Tags

, , , ,

school_0Gardens of the old Escola de Disseny Eina

Many years ago, too many, we were in Barcelona in students mode, specifically at the Escola de Disseny Eina up to Valvidriera (Barcelona). We were doing Graphic Design there in Barcelona our postgrade studies. In Spain, at that time a little sadder, it was not easy to find a place where teach you graphic design, the truth, which then means that you can earn you a living honestly. I had to go to study abroad to follow the learning of graphic creativity or one could go to Barcelona. At that time there was nothing more in Spain. Madrid reacted much later. The schools of Arts and crafts in the 1980s not taught identity corporate or advertising creativity as race to use. He had to migrate to Barcelona, to the school Elisava – industrial design-oriented – or higher school of fine arts of Saint George (now integrated in the University of Barcelona), the latter more oriented to the Visual Arts. Eina was also a faculty where very important characters of the teaching of design, all of them from also were taking appointment with the craft of design in one way or another. Still and all, Eina maintained an atmosphere of some revolutionary way for times that ran with a speech very avant-garde and Bohemian; something truly shocking for someone who came from having studied in United States. We were students of Ràfols-Casamada (drawing), Mir, Noya and Claret Serrahima (graphic design), Toni Miserachs (typography), Manel Esclusa (photography) and Norberto Chaves (communication theory), among others. Many kinds there are taught in catalan language, takes longer! We went from English into catalan of coup. Unfortunately, we had to stick some that another blow on the table, to remind one that culture should be shared with kindness, must not fall over as a mix slab, can not be forced to no one, and much less in educational environments, combining this damn formula: cultura+politica: that most horrendous cocktail. But we remember it without acrimony, nothing happened.

1261090802_850215_0000000000_sumario_normalThe great painter and multifaceted artist Albert Ràfols-Casamada (1923-2009) was Professor of drawing at the Escola Eina for several years – we were forced to draw with pen –

But without leaven¡ng today’s topic we still on the road. One of those fantastic teachers, was specifically Norberto Chaves, who gave us a new vocation. Chaves is theoretical communication, now travels the world giving talks about visual and corporate identity. It was the first professional in Spain who worked as auditor of brand, and did very well because it was really very necessary to have one, especially in large corporations. In our first year as his students, we understood nothing of what we said. Six months not understand anything of what you talked about, it is something very curious. After a year we begin to see the light. All those hieroglyphs on communication were finding their answers already not encrypted. We started working on terms such as semiotics and semiology, pragmatics, the universe of signs, the signifier, conceptual component, etc. It was truly fascinating design includes as much science of perception. Before thought that the design was a matter of taste and have a little hand for drawing, but… We had learned that such a design is managed, it must be managed in many different ways and is that activity which should be called design and not another. When repeated us that there were designers who worked without ever picking up a pencil, and had not arrived even computers.

chaves_banner570Our good friend and former teacher of Eina, Norberto Chaves, now teaches seminars on identity, design and communication all over the world

We finally work as designers, museologists, we were redirecting our professional careers that truly us fascinated: work in museums. Once back to Spain, and because as specialists museologists and visual communication, we saw the enormous work that had to be done to provide structures of visual identity museums, not to mention interpretation centers. Where was the new theory of visual communication in museums applied? In the United States, in some cases in England, one in the Nordic countries… Very little, almost nothing here. Why museums do not give value to your visual perception abroad? Would seem that it is not important that your?

Marcas4The responsibility of the Museum in relation to the Visual aspects do not end with the attainment of the Museum project, you have to deal with the project’s visual identity, perhaps as a first step of all

While in countries like United States the formulation of institutional identity project is the first step of the Museum project, here not. It is difficult to convince policymakers of the need to implement a strategic program of identity, with its stages and long-term strategies. More important now given that the museums are being transformed into huge speed in hybrid institutions, with nuances very mercantilist, increasingly pronounced overtones of marketing to the use and the hunt for visitors, including merchandising, advertising, promotional campaigns, etc. All that movement of face public opinion must be supported by a prior programming of institutional identity. And for that we need professionals, including curators, specialists within the own museums and freelance specialists. Who dares? It is very necessary.
Marcas3Small museums, cultural institutions, centers of interpretation, all need to program its institutional identity

BIBLIOGRAPHY:

SANTACANA MESTRE, J.

Museografía Didáctica

Editorial Ariel, Barcelona (2007)

………..

HERNÁNDEZ HERNÁNDEZ, F

El museo como espacio de comunicación

Editorial TREA, Gijón, (2003)

………..

CHAVES, N.

Complete Bibliography

RÀFOLS-CASAMADA, A

Complete bibliography

 

 

 

 
Advertisements