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One of the last surviving members of the futurist generation, Bruno Munari's Design as Art is an illustrated journey into the artistic possibilities of modern design translated by Patrick Creagh published as part of the "Penguin on Design" series in Penguin Modern Classics. Bruno Munari was among the most inspirational designers of all time, described by Picasso as "the new Leonardo." Munari insisted that design be beautiful, functional, and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic, and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars, and chairs—these are just some of the subjects to which he turns his illuminating gaze. How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design, and the media have changed our vision forever.
- Sales Rank: #31462 in Books
- Published on: 2008-09-01
- Original language: Italian
- Number of items: 1
- Dimensions: 7.00" h x 1.20" w x 4.50" l, .40 pounds
- Binding: Paperback
- 224 pages
Review
"One of the most influential designers of the twentieth century. . . Munari has encouraged people to go beyond formal conventions and stereotypes by showing them how to widen their perceptual awareness." —International Herald Tribune
Language Notes
Text: English, Italian (translation)
About the Author
Bruno Munari (1907-1998) was the enfant terrible of Italian art and design for most of the 20th century, contributing to many fields of both visual (paint, sculpture, film, industrial design, graphics) and non-visual arts (literature, poetry). He was twice awarded the Compasso d'Oro design prize for excellence in his field.
Most helpful customer reviews
34 of 35 people found the following review helpful.
Where are you, Bruno?
By Mnemosine
I find it strange that this book is not available except for used copies printed in Canada around 20 years ago. I decided to study design after reading this book, even though I grew up being told I would be an architect or a writer.
On the visionary chapter titled "what is a designer", Munari made it clear to me that design is a much needed public and collaborative art. He wrote as translated to english in 1966: "Art is once more becoming a trade, as it was in ancient times when the artist was summoned by society to make certain works of visual communication (called frescoes)..." and keeps going. It never made sense to me that art could only be self absorption hidden in galleries, but I guess that is yet another kind of trade.
He writes with humour and honesty, and keeps me focused on my discipline. I owe Munari a great deal.
0 of 0 people found the following review helpful.
Five Stars
By Theodore Leavell
The writing was very profound and in that way it exceeded my expectations.
15 of 16 people found the following review helpful.
An indispensable collection of thoughts for the design thinker...
By J. Chan
This is a review for the new edition of this book by Penguin:
Part social commentary in a world of design, part designerly musing, and part thoughtful criticism at a world filled with abused objects, Munari's new publication by Penguin is a welcoming oasis of short essays (many merely one page long concisely argued and written) to the tyranny of cognitive science and user research tomes dominating design thinking today (think Norman and IDEO combined).
Clearly, Munari was writing in and for another period. That was a period spearheaded by designers-thinkers from the ranks of Nelson, Eames, Maldonado, Rittel, Bill, Aicher and Dreyfuss. Like Munari, these designers offer the insight that acute observation combined with thoughtful reflection of the material world is one of the most powerful forte of a designer.
In this book, I like the Munari's insight of 'wearing' best. He asks us to look at how objects become worn in their everyday use. Should we design objects on the sole merit of personal aesthetics and upon the Platonic plane of Ideal Geometry? Or should we design objects according to a limited sampling of user-needs study? Or as Munari suggests, should we design objects according to how it has been worn across time?
Munari did not answer his question (neither would I!). But it is this pensive quality of his work that merits his presence in the mind of every design thinker--a mind that seeks to ponder the thoughts on design across time.
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