NoMateria 2020 | Balance
NoMATERIA 2020 | Balance
Diseño Industrial de Venezuela. Industrial Design in Venezuela.
Una muestra online del trabajo de los diseñadores venezolanos. 28 objetos que hablan de la escala en el diseño, de los materiales, de los procesos de producción y de las prácticas.
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An online exhibition of the work of Venezuelan designers. 28 objects that speak of scale in design, materials, production processes and practices.
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Curada por / Curated by Ignacio Urbina Polo
www.ignaciourbina.com
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Producido por / Produced by
www.di-conexiones.com
NoMATERIA 2020 | Balance
Diseño Industrial de Venezuela. Industrial Design in Venezuela.
Una muestra online del trabajo de los diseñadores venezolanos. 28 objetos que hablan de la escala en el diseño, de los materiales, de los procesos de producción y de las prácticas.
-
An online exhibition of the work of Venezuelan designers. 28 objects that speak of scale in design, materials, production processes and practices.
-
Curada por / Curated by Ignacio Urbina Polo
www.ignaciourbina.com
-
Producido por / Produced by
www.di-conexiones.com
tries to rescue that very same optimistic and constructive spirit, from the results of anactivity that deals with giving tangible texture to knowledge while creating bridgesbetween technology and people.Creativity and innovation. Recursive strategies come from human instinct, from actionsrelated to survival. Human beings are naturally and inherently creative. Consequently,it is both unfair and inaccurate to promote the field of industrial design and other akindisciplines from the surely powerful but worn out, ambiguous concept of “creativity”.Design and innovation seem to go hand in hand with whatever we know about novelty,“new things.” Creating or adding value in design proposals not only points at a rapprochementbetween objects and people, but also provides with a space to measureour relationship with things. Our relationship with the artifacts surrounding us alsoimplies their execution is a necessary condition to make their value visible. Because ofthis, innovation only happens when it is actually done, and design assists the processof bringing this universe of objects and products to the hands of actual people.In NoMATERIA 2020, some of these spaces are born, to understand the dimension of thevalue of design on the one hand, and the wide spectrum of manufacturing processeson the other.The sample. These 28 three-dimensional pieces that we present at NoMATERIA 2020 |Balance, point out at some of the frontiers of the field while, at the same time, refer atthe modalities in which industrial design emerges as a professional practice as much asto the scenarios where it occurs. Each object here listed is also witness to the concretecircumstances in which it was conceived, designed, produced, and ultimately receivedby people. These are all objects that live in the intimacy of the domestic landscape, andproducts designed to inhabit the public space.The show begins with a simple yet innovative electrical outlet, showing the work of anindustrial designer and an engineer working together in a national company, specializedin electrical products, that uses industrial manufacturing processes. Some others, incontrast, are home products freely and spontaneously designed, free of commission.We include objects developed by entrepreneurial design studios, in which designersare sometimes involved even in marketing and sales processes. Many of these wereconceived from the appreciation of the sheer simplicity of regular shapes, and thesensitivity in the use of traditional materials such as wood and ceramics. We featurecollections where simple forms take care of elementary, everyday life activities at home.We also included groups of objects designed and produced in Venezuela, Germany,USA, and England.
When it comes to design’s relationship to identity issues, toys have always been a kindof workspace offering multiple opportunities. We included a beautiful project for children,which was conceived in the middle of the pandemic, featuring handmade plushtoys, made by elderly people, with 100% recycled material. This project gathers concretegestures of solidarity, adding a layer of social awareness. But, also, we find a constant,incisive presence of elements of Venezuelan indigenous cultures and traditions, especiallyvisible in the inclusion of musical instruments and the use of native woods.We find objects that are themselves an inquiry on materials and processes: luminairesmade from fire retardant and waterproof paper, luminaires, and products using digitalmanufacturing technologies such as numerical control processes in wood cutting and3D printing, pose questions regarding volume and movement.Home furniture is one of the fortes of Venezuelan design since the middle of the 20th century,featuring important pioneering figures such as Miguel Arroyo and Cornelis Zitman.In NoMATERIA 2020, we find straightforward-manufactured luminaires, designed fromthe perspective of the single piece, with different narratives. Likewise, we find chairseither born as homages or as experimental processes with new materials intertwinedwith well-known object typologies, and even commissioned artifacts developed by adesigner working in a studio in China.The same variants in the practice of design can be seen at play in the second half ofthis sample. These objects were designed for different scenarios, yet all of them are tobe used in outdoor spaces. These are products focused on entertainment, sports, plantcare, and mobility. We will see large-scale objects as inserted in the dynamics of citylife: recreation, the recognition of local identity, the mechanics of citizen participation,and the promotion of culture. These objects settle in in the territory, some as mere instrumentsof heritage recognition.NoMATERIA 2020 recognizes the work of Venezuelan designers who use three-dimensionalityto get closer to people. Finally, this is an action aiming at the dissemination ofindustrial design that, since 2010, uses both face-to-face and remote work, together withproject teams, designers, institutions and companies, who orbit around this conceptwe call design.Ignacio Urbina Polo, Dis. Ind. MIngAssociate Professor Pratt InstituteCurator of NoMATERIA
- Page 1 and 2: NoMATERIA 2020 | BalanceDiseño Ind
- Page 3: NoMATERIA 2020 | BalanceDiseño Ind
- Page 7: Las 28Esta selección de 28 piezas
- Page 11: La muestra / The sampleIgnacio Urbi
- Page 14 and 15: campo que se ocupa de dar textura t
- Page 17: NoMATERIA 2020 - BalanceIndustrial
- Page 21 and 22: Productos / ProductsMelina, 2019Nou
- Page 23 and 24: “Surge protectors have been aroun
- Page 26 and 27: Melina, 2019Mayra BriceñoIdentidad
- Page 28: Melina, 2019
- Page 31 and 32: “Nourish is a collection of plate
- Page 34 and 35: Blomma, 2019Jesús Rodríguez Romer
- Page 36: Blomma, 2019
- Page 39 and 40: “The use of color, geometry and p
- Page 42 and 43: Zeit, 2019Natalie Floreswww.luxanet
- Page 44: Zeit, 2019
- Page 47 and 48: “The Apurruños were created rece
- Page 50 and 51: Arekuna, 2019María Teresa Aristegu
- Page 52: Arekuna, 2019
- Page 55 and 56: “Light that grows and expands lik
- Page 58 and 59: ara collection, 2019Rodolfo Agrella
- Page 60: ara collection, 2019
- Page 63 and 64: “The line moves like a loose line
- Page 66 and 67: Lluvia, 2019Anabella Georgiwww.anab
When it comes to design’s relationship to identity issues, toys have always been a kind
of workspace offering multiple opportunities. We included a beautiful project for children,
which was conceived in the middle of the pandemic, featuring handmade plush
toys, made by elderly people, with 100% recycled material. This project gathers concrete
gestures of solidarity, adding a layer of social awareness. But, also, we find a constant,
incisive presence of elements of Venezuelan indigenous cultures and traditions, especially
visible in the inclusion of musical instruments and the use of native woods.
We find objects that are themselves an inquiry on materials and processes: luminaires
made from fire retardant and waterproof paper, luminaires, and products using digital
manufacturing technologies such as numerical control processes in wood cutting and
3D printing, pose questions regarding volume and movement.
Home furniture is one of the fortes of Venezuelan design since the middle of the 20th century,
featuring important pioneering figures such as Miguel Arroyo and Cornelis Zitman.
In NoMATERIA 2020, we find straightforward-manufactured luminaires, designed from
the perspective of the single piece, with different narratives. Likewise, we find chairs
either born as homages or as experimental processes with new materials intertwined
with well-known object typologies, and even commissioned artifacts developed by a
designer working in a studio in China.
The same variants in the practice of design can be seen at play in the second half of
this sample. These objects were designed for different scenarios, yet all of them are to
be used in outdoor spaces. These are products focused on entertainment, sports, plant
care, and mobility. We will see large-scale objects as inserted in the dynamics of city
life: recreation, the recognition of local identity, the mechanics of citizen participation,
and the promotion of culture. These objects settle in in the territory, some as mere instruments
of heritage recognition.
NoMATERIA 2020 recognizes the work of Venezuelan designers who use three-dimensionality
to get closer to people. Finally, this is an action aiming at the dissemination of
industrial design that, since 2010, uses both face-to-face and remote work, together with
project teams, designers, institutions and companies, who orbit around this concept
we call design.
Ignacio Urbina Polo, Dis. Ind. MIng
Associate Professor Pratt Institute
Curator of NoMATERIA
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