Da Cosa Nasce Cosa - Bruno Munari [E-Book] Bruno Munari - Cappuccetto Giallo [eBook ITA] Bruno Munari - Artista e Designer (Laterza, ).pdf. Author of ABC, Bruno Munari's zoo, Nella nebbia di Milano, Uomo del camion, Design e comunicazione visiva, Cover of: Da cosa nasce cosa. Da cosa nasce cosa munari pdf. - Optimized architecture for bit builds of Windows 7 and 8. 0 are here with readjusted strengths, smarter.
|Language:||English, Spanish, German|
|Distribution:||Free* [*Register to download]|
Bruno Munari(Milano, ) as a designer and a design educator, is one of the prominent names Download full-text PDF .. Da cose nasce cosa. Keywords: Design thinking; design education; Bruno Munari; innovation; basic design; experiential learning. 1. Introduction .. Da cose nasce cosa. Roma-Bari: . Bruno Munari in his text about Design Methodology; 'Da Cosa Nasce Cosa: Appunti per una. 1. Metodologia Progettuale'. ('How to build.
New educational policies and a growing attention towards didactic and methodological innovations, inspired by a progressive mass pedagogy, emerged in this period. Munari was particularly aware of these issues and, throughout his artistic career, his investigation constantly concentrated in an educational method capable of combining knowledge and creativity.
The importance of education, in his view, also lies in the fact that it helps children to fight against the dangers of repetitive tasks and stereotypical verbal and visual patterns. It also puts a limit to the lack of aesthetic or educational purposes typical of unruly mass consumption. In his opinion, toy production had the double objective of satisfying consumer desires and increasing incomes, but it paid no attention to educational benefits.
He considered these toys as rather useless objects, incapable of promoting real engagement and of producing positive educational effects. It is interesting to notice that Mattel, the gigantic American toy company, launched its famous fashion doll Barbie in This paper analyses his research on visual narration by means of his picturebooks. It was already at the age of twenty-two in that he produced his first illustrated volume. Throughout his long artistic career, he wrote over 70 fiction and non-fiction books, including a unique multi-lingual guide to Italian hand gestures.
For Munari, books were an authentic register of events, theoretical ideas and thoughts. For Munari, books were a challenge within a challenge: Different, colourful pages, die cut pages. Full of surprises, new emotions, different games in every opening. He has always been interested both in rational planning and in the casual combination of ideas5 Rauch, , p.
His innovative creations are still very modern. These creations represent a playful combination of narration narrative picturebooks, wordless picturebooks, science picturebooks, rewritings of classical fairy tales, etc. In his continuous research, he experimented new original combinations, with joyful and ironical results.
He enjoyed playing both with the book contents — i. His aim was to make the invisible visible, to show the unknown sides of known things, the aspects of reality that are generally overlooked, to detect the smallest details of the universe.
Firstly, books are a vehicle through which it is possible to promote a new concept of dynamic and total art, which engages all the senses. Secondly, children should concentrate on an essential concept and go on exploring it from all possible perspectives and in every possible form. Thirdly, his artistic research is based on the concept of learning from experience and from trials: the process has value, rather than the product. The playful use of paradox and the taste for irony helped Munari to undermine banal stereotypes and to stimulate mental agility.
By thinking and doing, and by coping with new perspectives on impossible or problematic situations, children learn, retain and retrieve significant information.
After all, books have the power of improving human life Munari, He was aware that the visual culture was hardly accepted among the masses and that visual creations seemed incomprehensible to many, because of a general lack of education. In an interview to Ann K. Her answer was revealing: They are more than just picture books - they are innovative works of art, yet done so freshly and simply and boldly that children are instantly attracted to them.
They are almost the first modern books for children to use die-cut effects - holes and flaps and unevenly shaped pages - not as gimmicks but as an integral part of the story and of the illustrations.
They are handsomely designed and printed in gorgeous colours, but it is the witty surprises found as you lift the flaps or flip progressively smaller pages that make them so much fun Marcus, , p. The first research perspective refers to the process of co-authorship. Munari experimented innovative, playful strategies, capable of involving children not only as readers but also as co-authors of the story.
His characters, for example, have no name, and in books like Nella notte buia [In the Darkness of the Night] the first-person plural pronoun is used to pose questions to the readers.
Il merlo ha perso il becco [The Blackbird Has Lost Its Beak], which was designed by Munari in dummy format in but published only in , is characterized by the presence of the second-person singular narration to invite readers to freely explore the book. Munari also insisted on the hypothesis that this kind of playful narrative approach is suitable to very small children, too.
At the age of three, children have already started to memorize and reuse their sensory interactions with the environment. At this age, however, visual narratives have to be skilfully designed to fit into small hands and satisfy the big curiosity of toddlers. The Prelibri consist of twelve small books, ideally dedicated to very young children who have not yet learned to read or write.
These special books 10 x 10 cm come in many different and unusual colours, bindings and materials. They are made of paper, card, cardboard, wood, cloth, sponge, black felt, transparent plastic, each one bound in a different way. B: To pass on knowledge or pleasure or, in any case, to increase our knowledge of the world. A: So, if I get it right, to help us live better lives. B: Yes, that is often the case.
A: So it might be better if children began to get to know books at the age of three, to find out about these instruments of culture or poetic games, and to make things easier later on. B: Knowledge is always a surprise; if you see something you already know, there is no surprise9 Munari, Readers assume a special role: by handling these object-books, by turning their pages, by wondering what kind of reactions they should produce, by actively reading them, children and adults can find themselves fully immersed in many narrative mechanisms typical of picturebooks, novels and tales.
These readers are involved in the creation of stories by using processes of accumulation, subtraction, extension, prediction, repetition, variation, discovery, and it is a great pleasure to identify them and recognize them Gramantieri, , p.
The Prelibri are a demonstration of the possibility of co-authorship even with toddlers. The second category is based on the relationship between play and disorientation.
This relationship is based on the surprising effect of unexpected, unforeseen, fabulous aspects of everyday reality. The aim is combining the visual playfulness and irony with the formal linearity of a simple — but never banal — story. The result of this interaction is a continuous research on reality Tisdall, Munari adopts this special mechanism in order to enable children to make sense of the world through their visual skills.
Their house is tiny, and her mummy keeps everything neat and tidy. Le macchine di Munari were drawn when the author was still a student. His idea was simple: having fun together with his friends. The book was initially designed in an unusual format.
They move the tails of lazy dogs, forecast the arrival of dawn, make musical hiccups, and other silly things. They are based on the work of the famous American cartoonist Rube Goldberg, as Munari explains in Arte come mestiere [Art as a Profession] The brightly coloured volume, created during the tragic war period, displays unbridled creativity: it contains a series of tables showing obscure devices, which produce surreal and foolhardy reactions.
The book steps outside everyday comfortable thought processes, goes beyond cultural stereotypes and ventures into the wonderful and almost infinite universe of possible alternatives. This oxymoron refers to the fact that useful machines have an in-built obsolescence, in contrast with the beneficial utility of useless machines, which are simply intended to delight and entertain.
These picturebooks, too, call into question the idea of humorous disorientation. By opening a series of unexpected windows, children are involved in an ironical and surprising discovery game: they find special animals that reveal their desire of being other animals, and special suitcases that hide cats, lions, and giraffes. Images and their independent ability to communicate are embodied in a set of striking graphic drawings.
Some startling windows open up inside the few pages contained in the book. The protagonist of the story is Marco, a lorry driver, who wants to meet his son on his third birthday.
He climbs into the cab and drives off. But, after ten miles, the lorry stops. Marco does not know what to do, but after a while, he opens the lorry bonnet and something surprising appears. At the end, there is a parcel. What does it contain? He conceived a quiet revolution Finessi, Meneguzzo, , p.
Besides narrating stories, books thus became surprise boxes. His work, in fact, reaches beyond traditional book categories, genres, artistic movements, aesthetic and visual issues, reader groups. These elements, however, would never have given origin to the fruitful and original results of his work, if they had not found a harmonious compromise with scientific logics and rational reasoning and with the rigorous application of a methodology developed by Munari himself Ballo, This methodology refers to the experience of the limit Meneguzzo, , p.
In this way, endless possibilities are definitely lost. A practical example may explain this concept. Books are usually conceived as word-containers: words are comfortably and unquestionably placed one after the other along the pages. What if we they were all placed in a single line? Would this kilometre-long book become too long, too uncomfortable and too unpractical to be handled and read?
What about books that contain no words, is it still possible to call them books? Meneguzzo, , p. This is the methodological approach that Munari used to experience, test and overcome limits in his editorial projects.
However, would it still be possible to read a pictureless picturebook? Would it be possible to create it? How would it work?
In this unique picturebook, readers are warned right from the beginning that they will see nothing on the pages, because everything is covered in snow.
Lots, and lots and lots of white and enchanting snow. In this pictureless picturebook, Munari leaves the pages completely white, with just few words placed at the bottom of each page.
The lack of illustrations is justified by the overwhelming presence of snow, which has fallen during the night and buried everything beneath its whiteness. The limits of visual narration in picturebooks is thus overcome: the actions, the protagonist, the setting, the adventure, the reading emotions are all conveyed with the help of nothing else but paper. Munari dedicated this original silent visual retelling to Remy Charlip, who, at the end of , had sent him a greeting card depicting something that looked like snow Beckett, , p.
This territory is extremely important, because it is the place where new things nestle. In his opinion, new possibilities emerge from the limit of things Meneguzzo, , p.
The possibility of challenging limits, for instance, offered him the inspiration for a habitable book, the Libro letto , a very unusual, bulky volume, made of large colourful pieces of padded fabric in the form of soft sheets. With its short daily stories printed on the ribbon frame, this book is a toddler bed, a book to live in, a book where children can physically take a nap.
Munari even managed to overcome the limits of co-authorship. In books like Tanta Gente and La favola delle favole children can really create their own stories. The first dummy includes various sheets of coloured paper and light cardboard, tracing paper, wrapping paper, which may be used to form a story about people and their everyday lives.
The second one contains blank paper and offers several ideas for situations and images, which may be completed by expanding on the funny stories created in the first dummy. In this artistic creation, produced in partnership with the Museum of Modern Art in New York, Munari invited his young readers to observe everyday reality from a different point of view, encouraged children to juggle with reality and make up their own stories Grandi, , pp.
It is again a selection of 57 pages made of paper and other materials, clipped together and contained in transparent plastic envelopes, which provide creative opportunities for manipulation. The passive method of using a book vanishes once and for all.
It is now up to the reader to create the storytelling event, write and draw the stories. Thanks to the presence of clips, bindings are reduced to a minimum; pages may be removed and then assembled in a different order. Actually, the best stories are the most fantastic. Each book becomes a unique copy.
The reader becomes an author. Children should therefore be sustained in cultivating education and growing free from any influence. This is the reason why his work was always characterised by a double-pronged orientation including both experimental research, i.
In the last part of his long artistic career, Munari concentrated his research on educational tools capable of communicating data and methods for cultural development. He aimed at sharing knowledge, democratising the world of art, making creative processes transparent, defining a new educational role for visual arts. In this sense, he looked for a developmental trajectory leading from the natural inquisitiveness of young children to the disciplined creativity of mature knowledge producers.
His challenge was to attract both adults and children towards a common trajectory, which involved even toddlers. Although art historians may now remember Bruno Munari for his immense contribution to modern aesthetics, it was not always easy for Munari to convince demanding critics about his credentials.
I play with children.
B: A comunicare il sapere, o il piacere , comunque ad aumentare le conoscenze del mondo. A: Quindi, se ho ben capito, serve a vivere meglio. A: Allora sarebbe utile che anche i bambini di tre anni cominciassero a familiarizzarsi con il libro come oggetto, a conoscerlo come strumento di cultura o di gioco poetico, ad assimilare quella conoscenza che facilita l'esistenza. References Ballo, G. Designers italiani. Ideal Standard, Beckett, S. Recycling Red Riding Hood.
New York-London: Routledge. Crossover Picturebooks. A Genre for All Ages. Boero, P.
Roma-Bari: Laterza. First edition published in Campagnaro, M. Incanto e racconto nel labirinto delle figure. Albi illustrati e relazione educativa. Trento: Edizioni Erickson. Campagnaro, M. Forme e figure nei libri illustrati. Campagnaro Ed. Turin: Einaudi Supplemento al Dizionario Italiano. Mantova, Italy: Corraini. They have also been published individually: The Triangle. The Discovery of the Circle. New York: G. English translation by Marcello and Edna Maestro.
Discovery of the Square. New York: George Wittenborn. English translation by Desmond O'Grady. Munari's books for children[ edit ] The Elephant's Wish. The World Publishing Company. Bruno Munari's Zoo.
Cleveland: World Pub. In the dark of the night. Nella notte buia New York: G.
The circus in the mist. New York: World Pub. The elephant's wish. What I'd like to be. Jimmy has lost his cap: where can it be? New York: W. Who's there? Romilda the frog. Mantova: Maurizio Corraini. The lorry driver. London: Harvill Press. Bruno Books.