Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This article is part of the ongoing work entitled “Recife: histórias e pessoas”, which seeks to intertwine the city’s past with its present, providing the coexistence between individuals and facts from different times to help in the understanding of territory from its cultural heritage. The literature review process, the first findings and the general context of the research are indicated. Two neighborhoods of the city, Santo Antônio and São José, are presented as they will provide inputs through their history and their resi- dents who will be worked on in augmented reality techniques, virtual reality, and other narratives, such as photographic, audiovisual, and infographics, techniques that will support reflection on the process of local urbanization.

Studies on the shaping of graphic Design in Argentina have traditionally focused on the expansion and consolidation of modern ideas in the visual domain, and emphasised the idea of the project. In this line, different authors coincide in conceiving Design as the result of the modern debate of the mid-twentieth century, in clear contrast to previous practices in the field linked to the graphic tradition. However, some of these practices reveal new ways of understanding visuality and the profession, close to what would later be known as "Design". This paper seeks to extend the study of the configuration of the field of local graphic Design, identifying a first moment of transition from the logics of art linked to industry in its transition to design, between 1910 and 1930, understood as a moment of cleavage where the tensions between tradition and modernity become evident. In a second moment, in the middle of the twentieth century, some institutional spheres of training such as universities and research centres will institutionalise these new conceptions which, as part of a web of relationships, shaped a new profession in Argentina: that of graphic designer.

In the early twentieth century, Japanese advertising began to be recognized as an industry due to the development of printing technologies and the establishment of advertising agencies in the main urban centers such as Osaka and Tokyo. Between 1925 and 1930, the lettering design productions of Japanese graphic artists, which included Masuji Hamada, Shuichi Yajima, and Taichi Fujiwara, were important in changing the culture of graphic design in Japan. During the same period, advertisements printed in Japanese-language community newspapers, and disseminated in the cities of Buenos Aires (Argentina), Lima (Peru), and São Paulo (Brazil), were essential means of communication for promoting products and services. In this regard, the article presents an analysis of the presence of Japanese-style lettering in the South American community press, based on documentary research of advertisements published by El Argentin Djijo, Lima Nippo, and Nippon Shinbun.

It is well known that modern and modernity refer to that which is opposed to the old; they refer to the novelty that emerges as an alternative to a status quo. Such novelty determines behaviors that were previously unknown and forces the creation of new scenarios and procedures. It is, therefore, a wager on and for the future. With this general criterion, the present paper reviews the fundamental stages that, since the 15th century, have occurred in the graphic field and have allowed for progress in the knowledge of Western society and culture. In this context, technological advances must be regarded as crucial in providing the tools to progress towards modernity; circumstances and absorption times may vary from place to place, but the significance of technologies remains essentially the same. A critical examination of graphic technology reveals, eventually, a suitable and logical account of the evolution of modernity to our days.

The 1950s were marked by development policies and increased urbanization and industrialization in Brazil and Argentina. During that period, design began to be regarded as a profession, and modernist ideas greatly influenced a professional field gradually occupied by practitioners with different kinds of training and different conceptions of graphic design. Between the late 1950s and early 1960s, the institutionalization of design education was shaped by the modernist influence of the International Typographic Style, also known as Swiss Style. In this context, the paper analyses the institutions that encouraged these processes, as well as the schools of thought that helped to consolidate a modernist conception of graphic design in Brazil and Argentina. More particularly, the paper examines how the modern ideology was interpreted in peripheral societies that at the time were semi-industrialized, drawing parallels between the design scene in two neighboring South American countries.

Information Design is a field that links graphic design with other disciplines such as technical communication and usability. Information Design is also interdisciplinary in itself: it combines notions of visual perception, learning and behavioural psychology, linguistics and more. Information Design focuses on the user and the context of use, so it requires an attitude of enquiry, to discover how people use the things we design and how the context in which they use them affects their behaviour. This article introduces the discipline of Information Design, focuses on its fundamental notions and takes examples of collaboration with the area of health. Then, we identify initiatives in the Chilean territory developed under this perspective, in order to consider the potential of an Information Design approach in Chile.

This paper focuses on three figures of the Catalan graphic scene in mid-20th century: Enric Crous Vidal, Ricard Giralt Miracle and Joan Trochut Blanchard. Of different background, training and impact, they all were associated—to a greater or lesser extent—with the ‘Graphie latine’, a response to the modernist typography canon from Central Europe that would be led by the ‘Swiss school’.The three authors show different ways of handling the expressive power of typography—which, in those years, witnessed the gradual decline of letterpress and the steady rise of offset litho. Two of them (Crous, Trochut) follow a path where modulation and formal proposition render graphic solutions of high complexity, but feasible within modernity. Giralt’s pro- posals, on the other hand, are closer to form than to modulation.

Even before putting to sea, during the construction process, a ship can be a source or object of maritime risks; it has been said source, since it has the immanent character of being the genesis of damage or harm to its builder or to third parties; or it can be an object, that is, a matter of damage or impairment, as a result of the action of third parties, and even of the shipyard itself. Notwithstanding the above, there are also certain risks of breach of contract, which can undermine the legal position and interests of the shipyard, for which it is necessary to guarantee the fulfilment of the obligations of the contract that represent a claim for this party. In view of the misfortunes derived from shipbuilding, the purpose of this paper is to analyze, determine and conceptualize the Marine Insurance coverages in the Institute Clauses for Builder's Risks Policies of 1/6/88, the Marine Construction All Risks 01/09/07, and the Japanese Builder's Risks Insurance Clause, understood as the main contractual instruments used in Shipbuilding contracts, and their relationship with ship mortgages.