Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
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The events held at La Triennale in Milan on the occasion of the Fiftieth Anniversary of the Salone Internazionale del Mobile deserve a special mention in the exhibition season that will be coming to an end in the coming months. This event marks the inauguration of the fourth edition of the Design Museum, which brings together the history and current affairs of Italian design, in a series of proposals from different approaches, and which periodically exhibits pieces owned by collectors, companies and institutions in the country, thus collaborating to showcase and at the same time increase the value of Made in Italy design. Around this major exhibition of the Design Museum are other interesting proposals selected for this occasion, which make up the programme Le mostre del Triennale Design Museum.

Manager of Communication is the renovator of post-capitalist management in our technological civilisation. The DirCom, a global strategist, brings a new integration of processes, relationships and management to generate value. However, to this day, the DirCom is a figure who is still little known or poorly known, even by many entrepreneurs and professionals. And this is despite its current consolidation in the improvement of large organisations; despite more than three decades of university training for generations of DirComs; and despite the associations promoting DirComs, such as those in Spain, Argentina and the Ibero-American DirCom Network. What, then, are the causes of this lack of knowledge?

The Cox report, a research conducted by the Design Council of Great Britain and published in 2005, defines design as: "what links creativity and innovation. It shapes ideas into practical and attractive propositions for users or customers. Design can be described as creativity employed for a specific purpose". Today, design is opening up to other possibilities not previously considered. This does not mean, however, denying the industrial nature of design, which can and should collaborate in redefining the very concept of industry. In any case, it must be admitted that we are in a period of necessary change for all areas and fields of design, caused fundamentally by the social and economic situation in which it currently has to develop, although without losing sight of the fact that the discipline began to question its own paradigms, especially in the last thirty years of the twentieth century.

Selection of designers, presenting some of their most recent creations, outlining their philosophy, their training and professional careers, and some interesting ideas that they use on their websites, blogs and promotional literature, as strategies for their identity, for the presentation of their work and services in society.

What we call "graphic language" is the combination of three fundamental modes of languages; they are linked to the intrinsically communicational condition of graphics and design. Human communication has its founding vehicle in Language, which is its specific way of constructing and transmitting meanings. But graphic, gestural, chromatic, etc. 'languages' are visual extensions derived from the Language par excellence: speech.

When talking about design for cultural heritage, it is more appropriate to talk about design processes for cultural heritage rather than design competences and scope. In this view, the valorisation of cultural heritage can be seen as a set of design processes (Lupo 2009). In an ideal lifecycle of cultural heritage, whether tangible or intangible (Lupo 2009), which we propose as linear (note that this simplification is only implemented as a rhetorical device and communicative expedient), we have at the beginning a cultural good that is still potential (which does not exist as it does not have a form), which is realised in forms of good and which, when it is collectively socialised and recognised, becomes an explicit good, and then a good that is enjoyed or activated by a community when it 'appropriates' it or participates in it in various forms. In the transition from one stage to the other, processes occur that are called respectively production (of the form) of the cultural good, recognition (of the meaning) of the cultural good and activation (of the function) of the cultural good.

Giovanni Segantini (1858-1899), a painter of rural tourist posters, saw his painting scorned by the critics of his time, which is one of the reasons for his transcendental contribution to painting and to the visual arts in general. This malicious consideration was a consequence of his extremely humble and defenceless situation, and his love for the rural environment and the mountains, where he tried to live as soon as he could return to them, together with his location outside the French and Anglo-Saxon axis which would have given him the value that other cultures immensely rich in artists and creators do not know how to promote and from whose oblivion only the great geniuses are saved, if they have had the good fortune to preserve their work for other generations and the judgement of time to do justice. This is the aim of the exhibition organised by the Fondation Beyeler, Basel, from 16 January to 25 April, which also vindicates his decisive role among the forerunners of the avant-garde, showing his works in the rooms of Renzo Piano's marked personality, for this museum and hung among others by Cézanne, Van Gogh and Rothko. A total of almost seventy paintings and drawings from all periods are on display.

ECM is a musical adventure that is very much a personal project. Founded in 1968 by Manfred Eicher in the German city of Munich, it has since released more than a thousand references in two different collections: the one specialising in jazz, to which it owes its early prestige, and, more recently, the "New Series", which focuses on classical music, both contemporary and by great historical composers. In addition to its carefully selected catalogue and exquisite sound and musical productions, ECM has distinguished itself from its earliest releases for the quality of its cover artwork, the result of the work of art directors Barbara and Burkhart Wojirsch, Dieter Rem and, more recently, Sascha Kleis, although ultimately the real Art Director, and the inspiration for ECM's graphic style is, as we all suspect, Eicher himself. One senses that his has been a way of designing only with ideas, with conceptual proposals, without reaching the concreteness or the material realisation of the photographs, the final composition or the typographic organisation of the cover. The quality of ECM's covers justifies the appearance of Windfall Light, a book recently published by Lars Müller Publishers that brings together his covers in a publication designed as carefully and beautifully as the graphic material itself.

In our professional work, 'design' is the search for a poetic configuration of functional objects through (mostly) local resources. But, of course, this is a synthesis, since product design involves an interesting variety of intermingled activities, among which are technological (that it is manufacturable), cost (that it is saleable), aesthetic (that it pleases and we like it), logistical, etc. The question of "design in Argentina" is no longer elusive: it would be irresponsible to give an opinion as it would quickly err on the side of simplism or unfair generalisation. In this globalised world there are no longer borders, there are designers from here who design for abroad at a very high level, there are very good designs and Argentine designers in the most diverse areas and places. What can be said is that industrial design is directly related to the reality of national production, which, as we well know, for years has been focused on economies of scale within which industry is not the most important.

To be continued... aims to promote organ donation. This term, associated with the seventh art, sends a positive message to donors and their families as well as to patients who are on the waiting list for transplants. For its graphic representation we proposed a morphing of square to heart. In this way, we strengthen the idea of continuity by transforming a full stop into a full stop thanks to the love of a donor. Estudio Buenavista joins, through its Association, Ken Garland's manifesto "First things First" updated in 1999 and signed by graphic designers, photographers and visual communicators to join forces around social and cultural marketing.