América Latina, la otra sede de la HfG-Ulm

Verónica Devalle

doi:10.5354/0719-837X.2016.44202

Abstract

The School of Ulm has notoriously influenced the development of design in Latin America. Proof of this are both, the incorporation of “Ulmian” methodologies as part of the design processes, as well as the understanding of the different branches of Design as scientific-technological disciplines in a considerable portion of the countries of the region (Brazil, Chile, Argentina, Uruguay). Probably both characteristics have their origin in the early arrival —late 50s, early 60s of the 20th century— of “Ulmian” ideas to universities that were initiating the teaching of Design. This fact has fed the notion that that exchange was originated in the aforementioned context and it was a rarity or even that was absolutely pioneer from the Latin American architects and artists. This paper aims to analyse the arrival memento of “Ulmian” ideas in a privileged medium such as the Argentinian magazine Nueva Vision (1951-1957), directed in its initial times by Tomas Maldonado himself. It will attempt to show that, far from what is commonly understood, the German school that came to have a strong presence in the region, there is record of a prior exchange between the southern cone of Latin America and Europe during the 20s, 30 and 40 that laid the foundation of an important cultural modernism (particularly present in Chile, Argentina, Brazil and Uruguay) that included —besides artists, artworks, libraries, readouts— a common perception of the necessary fusion of the arts. Ulm in its early years turns out to be a response to the yearnings of a Latin American cultural vanguard that goes back a decade.

Latin America, the Other HfG-Ulm

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