visual summary

Design Literacy / Visual Research Summary

SQUARE

‘THE SQUARE IS HIGH AND AS WIDE AS A MAN WITH HIS ARMS OUTSTRETCHED’ (BRUNO MUNARI, 1960).

DESIGN LITERACY / VISUAL RESEARCH SUMMARY / LCC MAGB&I

03 /44

IS IT STATIC? IS IT DYNAMIC?

One square or four triangles?

‘The black square on the white field was the first form in which

monobjective feeling came to be expressed. The square means feeling,

the white field means the void beyong this feeling’ (Malevich, Kasimir).

Either a white square on top of a black ground or a white hole

surrounded by a white border. Every object has a static facade and an

inner dynamic. Every object has its own positive and negativa form.


05 /44

FORM? AN EMPTY SPACE?

Is a square only composed by four

lines our can one complete it by

looking at its empty space?Can this be a square?


07 /44

A SYMBOL?FOUR SQUARES


09 /44

BACKGROUND OR FIGURE? A CIRCLE OR MULTIPLE SQUARES?

From the undifferentiated mosaic of the visual field we are compelled

to select a ‘figure’ on which attention concentrates while the rest of

visual data recedes and fuses into a vague background of indistinct

texture. When can a background stand out?


11 /44

A SQUARE ONLY CONTAINS WHAT MATTERS.IT IS ESSENTIAL, ENIGMATIC AND IMAGINATIVE.


13 /44

WHAT REALLY MATTERS IN A SQUARE IS THE WAY WE LOOK AT IT, WHAT WE CAN DO WITH ITS PURE FORM.

Fig 01 / Nobuhiro Nakanishi


15 /44

Fig 02; 03; 04 / Georges Rousse


17 /44

Can a group of squares be more

interesting, by letting an image

unsolved, than an obvious image

already completed that it is being

presented to us?

REALISTIC? ABSTRACT?


19 /44

FREUD FOUND THAT DREAMS LOOKED PARTICULARLY REAL NOT WHEN THE DREAM’S IMAGERY WAS PRECISE AND CLEAR BUT WHEN THE DREAM WAS SUPPORTED BY A RICH UNCOUSCIOUS PHANTASY CONTENT.

‘Syncretistic vision is the term given for the distinctive quality of

children´s vision and of child art.

Around the eighth year of life a drastic change sets in children´s art,

at least in western civilization. While the enfant experiments boldly

with form and color in representing all sorts of objects, the older child

begins to analyse the shapes by matching them against the art of the

adult. Much of the earlier vigour is lost. The child´s vision has ceased

to be total and syncretistic and has become analytical.

However abstract the infant´s drawings may appear to the adult, tho

himself it is a correct rendering of a concrete, individual object.

We have to remember that the early work is better in its aesthetic

achievement than the timid art of the older child’ (Gombrich, Ernst

(1960) Art and Illusion. A Study in the Psychology of Pictorial Representation).

PHAN-TASY?

What if the perfection is it in the

between of the syncretistic vision

of the child and the analytical

vision of the adult? One should

not always go for the obvious,

one should let imagination fly.

To let this happen it is not needed

to use inconstant and shy forms,

one can choose solid and safe

instead (squares).


21 /44

Fig 05 / Suppose Design Office /

Nagoya - Japan

‘IT SIGNIFIES THE IDEA OF ENCLOSURE, OF HOME, OF SETTLEMENT’ (BRUNO MUNARI, 1960).


23 /44

Fig 06 / Marc Koehler Architects

/ Japan

Fig 07 / Rintala Eggertsson

Architects / Oslo - Norway


25 /44

IN MODERN ARCHITECTURE THE WALLS BECOME GRIDS OF HORIZONTAL AND VERTICAL BARS.

Fig 08; 09 / Kisho Kurokawa /

Nakagin Capsule Tower / Tokyo

- Japan


27 /44

IF I HAD TO CHOOSE A PLACE TO BE LIVING IN A SQUARE, I WOULD CHOOSE THE CENTER, AS I CAN OBSERVE EVERYTHING AND EVERYONE AROUND ME.

I DO NOT FEEL I NEED TO BE IN A CORNER TO PROTECT MYSELF. I AM AN OBSERVER.


29 /44

A CAMERA IS A FRAME BY ITSELF.WINDOWS ARE FRAMES.

IF I AM AN OBSERVER AND A SQUARE IS NOT A HOUSE, CAN IT BE A WINDOW? CANIT BE A FRAME?I AM ALWAYS FRAMING THINGS WITH MY FINGERS.


31 /44

Does this window portrays

an empty house or, perhaps,

someone who does not want to be

disturbed?

WINDOWS AND SQUARES ARE PORTAL FOR OUR IMAGINATION, FOR WHAT IT IS LIVING INSIDEOF IT, BETWEEN ITS GRIDS.


33 /44

Does this window portrays a

friendly person who no longer

hopes to be surprised by a visit?


35 /44


37 /44


39 /44

ISN’T BRANDING DOING THE SAME THING? TRYING TO FIND THE PERFECT SQUARE/WINDOW THAT WILL TELL EVERYTHING?


41 /44

AREN’T WE ALLDOING BRANDINGWHEN CHOOSINGWHATEVER WE WANT OTHERS TO SEE ABOUT OUSERLVES?

IN SOME WAY, WE ALL ARE SLIGHTLY SQUARES BUT NO ONE WANTS TO BE CALLED ONE.


43 /44

London College of Communication

MA Graphic Branding & Identity

March 2011

Project title

Design Literacy

Unit 1.1 / Visual Research Summary

Typography

Knockout / Mercury

by Hoefler & Frere Jones

Graphic design

Raquel Vieira da Silva


Raquel Vieira da Silva / Design Literacy / Visual Research Summary

visual summary

Documents

Transcript of visual summary