HOW DESIGN SOUNDS

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COMO O DESIGN SOA

HOW DESIGN SOUNDS

Exposição / Exhibition

Curadoria / Curated by — CARLA CARBONE

A design object cannot solely be a feast for the eyes. There have been many objects conceived by designers who contemplate only one of the senses: that of sight. The object also cannot be solely a receptacle of functions, without intending to arouse emotions or appeal to the other senses. In 1919, in the programme of the Bauhaus school in Weimar, Walter Gropius affirmed the importance of students living together, outside the school grounds, and contact with the different arts, such as poetry, theatre, music 1. Through this desire to foster a convergence of the arts, Gropius confirmed the importance of the different senses, in addition to sight, in order to train his students, and for the creation of new artistic or utilitarian objects.

Many design objects - and there are numerous examples in history – have been created in order to satisfy the eye, and have tended to overlook the sensations triggered by touch, weight, or temperature 2. Bruno Munari, in his book “How objects are born”, refers specifically to acoustics, in public spaces, stating that this is an important element to be taken into account by designers, to ensure people’s well-being. This exhibition focuses on one of the other senses: hearing.

Sound can appear as an indicator in objects, as an alert, or can serve as evidence of a specific operation. It also lets us know when something isn’t right, or when we’re not safe. For example, some traffic lights are accompanied by sounds when the coloured light changes. In addition to the visual signal, and the tactile sensation that the object transmits, sound can also emphasise its functions. And the object incorporates several of these functions - such as practical, aesthetic, symbolic and playful functions.

1. GROPIUS, W. (2003). “Program of the Staatliche Bauhaus in Wei- mar”. “The Industrial Design Reader”. Ed. Carma Gorman. Allworth Press. pp. 99
2. MUNARI, B. (1993). “Das coisas nascem coisas”. Arte & Comunicação. Edições 70. pp. 383

15.12.22 / 12.03.23 — Fórum Arte Braga, Portugal

COMO SOA O DESIGN

"SOA" means "SOUND" in Portuguese. The sound reflection effect and noise texture were added to the word "SOA" to instill the sound concept on it. Also, as a complementary element, the color takes place in the form of noisy color gradients, reinforcing the exhibition's theme while exploring the concept of sound as a design element.

— CONCEPT

Artistas / Artists

Beppe Finessi — Bruno Munari and Davide Mosconi — Christina Kubisch — David Hoffman — Dieter Rams and Hans Gugelot — Fernando Brízio — Harry Bertoia — Jelle Mastenbroek — João Ferro Martins — José Batista Marques — Luísa Cunha — Matali Crasset — Michael Graves — Miguel Palma — Miguel Vieira Baptista — Pedro Tudela, Richard Shapper — Rui Calçada Bastos — Rui Valério — Salette Tavares — Sweet Scope

Designers and artists, aware of the presence of sound in objects - which increased with the advent of industrial production – have taken advantage of sound’s expressive qualities and have invoked potential recollections.In the 1980s, Richard Sapper designed a kettle with a whistle – the 9091 Bollitore (1983). Although his career was marked by works that were profoundly linked to industrial production, he managed to circumvent the rigidity of mass production, and applied a postmodernist, creative and humorous dimension to his works.

The designer, Henry Bertoia – who is renowned for his iconic Two-Tone Side Chair - was also a musician, and created sculptures/objects that were solely and exclusively designed to be used as musical instruments, in experimental sound compositions.

It is also worth looking into objects of an anonymous origin, and the way in which they have been used in sound experiments, such as those conducted by Pierre Henry in his 1963 work, Variations pour une porte et un soupir. These experiments included a series of noise recordings, primarily doors that would creak or slam, or make long sounds, as if they were whining or crying.

It is worth recalling Edgar Varèse and his Poème èlectronique - an electronic musical composition created for the Phillips Pavilion, a temporary building designed by Xenakis and Le Corbusier. Or the composer John Cage who said that “everything we do is music”, and his emblematic work, “4'33”.

This exhibition aims to capture a new “perspective” of objects - not related to their immediate use or visual fruition -which seeks to encourage visitors to listen to objects, their murmurs, resonances and songs and understand that sounds are also a property of objects, complementing them and orientating human beings.

How Design Sounds will therefore offer an opportunity to reveal the sonic sensitivities of designers and artists, in a communion of the arts. An exhibition where sound is the protagonist, and establishes relationships, or resonances, between the various works. The works sometimes offer us delightful melodies, and on other occasions, now muted, they invoke memories of long hidden and forgotten sounds. Taking everyone by surprise.

How Design Sounds intends to be a corollary of emotions, and sensory experiences, which, through sound, reverberate to an experience that involves multiple hands and tonalities. In this manner, sound serves as an aggregating element, which unites design with art, and art with poetry.

— CARLA CARBONE, December 4th 2022