Tags: artisan, design, jose a gimenez, luis piedrahita, sanserif creatius, wood
add a comment
Between a conference and the following one there is always a dead time filled with coffees and chats, but, sometimes, exhaustion and dullness require of a moment of isolation. The mind digresses and diverse thoughts get mixed. They will, in many occasions, end up being a bunch of short lines-to-be -or not- in a future, or the draft of an idea that is worth more development.
The relation between a car’s rear mirror and wood’s future as a material to build the habitat that will go with us in the next decades rises from one of these invention periods. Tired of the permanent messages that drive us to look ahead, to the future… contrary, I think that the moment to look back has arrived. Make a pause and look through the rear mirror to all we have left behind.
Valencia’s furniture industry settled on the work of real wood artisans who knew how to create pieces that nowadays still furnish the houses of our relatives. Pieces built to last and meet a social need. Objects that include a quality finishing not as an added value but as one of the main pillars that hold the product’s selling. Nowadays it is not like that any more, despite whoever disagrees.
Nowadays, instead of defending a traditional business model that placed us in the international scene, we try to compete, in terms of price, with a market that is not subject to the same laws and controls. We adapt the supposed market preferences, loosing the idiosyncrasy and values of furniture and of the material it is made of.
It is about time to understand that we cannot dispossess a material of its essence to produce cheaper and transportable furniture. It is about time to understand that we do not have to constantly resort to new materials or loose the natural marks of wood in order to get into an impersonal market where lacquer deceives the eye of the inexpert buyer.
Surprisingly, we keep talking about the necessity of reducing the price of the product and adapting the market to the present crisis, when the real consumer –the one who is still buying- demands quality, strength and distinction. These concepts have nothing to do with the market supply over the last decade and are increasingly getting closer to the traditional idea of the artisan that tenderly sands the wood in the same direction of the grain.
It seems that when talking about industry, we find the same blind spot that the rear mirrors have. A visibility lapse that modern thinkers like Luis Piedrahita ironically transform: What do you mean, spot? You can park a van there!
Craftwork represents the cultural expression of a nation while is an important driving force of the economy of a territory. Crafts sector has a very important role in the revitalization of the local economies in any region around the world, due to the direct relation between craftwork and local development and cultural tourism.
Experts suggest an immediate proposal to reactivate the local market of traditional products: to direct craftwork towards contemporary creation and design, but without loosing the identity that has allowed it to survive through the centuries.
If we want to be recognised, searched, and valued, we should remain faithful to our tradition, recover the virtues of craftwork and, with them, meet the requirements of the consumer, who has the same need than those from last century, despite what they tell us.
We say yes to design, yes to personalized treatment, not only to the client but also to the manufactured product. Yes to the use of wood in its natural condition. We have got enough of these here, and with them we will recover the market that is slipping through our fingers. Or, in other words, it is time to recalibrate the rear mirror and prevent the blind spot to turn into a black hole that gobbles us up.
José Antonio Giménez: Columnist and Dircom of Sanserif Creatius
José Antonio Giménez: The real difference between umbrellas and cars diciembre 9, 2012Posted by jagf in Editorial.
Tags: Alvin Tofler, articulado, design, hiatus, jose a gimenez, powershift, sanserif creatius
add a comment
Anyone would say that at first glance an umbrella is quite different from a car, whether for the shape, the function or the price, and for other reasons which are rarely taken into account but are really important for nowadays economy.
A good example is that anyone can buy an umbrella without buying other products. Nevertheless, this maxim cannot be applied to a car. Apart from petrol and oil, it requires streets and roads. Otherwise it would be useless.
That is the reason why I dare say that the modest umbrella is an autonomous product that valuable for the user, independent from any other product, whereas the car is a dependent product. As Alvin Toffler reminds us in Powershift, this also happens with the beard trimmer, TV and even with a hanger, which needs a clothes hook or a rail to hang it. These products that are just a link in a bigger system of products are what Toffler calls ‘systematic’.
In my opinion, to choose between conceiving autonomous or systematic is, in essence, the same choice one can make when deciding wether to develop a recyclable product made with recycled materials and sustainable or to develop an other that has a greater environmental impact.
And that is what this book has been made of: of personal decisions and approaches. The second volume of the Hiatus collection contains twenty texts that talk about the personal decisions of its authors, some of them closer to the umbrella conception rather than to the car one, others are seeking alternative paths that may redefine eco-design and social design, but all of them after involve a reflective process, deeper than an anecdote.
This collection was born in order to reflect without the immediacy and swiftness of the information society, or, at least, compile in black and white some ideas and opinions which worth some minutes of our life. I hope we achieve some of our aims. More at Articulado and Sanserif.es
Jacek Utko designs to save newspapers junio 4, 2012Posted by jagf in making off.
Tags: design, Jacek Utko, newspaper, ted
add a comment
Jacek Utko is an extraordinary Polish newspaper designer whose redesigns for papers in Eastern Europe not only win awards, but increase circulation by up to 100%. Can good design save the newspaper? It just might.
Could good design save the newspaper — at least for now? Jacek Utko thinks so — and his lively, engaging designs for European papers prove that it works. More at TED.
Paul Bennett finds design in the details mayo 9, 2012Posted by jagf in making off.
Tags: design, details, Paul Bennett, ted
add a comment
Showing a series of inspiring, unusual and playful products, British branding and design guru Paul Bennett explains that design doesn’t have to be about grand gestures, but can solve small, universal and overlooked problems.
As a creative director at Ideo, Paul Bennett reminds us that design need not invoke grand gestures or sweeping statements to be successful, but instead can focus on the little things in life, the obvious, the overlooked. More at TED.
WCN: Spanish design studio Sanserif Creatius has come up with the new Prejudice armchair abril 22, 2012Posted by jagf in diseño industrial, ecodesign, environment, interiorism.
Tags: afco, cardboard, design, fundación apai, furniture, prejudice, recycled, sanserif creatius, world construction network
add a comment
The chair serves as a flexible seat which is made of 100% reclaimed cardboard and makes use of a green manufacturing process. It consists of a set of seats which can be used individually or can be integrated together to create a sofa. The seat of the chair has been designed to conceal footrest and a coffee table inside.
These complementary units can be extracted from the furniture and offer options of a host of positions. The design of the chair makes it ideal to be used in various areas. Prejudice forms part of a limited edition furniture line which in turn, is a part of the collaboration project with the Association of Corrugated Board Manufacturers and the Special Employment Centre of Apai Foundation. More at World of Construction Network.
World Architecture News: Lumbrera Lamp febrero 7, 2012Posted by jagf in diseño industrial, ecodesign, environment, iluminacion, Interiorismo.
Tags: cardboard, design, diseña, interiorism, lighting, lumbrera, sanserif creatius, World Architecture News
1 comment so far
Sanserif Creatius has developed a table lamp called “Lumbrera” for the luxury line of Depas. This desk lamp is part of the Alphas collection, a selection of pieces of furniture and products for home and office. This selection of pieces have been designed as a limited edition and hand-made production.
Lumbrera is a table lamp with inspiration in letterpress and green awareness, made of cardboard and with a light source wireless touch, using technology-based Light-Emitting Diode (LED). More at World Architecture News.
Claret Serrahima: Communicating in Troubled Times enero 29, 2012Posted by jagf in diseño gráfico, Editorial.
Tags: articulado, Claret Serrahima, design, diseño, sanserif creatius
add a comment
In Barcelona, the modernist project was put on hold for forty long years during the obdurate, grey dictatorship. Perhaps for that reason, after Franco’s death, and with the return to democratic institutions and the arrival of freedom, we were wrong-footed by a postmodernism that was already beginning to call the shots. How could we be tired of the modern movement if we had not fully experienced it? So the notion of design and architecture as an element for social progress, evolution and transformation continued to find a place in our set of ideas. It evidently connected with a large group of people engaged with politics: left-wing, progressive and social politics. We found ourselves in some kind of modern limbo while irony, cynicism, uncertainty and historicist references were already clearly influencing artistic avant-gardes. But that too is already history, and the frivolous yuppy 1980s soon arrived and we discovered that we too could be cosmopolitan nightbirds, yet this was quickly truncated by our city’s abrupt return to earth as the aftermath of the Olympics dispelled the mirage.
But let’s see what happened to the artist-designers. For some years now, probably since the historical avant-gardes of the early 20th century, there has been an ongoing debate on the boundaries between Art and Design. Perhaps first of all, we ought to explain that Design and Art are not the same thing: design solves problems, looks for answers. Art proposes problems, puts questions forward.
But, what do they share?
They both work with ideas, forms, images, etc. They look to each other, one feeds off the other, but they ARE NOT the same thing. The main difference is that in design, and particularly in graphic design, communication is an essential precondition while for art it is simply a desirable one. But let’s clear things up: a painter who makes a poster is not a graphic designer; and a designer who makes a poster that does not have a communicational purpose is not an artist; a painting is not a poster; and a poster is not a painting.
Design solves problems. It looks for answers. It strives to improve society by coming up with solutions to problems. It tries to make life more comfortable. It responds to a strategy and to set goals. Art proposes problems, poses questions. It hopes to improve society by formulating questions that society very often refuses to ask itself. It tries to disturb in order to provoke a reaction, even if it is one of rejection. Both are necessary. If art did not exist—that is, if doubt, risk, transgression did not exist—our world would probably be very comfortable, but also terribly boring. On the contrary, if design and communication did not exist, we would be lost all day, not knowing where are we, what it is we are reading, what it is we are buying.
Designers do not find answers through forms, graphic resources or aesthetic trends. Designers find responses if they generate communication strategies. The designer’s “character” lies in his/her power to get things right, to not incur in formal repetitions. We often see designers who, like artists, bring their “personality” to their work. In other words: they work from a predetermined formal code and pigeonhole themselves in it. And this ultimately means that clients will enlist their services not to obtain a solution to a communication problem, but to buy a recognised signature. Just like what happens to star architects, what matters is not so much the programme, the use or the function, as the chance to say that we too have our own Frank Gehry or Santiago Calatrava.
Though real, the boundary between art and design is a fuzzy one. And since postmodernism it is even fuzzier. The modern movement worked with absolute truths and dogmas. Less is more, was Mies Van der Rohe’s doctrinaire affirmation. But now we work with relative, temporary, hesitant responses. We inhabit a world of uncertainties, but also of flexibility and movement. In this context, to create their works, some artists use design strategies such as graphic communication. And there are, of course, designers—here at Cla-se it is something we do all the time—who through their work not only attempt to provide solutions for their clients, but also to pose questions to users.
If we accept that design is communication, then we will have to ask ourselves what does communication mean. And, as David Carson once said, “just because something is legible doesn’t mean it communicates.” To communicate we must capture attention. Communicating is informing, but it is often tantamount to seducing.
We must be aware who is the target of our communication. Who are we working for? The customer? The consumer? The user?
Here is where the second derivative enters the equation, namely the studios who, thanks to marketing experts, have abandoned the end user as their reference. The only aim of their work is to increase the sales of their client’s product, be it a detergent, a politician or a bank account. Admittedly, that is not a simple task. Huge sums of money are invested in market surveys to minimise the margin of error. In uncertain times, executives demand certainties. The result is that, exceptions apart, the quality of design is rather low. Where there is no risk there is no innovation. Selling what we already know will sell is profitable but hinders progress.
Apart from the above, there is also a, if you will, political factor. A consumer is not the same as a user. Our goal with consumers is to dazzle them; however, we must provide users with a service. It is relatively easy to shock, to provoke; it is rather more difficult to, at once, communicate. Paul Rand said “Don’t try to be original. Just try to be good.”
In short, we know we are not artists, that we want to provide responses to customers but also an honest service to users. At Cla-se we use formal tools, but above all, communication strategies. We can draw inspiration from art, but don’t forget that our goal is to communicate. More at Hiatus’ book.
Standard magazine: Femme en Scéne. Shed a Little Light enero 18, 2012Posted by jagf in diseño industrial, ecodesign.
Tags: cardboard, design, magazine, sanserif creatius, Standard
add a comment
We have all witnessed the popularity of vintage signage, giant letters and letterpress elements in decor. But here is a different spin on the concept. Sanserif Creatius debut a new design this month–the Lumbrera table lamp. Inspired by letterpress, this design is made of cardboard holding an LED light in the top plume of the ‘a’. More at Standard magazine.
Superfuture: lumbrera desk lamp by Sanserif Creatius enero 17, 2012Posted by jagf in diseño industrial, ecodesign, environment, iluminacion, Interiorismo.
Tags: ana yago, cardboard, Depas, design, El Patio de Marta, jose a gimenez, lamp, lighting, sanserif creatius, superfuture
add a comment
Superfuture 10/01/2012 · Lumbrera lamp by Sanserif Creatius
Cool! Sanserif Creatius is a valencia-based studio, headed by José Antonio Giménez and Ana Yago Pallás. The duo have designed the lumbrera desk lamp, the first item of a new limited-edition and hand-made collection of ecological home and office products for spanish design company Depas. The lumbrera is entirely made of cardboard with a light source wireless touch and using four led spotlights. interestingly, the assembly of this collection is exclusively carried out in special employment centres, adding social values of integration and respect. Sanserif creatius’ new lumbrera desk lamp will drop in select stores across the planet later this year, but will be available online very shortly via El patio de Marta. More at Superfuture.
El Patio de Marta acoge la colección de mobiliario ecológico diseñada por Sanserif Creatius para Depás noviembre 23, 2011Posted by jagf in Arquitectura, diseño industrial, ecodiseño, iluminacion, Interiorismo.
Tags: ana yago, cardboard, contract, Depas, design, diseño, ecodesign, ecologico, El Patio de Marta, furniture, jose a gimenez, Marta García, mueble cartón, sanserif creatius
add a comment
El nuevo show-room de la decoradora Marta García –directora de El Patio de Marta- en Madrid acoge en su presentación internacional la colección de mobiliario ecológico en cartón ondulado diseñada por Sanserif Creatius para Depás, una colección de doce piezas exclusivas desde sillas, sofás o luminarias a la revisión de los tradicionales relojes de antesala, todos ellos de edición limitada artesanal y estética contemporánea.
Asiento Bold y reposapiés O · Sanserif Creatius
Este espacio de 1.500 metros cuadrados, ubicado en el Plantío de Madrid (Avenida de la Victoria, 50), cuenta con diversos espacios y ambientaciones orientados al contract y proyectos personalizados para residencias, hoteles, clubs sociales, restaurantes y oficinas.
GrandPa Clock · Sanserif Creatius
Uno de esos espacios cuenta desde esta misma semana con una muestra de piezas de la última colección de mobiliario con conciencia ecológica desarrollada por Ana Yago y José Antonio Giménez (Sanserif Creatius), piezas que han sido elaboradas artesanalmente contando con la colaboración del centro especial de empleo APAI, que dedican sus esfuerzos y capacidades en lograr unos resultados con un sello humano. Un centro ubicado en Madrid que hace posible que discapacitados intelectuales encuentren una salida profesional.