreiras, Pedro Oliveira, Noelia Pascual, Pablo Andres Pereira, Andrea Puente, Alejandro Rey, Ana Laura Rey, Ivana Luisa Rodriguez, Pablo Saiz, Silvia Santamarina Campos.

Photography: Olga María Otero, Antía Álvarez, Carmen Blanco, Alejandro Castiñeiras, Noemi Cordeiro, Marta Dorribo, Elsa Fernández, Endiara Ferreiro, Ramón Follente, Alba González, Jonathan López, Xurxo Márquez, Mauro Martínez, Cristal Martínez, Maria L. Prieto, Roberto Rodríguez and Cristina Saiz Thursday, 6th of April. Carpentry..

Palestra: Elías Cueto. Some practical cases of wood innovation.

Demonstrations of carpentry: Wood turning: Antonio Tojeiro. Assemble Carpentry: Agustín Castellanos.

Student projects: María Jesús Lamas, Manuel González, José Luis Fernández, Daniel Vázquez, María Ronco and Iria Rivas.

Friday, 7th of April. Graphic Design Palestra: R2 Design. Do papel al betao Final projects: Daniel Vila and Iago Novoa, Olaia Ferrando, Ruth González, Laura Lobón and Anaïs Kerbrat.

SAMPLE: Coordination: Lucía Rodríguez and Mónica Sabariz Design of the exhibition space: Ana Besada, Erika Duarte, Javi Pérez Rodríguez, Mauricio Losada, Natalia Collazo and Sofía Regueiro Graphic design: Cristina Escarda, Manuel de la Fuente, Simón Seoane and Xosé Manoel González.

Exposed projects: Carpentry: Mariana Morán, Jesús Pacheco, Víctor González, Rubén González, Alexandre Fernández, Borja Rodríguez

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Illustration showcase: Mariana Aravena, Daniel Dopazo, Adrián Eirey, Lucía Espino, Manuel Gallego, Enrique Gistau, Ángela González, Lorena Marante, Cayetano Salvia, Gladys Otero, Paula López, Javier González, Antía Gobierna, Nerea González, Alicia Ortal, David Segade, Xoel Sorribas, Lia Soto, Marcos Viso, Christian Vázquez, Jorge Campos, Carlos Alfaya, Rodrigo Chao.

Interior design showcase: Erika Estévez, Alexandra Prada, Alberto Rodríguez, Michele Pérez, Javier Fernández, Marta Pérez.

Photography showcase: Julio Eiroa Graphic Design Showcase: Alba Pérez, Xosé Manuel Rodríguez, Joan Ríos, Anaïs Kerbrat, Ruth González, Carlos Alonso.

Next, the list of participants, coordinators and collaborators.

We ask for apologies in case of error or omission.

The director EASD Antonio Faílde: César Taboada The Cultural Center Director Marcos Valcárcel: Francisco Rodríguez The Conception CREA: Armando García and Xosé Manoel González The CREA Coordination: Xosé Manoel González The EEAASS Interior Design: Javier Rodríguez, Manuel Seoane, Marisol López, Iria Rivas, Lola Pelaez and Lucía Rodríguez The EEAASS Graphic Design: Mónica Sabariz, Olalla Sío and Xosé Manoel González The EEAAPP carpentry: Ofelia Cardo, Javier Fernandez and José Luis The EEAAPP houses Illustration: Miguel Ángel Mantilla, Luis Carreira and Carmen Lage EEAAPP Photography: Armando García, Antón Freire, Carme Fernández and Virginia Barros Communication: Olalla Sío Graphic design: Xosé Manoel González Website: Programming; Simón Seoane and Antonio Ferreiro. Design; Xosé Manoel González.

Typography; “Gaspar” by Carlos Alonso.

Photographic report: Agustino Iglesias Video Conferences: Agustino Iglesias and Inés Mirás Video Artemob: Maria L. Prieto and Endiara Ferreiro Video Photography: Manuel Justicia Printing: Offset: Rodi Graphic Arts. Large format: Oficode. Expo panels: Aceroplus

ARTEMOB, URBAN INTERVENTION / CARME FERNÁNDEZ

Artemob emerged as a complementary activity to integrate into the CREA Conferences, which were to take place between April 3 and April 7; the big week of the celebrations of the 30th anniversary of the EASD Antonio Faílde. But, suddenly, something changed. The clash with the reality in Ourense was decisive in objectives reconduction: can an urban intervention modify the gray reality of a city with a high rate of aging? In other European cities this seems possible, when the color spreads in a not planned way by the municipal power and the citizens themselves take the initiative.

Therefore, on April 5, half a hundred of students and professors of Illustration and Photography went out in the street, we did it in order to break off, in an ephemeral way, the monotony, uniformity and impersonality that currently prevail in the urban space. Willing to generate discomfort and surprise all those who circulated in the highest traffic areas of the city, we paraded through the neuralgic center of the city at rush hour, dressed in white overalls and masks.

Extending in groups, we cover the Alameda trees of Ourense and the canopies of the city center with huge paintings (made a few days before by the students of the 1st course of illustration). After 48 hours in the street we went to remove them, and we could see that none of them had been damaged by the citizens.

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The complete process was collected in images and filmed on video by the students of 1st of Photography. Subsequently, the result of this artistic action was exposed to the public at the culture House Manuel María de Barbadás.

INTERNATIONAL PROGRAMS / CÉSAR TABOADA & TONHO FERREIRO

Currently we are working on a projection abroad for our students promotion in different Erasmus programs, for exchange students in the European community territory as well as outside the European Community in Eastern areas. There are exchange programs, aboard workshops, exhibitions Etc. The operation of a consortium program (CARTES) in which there are more than 20 collaborating partners from various arts specialties become a reality: Faculties of Fine Arts, Image and Sound Schools, Restoration Centers, Superior Conservatories of Music and many EASDs from all the national territory (Galicia, Asturias, Navarra, Madrid, Catalonia, Castilla and Andalusia) and all of them are directed by the EASD Antonio Faílde of Ourense, which enjoyed this year of exchanges with countries and different faculties of India, Albania and Jordan. More and more institutions dedicated to artistic studies are trying to join this consortium, in the academic year 2017-2018 we have about 30 participating institutions, also we will expand exchange countries with those that we already have contact, such as Thailanda, Bosnia Herzegovina, Vietnam...

More than 40 students participate this year in this exchange project also about 30 teachers benefit from the faculties of Jordan, India and Albania. Our center had the pleasure of receiving teachers and artists from Albania in this exchange program.

We continue working with other European and Eastern centers to attract students from the Arab Emirates, Abu Dhabi, Turkey... this year we will participate in the Art Triennial that will be celebrated in Istanbul at Marmara University, referent of international artistic promotions.

We have a very good communication with these faculties, and with other Europeans such as the Albertina of Turin, that referents of the art exhibitions organization in the worldwide so that both our students and teachers can participate in these exhibition activities.

After holding on the exhibition “Beyond the Abaya” of the Higher Colleges of Technology of Abu Dhabi, this year we participate with them and with the Zayeb University by exchanging exhibitions between our students and teachers.Including, of course the different workshops, conferences, seminars and symposiums which participate to EASD Antonio Failde and participating too with the Doğuş University of Istanbul, and the Art Academies of Sano Petesburgo and Colonia.

When we talk about these exchanges programs we can not forget about the Erasmus + in which we are immersed many European countries, and year after year we reach more partners for these exchanges program. Until the present day, we work with countries such as Portugal, Italy, Denmark, Lithuania with reference schools such as the EASD of Matosinhos, Kea, ISIA, Vilnius and an endless number of them. It was not sufficient,so we expand schools or faculties in the partner countries and some of countries and faculties of exchange program, as the Academies of reference of Lodz and Krakow in Poland.

Each passing course we extend the requests of students from the mentioned countries who want to benefit from exchanging with us.Thanks to the artistic and design education in our School were reaching a level of which we are proud, comparable to other centers very away from this earth, unfolding with confidence.

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