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GUI BONSIEPE studied information design at the hfg ulm and was involved in teaching and research activity at the hfg ulm until 1968. Since 1968, he has been providing design and consultancy services for multilateral and bilateral organizations for technical cooperation and in government institutions in Chile, Argentina, Brazil; specializing on design issues in peripheral countries. From 1987 to 1989 he worked as an interface designer in a software house in California. From 1993-2003 he was professor for New Media at the Köln International School of Design. Since 2003 he has been living in Argentina and Brazil.
His Publications: 1975 Teoria e pratica del disegno industriale (Italy) |1978 Diseño Industrial, tecnología y dependencia (Mexico) | 1983 A ‘Tecnologia’ da Tecnologia (Brazil) | 1996 Interface – Design neu begreifen (Germany) | 1999 Interface – An Approach to Design (Netherlands) | 2008 Historia del Diseño en América Latina y El Caribe (co-editor) (Brazil) | 2009 Entwurfskultur und Gesellschaft (Switzerland) | 2011 Design, Cultura e Sociedade(Brazil) | 2012 Design como pratica de projeto (Brazil).
The Centre/Periphery Antinomies of Design in Latin America
A short overview of the development of design history studies in Latin America is given, that in part have been undertaken by design professionals due to the general indifference of traditional historiography to deal with material and semiotic artefacts of everyday culture as results of a development process including design. These studies start from the premiss that design should not be considered in isolation but inserted in the industrial, technological and political context. The role of design as one aspect in the multifacetious process of emancipation is explained, furthermore the reasons for the different perspective of design and design practice in the Periphery compared to the Centre. The effects of opposed economic policies for the development of design in Latin America are shown by comparing the 1960ies and the neoliberal programs of the1990ies. The issue of cultural influence, cultural export, cultural imperialism, contextuality is addressed, analyzing the reasons for the opposition between design as modernizing force and the reaction to modernization by searching for roots of identity in the vernacular.