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An imaginary interview with Bruno Munari
2
I am against an excess of anything and I believe it is better to subtract than add. Japanese design is known for their simplicity and minimalism which is why I admire them. They design the object as it truly is without imitating something else. Japanese design is also closely connected to the materials. They embody the design object with its function and the properties of the materials. Some examples of japanese design that I especially admire are their traditional homes and chopsticks. I hold their simple, light, and readily adaptable qualities in high esteem.
3
W
hat is it that you admire about
the Japanese design?
4
I am against an excess of anything and I believe it is better to subtract than add. Japanese design is known for their simplicity and minimalism which is why I admire them. They design the object as it truly is without imitating something else. Japanese design is also closely connected to the materials. They embody the design object with its function and the properties of the materials. Some examples of japanese design that I especially admire are their traditional homes and chopsticks. I hold their simple, light, and readily adaptable qualities in high esteem.
5
After my disassociation from futurism I started reflecting aesthetics and sensibilities of Surrealism, Dadaism and Bauhaus in my works. ABC Dada (1944), which is a collection of short poems for each italian letter with collaged pages, represents both surrealism and dadaism influence in my works.
W
I believe futurism was the first movement that influenced my work. I came across futurism by chance when I was just a teenager. Futurism drew heavily on the aspects of modern life such as speed and technology which I was so inspired that I even moved to Milan.
hat are
influ
your design care
they shape yo
6
Bruno Munari, ‘negativo positivo’, 1951
e some of the key
uences you had in
eer and how did
ou? Bauhaus is shown throughout my works through geometric forms. I wanted to bring together various forms of art and design which was also influenced by Bauhaus. Although I have withdrawn myself from the futurists I continued to carry their aesthetics along with the new influences.
7
Later I moved on to constructivism which saw art as a medium with a social and political power. As a sculptor and a painter I adopted Constructivist principles into many of my works which includes the ‘Aerial Machine’ and a series of paintings called ‘Negative/ Positive’ which evidently shows constructivist aesthetics. ‘Negative/ Positive’ paintings use contrasting colors, black and white, to represent constructivism beliefs through geometric shapes that art and life cannot be divided in half.
re A useless
machines really
“useless�?
8
I called them useless machines because unlike other machines they do not have a solid utilitarian purpose like producing goods or freeing us from labor and bringing us capital. Useless machines is a paradoxical name as they may seem useless but in fact they do have multiple uses.
They show a whimsical exploration of my own ideas in a playful, childlike way. The materials also produce spontaneous and unique art of their own from light and their shadows without direct manipulation of the artist. The pieces of this art change accordingly by moving, floating, and interacting with the environment hence creating kinetic compositions. I started designing Useless Machines by suspending lightweight materials such as paper, cardboard, string, and glass in the air in 1930. They were the first mobiles in the history of Italian art which brought me lots of fame and recognition. The purpose of this abstract art was to move away from the traditional static forms of paintings and sculptures which exemplifies futurism values.
9
T
ell me about your views on
children’s learning
and how they are manifested in your children’s books.
10
I wanted to teach children about the world through a sense of touch and playfulness and I incorporated my beliefs into the children’s books. My children’s books were not intended to transfer textual information to the young minds. They instead prompted kinesthetic learning through textured, tactile surfaces, different bindings and cutouts. Children would interact and explore with these visual and tangible but unreadable books. Their interaction and exploration with the books would help them develop their ability to think and imagine which would also result in boosting their creativity.
11
Hdesigner ow should a
operate in the
20th century i n your
op
in
i o n
?
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1. Nowadays designers have to serve the masses. Gone are the days when designers used to operate solely for the royal families. We have to reestablish the connection between art and public/life. Our life will only be balanced when our life is surrounded by works of art. This means art and life should not be separated and we designers have to respond to the human needs of the time. 2. Designers should not have a personal style which itself is a contradiction in terms and a remnant of romanticism. We need to solve problems by choosing the most ideal style for the design even though it does not align with their own personal style. I know it is almost impossible to fully disregard one’s own style while working as a designer but it should be the aim of every designer. A successful design comes from objectivity with any subjectivity such as a designer’s personal style left out. 13
References Valeri C, n.d., ‘Design as art, reflections’, Casmir Design, blog post, viewed 1 June 2020, <https://casmirdesign.com/design-as-art-by-bruno-munari/> Poynor R, 2008, ‘Design as art’, Icon Magazine, viewed 1 June 2020, <https://www. iconeye.com/component/k2/item/3877-design-as-art> Shamshi K, n.d., ‘An analysis on the chapter ‘forks, knives, and spoons’, Kareena Shamshi, blog post, viewed 1 June 2020, <https://kareenashamsi.files.wordpress. com/2017/04/design-as-art-review.pdf> Fardi N, 2016, ‘Bruno Munari : a bridge between art and life’, Devas Design, blog post, 29 September, viewed 1 June 2020, <http://www.daevasdesign.com/bruno-munari-bridgeart-life/> ‘The many talents of artist and designer Bruno Munari’, Kooness magazine, 8 April 2019, viewed 1 June 2020, <https://www.kooness.com/posts/magazine/bruno-munari-the-manbetween-art-and-design> Penfold L, 2017, ‘Bruno Munari: “inventor, artist, writer designer, architect, illustrator and player-with-children’, Louisa Penfold, blog post, 14 September, viewed 1 June 2020, <http://www.louisapenfold.com/bruno-munari/> ‘Bruno Munari consistently reinventing futurist past - review’, Artlyst, blog post, 20 November 2012, viewed 1 June 2020, <https://www.artlyst.com/news/bruno-munariconsistently-reinventing-futurist-past-review/> Campbell-Dollaghan K, 2012, ‘Newfound notoriety for a prophetic polymath of italian design’, Fast Company, 10 December, viewed 1 June 2020, <https://www.fastcompany. com/1670984/newfound-notoriety-for-a-prophetic-polymath-of-italian-design> ‘Bruno Munari : my futurist past’, Archilovers, blog post, 31 October 2012, viewed 1 June 2020, <https://www.archilovers.com/stories/1659/bruno-munari-my-futurist-past.html> ‘Munari’s childhood memories and useless machines’, Italian Ways, 5 March 2014, viewed 1 June 2020, <https://www.italianways.com/munaris-childhood-memories-anduseless-machines/>
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Robinson M, 2012, ‘Bruno Munari : the man and his useless machines’, the189, blog post, 22 August, viewed 1 June 2020, <https://the189.com/design/bruno-munari-the-man-andhis-useless-machines/> Keam S, 2016, ‘Bruno Munari : futurism function and useless machines’, The Culture Trip, 15 October, viewed 1 June 2020, <https://theculturetrip.com/europe/italy/articles/brunomunari-futurism-function-and-useless-machines/> Budds D, 2015, ‘Bruno Munari will make you fall in love with books all over again’, Fast Company, 17 June, viewed 1 June 2020, <https://www.fastcompany.com/3047507/brunomunari-will-make-you-fall-in-love-with-books-all-over-again> Poynor R, 2018, ‘Bruno Munari: witty playful and paradoxal’, Icon Magazine, 4 October, viewed 1 June 2020, <https://www.iconeye.com/design/features/item/12953-brunomunari-witty-playful-and-paradoxal> Popova M, n.d., ‘Iconic Italian graphic artist Bruno Munari’s rare vintage ‘interactive’ picture-books’’, Brainpickings, blog post, viewed 1 June 2020, <https://www. brainpickings.org/2014/06/12/bruno-munari-nella-nebbia-nella-notte/> ‘Bruno Munari’, Casatigallery, blog post, 27 February 2020, viewed 1 June 2020, <https:// www.casatigallery.com/designers/bruno-munari/> Bishop C, 2014, ‘Design as art as told by Bruno Munari’, Medium, blog post, 15 September, viewed 1 June 2020, <https://medium.com/adventures-in-consumertechnology/design-as-art-as-told-by-bruno-munari-d2a5474debe8> Rawsthorn A, 2012, ‘At London Exhibition, celebrating a visual master’, The New York Times, 16 September, viewed 1 June 2020, <https://www.nytimes.com/2012/09/17/ arts/17iht-design17.html>
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Total Artist
Bruno Munari 16