Book investigates the roots of Brazilian design from 1947 to 1968

Bringing together unpublished essays by design and art experts, detailed infographics and extensive iconographic research, the book " boa forma gute form: design no brasil 1947-1968 ", organized by Livia Debbane and with general coordination by Fernando Ticoulat and João Paulo Siqueira Lopes , sheds new light on the origins of Brazilian design in the 1950s and 1960s, linking them to the concrete art movement and the ideas defended by the Ulm School in Germany, heir to the Bauhaus. Unpublished texts by important scholars, an affectionate testimony from German designer Karl Heinz Bergmiller – a notable character in this plot –, as well as an enlightening timeline, contextualizing artists, designers, works, exhibitions and design schools are present in the publication. Among the authors are Aleca Le Blanc, Alexandre Benoit, Ana Luiza Nobre, Chico Homem de Melo, David Oswald, Ethel Leon, Felipe Scovino, Julieta González, Malou von Muralt, Mina Warchavchik Hugerth, Pedro Luiz Pereira de Souza and Rodrigo Paiva.

"Design, understood as a fundamental mediator of the relationship between man and his environment, has always been with us. But the same cannot be said of the field of design , which in the mid-20th century was only just beginning to consolidate itself. It is this process of institutionalization in Brazil that the publication aims to tell; a narrative little explored in a transversal way in the relationships and numerous contacts between museums, schools and the professionals linked to them, and which recalls a series of underrated characters and productions ". Starting with Max Bill 's arrival in Brazil, the book investigates how the contacts that the concrete artist made in the country were important for the expansion and formation of design awareness in Brazil , together with personalities such as Geraldo de Barros, Mary Vieira, Alexandre Wollner and Almir Mavignier. At the same time, the book explores the influence of Hfg-Ulm, the Ulm School, on the teaching program of the Escola Superior de Desenho Industrial (ESDI/UERJ), which was opened in 1963, the first of its kind in the country. . With a beautiful and meticulous graphic design created by Julio Mariutti , from Estúdio Lógos, alongside Ilana Tschiptschin , and an international launch, in partnership with the traditional Turner Libros, the book makes it clear how a generation of Brazilian designers knew how to reinterpret concepts from European schools in national context, creating its own path for modern Brazilian design . A publication resulting from extensive research that serves, at the same time, as inspiration for those interested in art and design and as a true document for scholars of the subject.