开放边界。MD Moebel室内设计的西班牙设计(1961-1970)

IF 0.2 4区 艺术学 0 ARCHITECTURE Interiors-Design Architecture Culture Pub Date : 2022-09-02 DOI:10.1080/20419112.2023.2168072
María Villanueva Fernández, Pablo Arza Garaloces
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引用次数: 0

摘要

20世纪30年代末,西班牙经历了一场内战,导致独裁统治的建立,直到1975年。1959年,在经历了与其他西方大国隔绝的第一阶段之后,该国开始了第二阶段的对外开放。在这方面,西班牙开始参加一些国际展览。与此同时,在20世纪50年代,Sartoris、Zevi和Ponti等名人访问了该国,为当时的西班牙建筑师提供了一股新鲜空气。这种国际接触和开放的氛围促成了设计作为一门学科的整合,这两个组织分别是SEDI(Sociedad de Estudios para Diseño Industrial[工业设计研究学会])和IBID(Institut de Disseny Industrial de Barcelona[巴塞罗那工业设计研究所]),成立于1957年。1961年,该机构设立了德尔塔奖,在其整个任期内,该奖项表彰了许多西班牙设计的偶像。同年,加泰罗尼亚建筑师Bohigas和Martorell开始与德国杂志《Moebel Interior Design》进行有趣的合作。Martorell、Bohigas和Mackay,后者于1963年加入,在1970年之前一直是该杂志的西班牙记者。在此期间,他们发表了大约30份报告,展示了西班牙在设计领域的成就。本文旨在分析这一事件,探讨导致这一事件的事件,以及理解该杂志对西班牙设计的兴趣及其在国外的形象的线索,这是国家和学科开放的标志。
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Opening borders. Spanish design in MD Moebel Interior Design (1961–1970)
In the late 1930s, Spain suffered a civil war that led to the establishment of a dictatorship until 1975. In 1959, after the first stage of isolation from other Western powers, the country began the second period of openness to the outside world. In this context, Spain began to participate in several international exhibitions. At the same time, in the 1950s, great personalities such as Sartoris, Zevi, and Ponti visited the country, providing Spanish architects of the time with a breath of fresh air. This international contact and an atmosphere of openness led to the consolidation of design as a discipline through two organizations, SEDI (Sociedad de Estudios para Diseño Industrial [Society of Industrial Design Studies]) and IBID (Institut de Disseny Industrial de Barcelona [Barcelona Institute of Industrial Design]), created in 1957. This institution created the Delta Awards, in 1961, which recognized, throughout its duration, many icons of Spanish design. That same year Catalan architects Bohigas and Martorell began an interesting collaboration with the German magazine Moebel Interior Design. Martorell, Bohigas, and Mackay, the latter joining in 1963, were the magazine’s Spanish correspondents until 1970. During this period they published around thirty reports showing Spanish achievements in the field of design. This paper sets out to analyse this episode, exploring the events that led to it, as well as the clues to understand the magazine’s interest in Spanish design and the image that it projected abroad, as a sign of the opening up of both, the country and the discipline.
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