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#Epic | FEATS OF ARGENTINE DESIGN 1960

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“EPIC: Feats of Argentine Design” is a multi-format, curatorial program aimed at reviewing a century of history based on the IDA Foundation collection and other related archives. The first issue of the chapter “1960” examines the consolidation of design, its connections with new artistic trends, and the transformation of technologies and materials.  

#EpicAnniversary | Sesquicentennial + Ambasz at the MoMA
The National Sesquicentennial Fair-Exhibition took place in November 1960 at the Recoleta neighborhood in commemoration of the 150th anniversary of the May Revolution. In the midst of the developmental government led by Arturo Frondizi (1958 - 1962), the celebration was meant to show the world Argentina's progress. The event was organized by César Jannello —director of Architecture and Planning—, alongside Silvio Grichener, Eduardo Joselevich, and Gonzalo Arias —technical team—.  

It showcased national and imported industrial innovations, as well as the work achieved by the Ministry of Communications, Public Works, and Culture. Great enthusiasm was shown in the participation of companies, institutions, and mass media. The “Shapes Festival” included a series of ephemeral architecture stands and monuments built with concrete. Some of the most outstanding ones were the paraboloid made by Citroën Argentina, the 1.6 m. tall tower by Industrias Pirelli (conceived by Ignacio Ramos and Hernán Alvarez Forn), and the open, sequential installation presented by Cristalplano (created by Antonio Bonet and Nélida Gurevich). Shell sponsored the dodecahedron designed by SEPRA –Federico Peralta Ramos, Santiago Sánchez Elía, Alfredo Agostini, Héctor Coppola, and Juan Molinos, which included a multi-media show performed by Rafael Iglesia and the group Onda. Both the geodesic dome built by IKA (designed by Buckminster Fuller) and the inflatable amoeba presented by the US Atomic Energy Commission (created by the American Victor Laundy), merged several air suspended structural concepts in their architectural design.

Few of these creations are still preserved and have become part of the nation's modern legacy, for example, the "pedestrian bridge" located in Figueroa Alcorta Ave. (created by the architects Grichener and Jannello, alongside engineer Atilio Gallo) —demolished in 1973 but relocated and rebuilt again in 1978— and the stand of the National Culture Commission (designed by Rubén R. Fraile and Jorge A. Gómez Alais), which was repurposed as the MNBA annex.

The Open Air Auditorium (by Eudaldo A. M. Vidal, Fernando Saladrigas, and Miguel Carreras), the stage where local rock bands first played, still has social impact; the same as the Ital Park, the biggest theme park in Latinamerica, opened that same year next to the Fair.

In 1968, Emilio Ambasz (Resistencia, Chaco, 1943) became the curator of the Department of Architecture and Design at the Museum of Modern Art (MoMA). Paris: May 1968. Posters of the Student Riots was his first exhibition at the New York based museum. The showcase examined cultural manifestations of the movement produced with fast and direct execution techniques, such as graffitti, photocopy, and heliography.
Until 1976 he analyzed the history of design and developed, sometimes collaboratively, exhibitions that showed a holistic and innovative vision of the discipline. Some of the most renowned exhibitions curated by Ambasz were: Urban Anticipations: Eugene Henard (1849–1923); Recent Acquisitions. Design Collection; Italy: the new domestic landscape; A classic car: Cisitalia GT, 1946; The architecture of Luis Barragán; Furniture from the Design collection: Thonet, Guimard, Wright, and Rietveld, and The Taxi Project: realistic solutions for today. 

His integrative understanding of art and design stems from his versatile training as an architect, industrial designer, and theoretician. As a professional, he always combined design with artistic practices and his body of work is known for its solid aesthetic, conceptual, and functionalist-mechanical vision. He created "Vertebra", a system of ergonomic office seats included in the collections of the MoMA and the Metropolitan Museum of Art (MET). The system was manufactured and commercialized in Argentina by Erasmo SACI. His relationship with Jorge Glusberg, was a strong connection that kept him close to Argentina, where he gave lectures at the Buenos Aires International Architecture Biennial (1985).

Ambasz was a forerunner of green architecture, since he always combined construction with gardens following his own motto "green over grey". One example of this is his project to refurbish the Buenos Aires Modern Art Museum (MAMBA), which devised a brick shell with vegetation interstices. The Emilio Ambasz Institute was created in 2020, after he granted a donation to the MoMA to support the study of connections between built and natural environments.  

#EpicContext | Corporate social responsibility
The two leading companies of the metal mechanic industry —SIAM e IKA— developed Social Responsibility strategies as part of their business programs that had a huge impact during the 60's. Such actions focused on education institutes, publications, and art events. Both enterprises implemented an integral model that connected three elements: industry, communication, and culture. Led by directors who emulated the example set by American companies, both firms established high quality estándars internally, among its working teams, and externally, as part of a specific social context.
Siam Di Tella (1910) started producing industrial mixers and gas pumps but later expanded its offer by manufacturing home appliances. Its peak as a company came along with the launch of the Siambretta (c. 1954) motorcycles and the vehicle Siam Di Tella 1500 (1960). Besides its Avellaneda manufacturing plant, the firm had stores and branches all over the country. Despite being successful, Guido Di Tella, director of the company, envisioned more: he founded a cultural and educational institution aligned with the latest American innovations. The iconic Torcuato Di Tella Institute (ITDT, 1958 - 1970) had two headquarters, each with a different profile: the one located in Virrey del Pino street focused on economy, sociology, and psychology; the one located in Florida street, boosted contemporary artistic production. Onda Group —winner of the 1960 contest— was the agency that created the first Siam logo and applications handbook, besides developing the brands for the Di Tella 1500 and the ITDT. Agens, the internal interdisciplinary design agency, opened in 1962 with the aim of coordinating the company's industrial and communication production. At that point the enterprise had become the biggest Latin American industrial group. Agens gathered editors, photographers, designers, and architects who, together, created advertising campaigns, packaging, products, and fair stands. The unprecedented work team became itself a training school for its members. After ten years, Agens was sold and was freed from its exclusivity with Siam.

IKA, Kaiser Industries Argentina (1955-1967), a branch of the US company Kaiser-Frazer Corp., devoted to car manufacturing, was established in Cordoba. Among the policies aimed at supporting the workers wellbeing, the specialized magazine Gacetika (1957 - 1967), a bilingual school, and its Skills and Sports Institute —located in the stand used by the company during the Sesquicentennial Fair— stood out. The Public Relations Office, led by Christian Sörenson, developed the firm's cultural promotion project, which, aligned with IKA's panamerican policies, aimed to reach not only Cordoba but the rest of Latin America by merging avant-garde trends and handcraft traditions. 

The IKA Visual Arts Lounges (1958 - 1961) evolved and eventually became the American Arts Biennials (1962, 1964, 1966). As cultural management milestones, the biennials encouraged interaction between reviewers and international institutions; participation of embassies; production of promotional material; and the visit of journalists from abroad. At its peak, 74 artists from 13 different countries —such as Brazil, Colombia, Perú, Uruguay, and Venezuela— participated after having been selected by local Committees. In the third Biennial, such renowned people as Alfred Barr (first director of the MoMA) and Arnold Bode (director of the exhibitions documenta in Kassel) were members of the jury. The graphic material that promoted the event expressed the disruptive and professional trends that defined that period. Local promotion and activities were organized by the illustrator Lolo Amengual. Rogelio Polesello did the graphic design of the 2nd Biennial and Rafael Soto, winner of the previous event, did the graphic work for the 3rd Biennial. Soto conceived a system composed of signage flags, the catalogue of the event, and the signature vinyl box of the 1st Experimental Music Meeting of the Americas.

#EpicContext | Renovated furniture companies
The modernization of politics encouraged a corporate approach to business management. To that effect, branches of international agencies were established in the country and local firms experienced upgrades. Furniture companies, new and long-standing alike, incorporated into their production contemporary designs and innovative materials.  

Stilka (1960 - 1990) was founded by the architects Celina Castro and Reinaldo Leiro. The firm, defined by the motto "Good design, good material, and good technique", specialized in interior design and home equipment. Its renowned products, like the collection for young markets, prêt-à-porter (1967), combined contemporary shapes with handcrafted elements. The company was reconstituted with the name Stilka-Buró in 1964 with the purpose of improving its hierarchical structure, however, it only lasted for two years. Stilka continued manufacturing home products under the direction of Castro and designers like Ricardo Blanco and Eva Rubí Muchnik. Buró (1965-2013), led by Leiro, targeted the executive market with such collaborators as Osvaldo Fauci, Arnoldo Gaite, Eduardo Naso, and Eduardo Simonetti, among others.

Interieur Forma (1959), a merger of two auteur design projects Interieur and Forma, was created by Susi Aczel, Martin Eisler, and Arnold Hakel. Since 1960, the company has represented   Knoll International in South America, thus specializing in the executive sector. The founders promoted Knoll's expansion in Peru and Chile and organized showrooms for the firm in Montevideo (Uruguay) and in Vienna (Austria, 1964 - 1976). Due to its high production quality it obtained the license of the designs authored by Florence Knoll, Eero Saarinen, and Mies van der Rohe. In its role as a cultural promoter, the company presented the exhibitions: Knoll furniture collection (1961) at the MAMBA, which included the display of Harry Bertoia's texts, and The furniture: tradition and modernity (1968) at the National Museum of Decorative Arts. Currently, the firm is led by Alejandra Aczel, Alberto Eisler, and Gabriel Hakel, its second leadership team generation. 

Collection (1962) was founded by Ricardo Sansó and Jorge Eduardo Ciaglia to represent the American company Herman Miller Inc. in Argentina. Furniture designs created by Charles and Ray Eames, George Nelson and Robert Propst conceived for homes, hospitals, and public services stand out among its products. Its second showroom, presented in 890 Florida street, Buenos Aires city, was organized by Onda Studio, featuring the collaboration of Rogelio Polesello. By then, Ciaglia had expertise promoting industrial design through contests and exhibitions —Collection won the great solid silver award given by the CIDI to the company's Aluminum group, designed by Charles Eames—, and, since 2007, he has worked with Ethical Creativity, a civil association devoted to promoting good interactions between design and business. 

Eugenio Diez, is a classic company founded in the 1940's. Since the incorporation of Julio Álvarez to its Technical Department in 1958, the firm has diversified its production by segmenting it in different styles. Renamed as Eugenio Diez S.A. Business Equipment Division, it expanded its traditional catalogue consisting of classic European style pieces by including modern models.
Perhaps the boldest and most disruptive company of all was Studio CH Art and Design Center (1960), founded by designer Alberto Churba. Its main headquarters was established inside the shopping gallery at the juncture of Cabildo and Juramento streets in Belgrano neighborhood. Furniture design, the setting, textiles, and shop windows interacted to perfection, even showing exotic elements, such as the pink flamingos in the patio's fountain. Its most iconic design, the “Cinta” seat (1968), received several awards, such as the CIDI award and its incorporation in the collections of the Victoria and Albert Museum at London and the MoMA in New York.

#EpicContext | Pioneer publishers

The vigour of the publishing industry, distribution circuits in Ibero-American countries,and the professionalization of design sponsored by brave managers was outstanding during the period. 
José Boris Spivakow (Buenos Aires, 1915 - 1994) was a publisher of Russian ancestry. Around 1945, he began working at Editorial Abril. Between 1958 and 1968 he was the first manager of Editorial Universitaria de Buenos Aires (Eudeba), a publishing house directed by Arnaldo Orfila Reynal. It became one of the most important Latin American publishers due to its specialization in research content. Besides printing texts related to Natural Sciences, Economy, and History, it also published The origins of shape and Industrial Design (1962) by Pablo Tedeschi, Building Imprints (1962) by Eduardo Sacriste and Warped surface structures (1962) by Eduardo Catalano.

Spivakow believed print culture could become a political weapon to fight fair causes. After President Onganía's violent intervention at the UBA on July 28, 1966, known as "The night of the long batons", he founded the Latin American Publishing Center (CEAL, 1966 - 1993). Alongside former Eudeba colleagues and inspired by the motto "each book will cost less than a kilo of bread", he opened one of the most popular cultural factories of the period inside an apartment he had borrowed. Known for its affordable books and good visual elements, the collections were planned by the group's design department, constituted by Oscar “dark man” Diaz (art direction), Pablo Barragán, Ana Teresa Catáneo, Estela Enecoiz, and Alberto Oneto, among others. Occasionally, other designers collaborated with book covers, for example: Ajax Barnes, Isabel Carballo, Norberto Coppola, Ignacio Corbalán, Mario Mignone, Oscar Peyrou, and Hermenejildo Sabat. As part of the thematic, almost encyclopedic, collections, the company published “Communities, men, and art forms", a series of booklets about design by Roberto Napoli and Emil Taboada. CEAL sold around 150.000 booklets distributed in newspaper stands, fairs, hospitals, and bookshops, besides being mailed upon order.
Due to its wide visibility and socialist agenda, CEAL faced censorship, while collaborators were persecuted during the dictatorship that began in 1976; members of the army even burnt its publications in public squares of cities like La Plata, Mendoza, and Buenos Aires.

Jorge Álvarez (Buenos Aires, 1932 - 2015) was an editor and musical producer; one of the main promoters of youth culture in Argentina and Spain, where he went into exile in 1977 due to the dictatorship. 

Always passionate about the printing world, he founded Editorial Jorge Álvarez (1963 - 1969), a company which published around 300 books that defined Latin American literature written by such authors as Rodolfo Walsh, Manuel Puig, José Saer, David Viñas, Félix Luna, Marta Lynch, Leopoldo Torre Nilsson, and Quino. Cover pages illustrated by Roberto Alvarado, Rodolfo Binaghi, Rubén Fontana, Rogelio Polesello, Ronald Shakespear, and Jorge Sarudiansky, among others, showed trendy visual expressions. Its printing press/book shop located in 485 Talcahuano  (Buenos Aires) was the epicenter of literary and musical gatherings at the time. As musical producer,  Álvarez co-founded alongside Pedro Pujol the record label  Mandioca, la madre de los chicos (1968), the first independent “national rock” company, since recording lyrics in Spanish was a requirement to be signed. Through this company he boosted the careers of Manal, Moris, and Vox Dei. The company went bankrupt due to poor commercial performance, however, Álvarez persisted in his mission to promote new bands. He founded Talent (c. 1972) —a subsidiary company of Microfón—, where he was able to record albums by Sui Generis, edit “Artaud” by Luis Alberto Spinetta, produce Pappo, and discover the talent of Miguel Abuelo, among other remarkable feats. The covers of these emblematic long plays were designed by Juan Oreste Gatti —who also created the logotypes of his record companies— and Daniel Melgarejo. In Madrid, he worked for big record conglomerates, such as CBS and BMG. Alongside Gatti, he developed the visual identity of the Spanish pop wave.. 

Ediciones De La Flor (1966) is an independent publishing company founded by Daniel Divinsky and Ana María “Kuki” Miler. It “inherited” most of the authors previously published by Ed. Jorge Álvarez. Divinsky was persecuted during the military dictatorship and went into exile in Venezuela. La Flor published the work of multiple writers and local social actors:: Caloi, Griselda Gambaro, and Silvina Ocampo. It is the historical printing house of Fontanarrosa and Quino, creators that have published over 120 books and sold millions of copies with La Flor. Its catalogue of collaborators included great designers and illustrators like: Héctor “Kalondi” Compaired, Oscar Diaz, and Oscar Smoje.

#EpicContext | Graphic cartoon

Cartoons have been part of popular culture since the 1950's due to its wide circulation in graphic magazines and newspapers. During its first decades, the Panamerican School of Arts (EPA) and the Torcuato Di Tella Institute (ITDT) co-organized the First International Cartoon Biennial (1968), promoted by David Lipszyc and the theoretician Oscar Masotta. Masotta was an icon of pop philosophy at that time period. He not only defined the peculiarities of "Argentine imagineers" but also those of local artists. The biennial was an unprecedented event that showcased modern formats of creative expression. It included lectures by theoreticians and critics, as well as the International Cartoon Exhibition presented during October and November of 1968 at the ITDT (936 Florida street) which, later, toured around different cities of Argentina and Latin America. The exhibition displayed a system of modular panels (created by the studio Buenos Aires Design). Rodolfo Möller, Augusto Brengio, and Antonio Gache devised the exhibition design. Renowned experts like Jorge Romero Brest, Enrique Oteiza, Samuel Paz, and Enrique Vieytes were members of the Biennial's executive committee. The promotional street poster of the event stood out for its design, which showed a conversation among different cartoon characters of the moment. It was produced by Norberto Coppola, Pino “Milas” Migliazzo (in charge of the character composition) and Ricardo Rousselot (in charge of typography design). Additionally, the Cartoon Club was founded and the catalogue Cartoons Worldwide (1986) was published. In the catalogue, iconic characters and comic strips from each country featured in the exhibition —USA, Spain, Italy, France, and Japan— were presented.

EPA —created in 1954 by Enrique Lipszyc— offered drawing courses by mail and later, during the 1960's, opened two schools in Buenos Aires directed by David Lipszyc (located in 767 Sarmiento street and 842 Venezuela street, respectively) and another branch in Sao Paulo, Brazil, founded by Enrique Lipszyc. These institutions offered face to face courses specialized in drawing and painting, newspaper and advertisement illustration, photography, contemporary art history, and college careers such as graphic design and interior design. Between the 1960's and 80's, creators like Jorge Frascara, Nicolás Jiménez, Carlos Marcucci, Martín Mazzei, Pino Migliazzo, Roberto Rollié, among others, collaborated with the project. As part of its extension activities, the institution published specialized books and organized lectures, showcases and exhibitions, scholarships, and incentive awards.

Pino “Milas” Migliazzo taught at EPA from 1966 to 1972, besides being in charge of the visual image of the school. The identity he designed for the institution —shown in brochures, posters, and archigraphy work— included a widely recognizable, pop version of La Gioconda. In 1983, Martín Mazzei (a student) used the same icon when designing the school building's front, thus expanding Milas' well known graphic work. Mazzei presented the “Gioconda” as the “Madonna” of Art. His design was accused of breaching publicity codes by municipal officials, however, the school successfully proved the design was an artistic expression. 

As part of the boom, Summa and Nueva Visión published the magazine Literatura Dibujada (LD) (1968-1969), directed by Óscar Masotta. The main topics addressed in the magazine were classic and modern cartoons, critical semiology. Local and international production was often reproduced in the publication. Guido Crepax illustrated the cover pages. After the LD experience, Summa magazine launched Summa Humor, a publication that merged humor and architecture related issues. Aldo Rivero, Bróccoli, Caloi, César Bruto Crist, Fontanarrosa, Geno Diaz, Ian Oski, Periclex, Sábat, Shuto, Vilar, and Viuti, among others, collaborated in the project.

#EpicFeatured | Summa Magazine
The monthly architecture magazine Summa was created in 1963 by Carlos and Lala Mendez Mosquera (Adolfina Vilcinskas), founders of Cícero Publicity, with the aim of discussing topics related to architecture, technology, and design. Between 1963 and 1965 the publication was directed by Carlos and Lala has led it since 1965. Since its first issues, it promoted space related ideas, creations, and building projects. Many texts written by icons of architecture, conceptual art, design, textile production, and other disciplines were published in Summa, thus encouraging the debate of new trends and ideas that originated in such a vast, specialized universe. For many years, it worked as a key discussion forum were different approaches and scopes of design established a dialogue with one another.
As editorial director and designer, Lala established the signature layout that defined the magazine throughout 300 issues, up until 1992. During the first decade, Sara Torossian, graphic design director (1965 - 1969) played a key role; same as Leonardo Aisenberg, who was the editorial secretary and, since 1966, performed as editorial director in 14 issues; Francisco Bullrich and Jorge Grisetti were part of the board committee. 
Special issue no. 15 of the magazine Summa (1969) was devoted to “Design throughout the Argentine Republic”, and has become a comprehensive testimony of that juncture. Other memorable issues were published to celebrate different anniversaries: 10 years, (1973), 15 years (1978), and 20 years (1983) —the latter one included allegorical texts by Tony Díaz, Ernesto Katzenstein, Luis Morea, Horacio Pando, José Manuel Pedregal, Alberto Sbarra, Marcos Winograd, and Justo Solsona—. As time went by, the magazine focused almost exclusively on local and Latin American related topics and, since 1976, content related to the European context was published in Cuadernos summa-nueva visión. Outstanding issues were discussed in the collection Summarios, under the supervision of Cordoba native Marina Waiman.
The first four issues of the magazine were produced in the establishment located in 1320 Rodríguez Peña street, Buenos Aires, facilities that were shared with other editorial groups like Harpa and Ediciones Infinito. Lala, as director, provided the editorial group with an independent office located in 494 Viamonte street, inside the building that hosted Victoria Ocampo's OAM studio.  

#EpicFeatured | CIDI
The CIDI (Industrial Design Research Center) was a semi-public organism that existed between 1962 and 1988. It aimed to promote design and national industry through contests, exhibitions, and high level seminars. It was founded as part of the official industrialization policies of that time period, linked to the National Institute of Industrial Technology (INTI) within the Argentine Ministry of Industry. Since its inception, Rodolfo Möller and Basilio Uribe involved academic institutions and companies as active partners of the project: the schools of Architecture and Engineering of the University of Buenos Aires, Siam Di Tella, Eugenio Diez, Koppers Petro-chemical Industries of Argentina, Stanley Coates, Olivetti, Comte, Braun, Atma, Stilka Buró, Ilum, CH Studio, Collection, Visconti, Interieur Forma, and Cícero Publicity. Committed to promoting, both theoretically and in practice, the cultural, industrial, and commercial relevance of design, CIDI opened a showcase room for permanent exhibitions, launched a monthly publication, and inaugurated an international library for its members. The Center advocated for the institutionalization and promotion of design related careers in Argentina and the entire continent. CIDI joined the International Council of Industrial Design Associations (ICSID), while supporting the Industrial Design Association of Argentina (ADIA) and the Latin American Association of Industrial Design (ALADI).

CIDI organized 6 national contests and 28 exhibitions in Argentina, Brazil, Bolivia, Mexico, Paraguay, Peru, Uruguay, and Venezuela. During its 24 years of existence, CIDI selected 1300 products and awarded around 300 acknowledgements —the Great Solid Silver or Copper Award and the Good Design Labels— in recognition of commercial and serial production quality. Award events were managed by Moller, Uribe, and Julio Colmenero.

The research center also envisioned an identity design for communication purposes. Basilio Uribe designed the isologotype coached by Carlos Fracchia. 
María Luisa Facorro de Colmenero was the graphic designer of the institution —from 1967 to 1972—. She developed the integral image of the center: institutional stationary, posters, catalogues, the exhibition system along with its recurrent visual system. 

One of the organism's main achievements was the incorporation of design to the social agenda and the self-awareness of businessmen and consumers alike. Most of its endeavors were carried out during the center's first stage because the social, political, and economic reality that defined Argentina after 1976 hindered its growth and caused its definitive closure in 1988.
IDA preserves the CIDI patrimonial collection —which includes design pieces, newspaper articles, photos, written documents, and digital archives—after it was donated by José Alberto Rey, author of the book History of CIDI. A promoter of design in Argentine industry (2009).

#EpicFeatured | Hector “Kalondi” Compaired

Hector “Kalondi” Compaired (Argentina, 1934 - Uruguay, 1998) was an architect —graduated from the FAU in 1960—, graphic and industrial designer, inventor, and comedian. Blessed with a unique wit, he was able to express social criticism through his work with creativity and irony. He used his illustrations to denounced business, industrial, and political schemes. As a graphic artist, he achieved visual synthesis and conceptualization. In the industrial field, he created new, advanced typologies. At the beginning of his career, he joined the design and publicity agency

Agens, as Head of the Industrial Design Department (1962 - 1964) of the Siam Di Tella company. In that capacity, he collaborated with the development of industrial products and the stands built inside the facilities of La Rural fair —specifically in the 22nd International Cattle Industry Exhibition and in the National Meat Board—. He co-founded the group Associate Designers (1962 - 1968) alongside Gonzalo Arias, Goyo Gurevich, Silvio Grichener, andEduardo Jolevich. This collective developed graphic design projects, modular architecture, and ephemeral elements for stands. He designed over 40 products, including electric lighters, calculators, record players, ovens, and heaters for firms such as Aurora (Magiclick), Delm, and Fate Electrónica. His creations won several awards and acknowledgements, including recognitions granted by the CIDI. He also designed the visual image —both graphic and audiovisual— for companies and organisms like Channel 5 (city of Rosario), Ika-Renault, Fiat, Textil Oeste, and Modulor, among others. 
In 1976 he opened his own studio, Kalos, thus carrying on with his career independently. He migrated to Spain in 1979 due to the military dictatorship. Once established in Barcelona, he developed sustainable and solar-based architecture projects and designed some furniture pieces.

His work as a cartoonist in graphic media began in 1965 under the famous pen name “Kalondi” —though once in a while he used the pseudonym “Savonarola”—.  Tía Vicenta marked his debut, afterwards, he often collaborated in Primera Plana as a cover page designer. From his Spain base, he published illustrations in several magazines printed in countries like Spain, Italy, France, USA, Colombia, and England. He also produced erotic and pornographic images for Playboy and Penthouse. Besides this, he invented many witty games which appeared in the pages of Ediciones de Mente, la Revista del Snark and El Acertijo.

He illustrated the books Manual del Gorila by Carlos del Peral (Jorge Alvarez Editor, 1964), Todo empezó con palos y piedras by Richard Armour (Ed. La Isla, 1974), Acertijos Derviches by Jaime Poniachik (Equipo Editor, 1974), and De gente adulta (Ed. La Flor, 1974) written by his partner, Argentine author and journalist, Lilian Goligorsky. 

As an author, some of his more recognized publications are: Aún no he muerto (Ed. La Flor, 1975), Las aventuras del Coronel Mc Mister (Editorial Ariel, 1986), Manual del Pobre (Publicaciones Aperiódicas, 1996), Manual del fracaso (co-editado por Juegos y Co. y Cabaret Zabala, 1994) , and Gran diccionario de Advertising y Marketing (c. 1995), co-authored with Eugenio Javier Arizmendi and Goligorsky. The latter was an original text that acutely dissected corporate jargon used in the world of advertisement. 

He moved in the 1990's to Uruguay in the company of his partner Lilian. There, he continued working in the field of graphic production until his death. 
His son Juan Pablo, brought up in a creative environment, is a composer, publicist, and illustrator.

#Epica #ExpertOpinion | Amengual + Corpacci
Lorenzo “Lolo” Amengual (Cordoba, 1939) is an architect, draughtsman, and engraver. He worked as a graphic designer in several publishing houses, advertising agencies, and at IKA, where he designed cover pages for many issues of the magazine Gacetika, all of them widely acknowledged for their high artistic and graphic quality. He is the editor of Alejandro Sirio. The Forgotten Illustrator (2007), a compilation of the artist's production and the written complement of the exhibition The arts of Alejandro Sirio, showcased at the National Museum of Fine Arts. In 2012, he received the Konex Merit Diploma in the Engraving category. In our conversation with “Lolo” Amengual we will examine the connections between graphic and industrial design and metal mechanic companies established in Cordoba. He will also share his perception of design production during the 1960's.

Armando Corpacci (Cordoba, 1979) is a High Level Technician in Tourism and Public Cultural Manager. Since 2019 he has performed as Provincial Director of Handcrafts and Carpet Factory of the Catamarca Culture and Tourism Ministry. Our conversation with Corpacci will focus on the history of the Carpet Factory, the origins of the National Poncho Fair, and the development of cotton and llama wool industry in the NOA region. These topics will help us analyze sets of ideas and symbols captured in fabrics and the influence of industrialization in handicraft production. 

#IDAShop Virtual library
We are set to launch a virtual library of Argentine design pieces modeled in 3D for decorators, architects, and other experts that equip projects digitally. During 3 months, the database will be available for free download as a way to collaborate with the collective creation of visual imagination of Argentine interior design.
In the first stage of the project, the catalogue will include a set of modern furniture created by César Jannello. These pieces were produced during the 1940's and 50's and have been recently reissued by the company Jannello Editora. Some of the artwork featured in the collection are the "new W" chair; the dismountable "K" system, which includes a chair, a table, a baby seat, and a couch; and the "Piola" line, composed of a chair and a sofa with armrests. Click to download the library. This initiative is sponsored by DArA with the aim of promoting and supporting local design. #IDAShop is a new project developed by IDA and directed by Ana Waserman. Gonzalo Kaiser accomplished the 3D modeling and rendering work.

#IDAShop Colbo, unforgettable patterns
The first limited series of silk-screened plates in white and gray is now available, that revisit Colette Boccara's artistic side and was handcrafted by ceramist Matías Jannello.
The objects available in #IDAShop are developed based on research and collections kept at the foundation. To buy the pieces, please contact tienda@fundacionida.org

EXTENSION San Juan research
To complement the program “EPIC: Feats of Argentine Design”, we interviewed Leonor Rigau in her home-workshop at San Juan. Together with his partner José Carrieri, both work as professors in the Department of Architecture and Urbanism of the Faculty of Engineering, Exact and Natural Sciences (UNCuyo). Carrieri is responsible for the Plastic Workshop I and II (1956 - 1971) and Rigau for the course of Color (1959 - 1965). The audiovisual testimony examines the evolution of academic and pedagogical curricula about shapes and their understanding, specifically: bidimensional compositions, systematic application of textures and color, and the creation of material and virtual three dimensional spaces. 

Such advanced programs were linked to the introduction of modern architecture in the city of San Juan during the rebuilding process that ensued after the 1944 earthquake. Embedded in local ADN, the landscape of geo shapes displayed at the provincial Ischigualasto park show a rigorous mathematical organization and reveal a deep understanding of how light works that derive in the materialization of one of the most outstanding experimental morphology collections in Latin America. 

Daniela Quattropani (art direction), Carmen Ponce and Carolina Costa (camera and sound), and Lucas Carrieri and Peki Torres (associate producers) were some of the collaborators that worked in this audiovisual production.  

BIBLIOGRAPHY
-Anónimo (1966), "Comunicación masiva al más alto nivel: la tercera Bienal Americana de Arte", Análisis, vol. 6, nº 292, 42–45.
-Anónimo (1964), "La Bienal de Córdoba: movimiento para el diálogo americano." Gacetika, vol. 7, nº 71, 3-4, 6.
-Firszt, N. D. (1961), “Una visita a la exposición del sesquicentenario”, Nuestra Arquitectura, n° 378, mayo 1961, Buenos Aires: Editorial Contemporánea.
-Saulquin, S. (2019), “Aceleración y nuevas formas de vida en los 60” en Ideas Materiales. Ideas materiales: arte y diseño argentino en la década del 60. Buenos Aires: Malba e IDA.
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IMAGE CREDITS 
Fundación IDA, Fondos Patrimoniales: 1-3. Feria del Sesquicentenario | 4. CAyC | 7. Agens | 8-9. IKA | 10-11. Buró | 12. Colección | 13. Gonzalez Ruiz, Guillermo / Interieur Forma  | 14. Editorial Jorge Alvarez | 15. Editorial La Flor | 16. Centro Editor de América Latina | 18. Editorial Summa | 20-25. CIDI | 26-27. Editorial Summa | 28-30. Compaired, Héctor | 31-32. Opinión Experta | 33. Fundación IDA Jannello Editora | 34-35. Fundación IDA | Archivos invitados: 5-6. Museo de Arte Moderno de Nueva York 17. Archivo General de la Nación 19. Gustavo Ferrari.