The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The Swiss artist Max Bill highlights the importance of education in the intellectual and moral development of a society. As background, the writer discusses the proposals of John Ruskin and William Morris, the Weimar Seminar on Arts and Trades, and similar initiatives in Austria, Switzerland, and Sweden. For the historical record, this article tells of the emergence of the Bauhaus in 1919 and the efforts made on behalf of what was called “proper form.” Finally, Bill describes some of the characteristics of the Hochschule für Gestaltung [School of Design] established in Ulm, Germany (1954), whose plan was to carry on the work of the Bauhaus.
The journal, nueva visión. revista de cultura visual. Artes, arquitectura, diseño industrial, tipografía [new vision, a journal of visual culture. Arts, architecture, industrial design, typography], produced nine issues between December 1951 and 1957. Edited by Tomás Maldonado (b. 1922), nueva visión was designed as a space for redefining and disseminating Concrete art. The journal’s editorial committee, whose members came and went over time, included: Carlos Méndez Mosquera (b.1930), Juan M. Borthagaray (b. 1928), Francisco Bullrich, Jorge Goldemberg, Jorge Grisetti, Rafael E. J. Iglesia, Mauricio Kagel (b. 1931), Guido Kasper, Alfredo Hlito (1923–93), Horacio Baliero (an architect, 1927–2001), and Edgar Bayley (1919–90). In the first issue, it was specified that the typesetting was done by Alfredo Hlito. Issues No. 2 and 3 stated: “La revista nv, nueva visión, es propiedad de nueva visión editorial s.r.l. (en formación).” [The magazine nv, nueva visión, is published by nueva visión editorial s.r.l. (in process of being organized).]” Although Tomás Maldonado functioned as the director, in issue No. 9, he is only listed as founding father.Max Bill (1908–94) was an artist, architect, and theorist born in Switzerland. The fact that his aesthetic concept was based on mathematics was not just reflected in his paintings and sculptures; it also guided his development of highly functional graphic and industrial design. From his position as director of two schools, initially one in Zürich and later the Hochschule für Gestaltung (School of Design] in Ulm, Bill exercised major influence on European industrial art and design. He was unquestionably a key figure in the development of Concrete art in Argentina and Latin America, and especially Brazilian Concrete art.This article shows the importance attributed to the ideas of Max Bill by the editorial group of nueva visión, in particular as related to the concept of “proper form” and the practices carried out at the Bauhaus workshops.