Historia del diseño
Renato De Fusco
Renato De Fusco (Naples, 1929), professor of History of Architecture at the University of Naples, is a recognized historian and essayist on architecture and design and has written numerous books, which have become essential reading for architects, designers and students. He has also been devoted to reviewing contemporary art, architecture and design from the pages of the magazine "Op.cit." which he has edited since 1964, and which is considered to be one of the highest Italian cultural expressions of the sector. In 1967, the Italian National Institute of Architecture awarded him the In/arch prize for the magazine and in 2001 for his whole career.
The numerous books published include "La Idea de Arquitectura" (1964, "Spanish trans." 1976), "Architettura come Mass Medium" (1967), "Storia e Struttura" (1970), "Historia de la Arquitectura Contemporánea" (1974, "Spanish trans." 1976), "L'Architettura dell Ottocento" (1980), "L'Architettura del Cinquecento" (1981), "Storia dell Arte Contemporanea" (1983), "L'Architettura del Quattrocento" (1984) "Storia dell Arredamento" (1985), "Le Nuove Idee di Architettura" (1991), "Mille Anni di Architettura in Europa" (1993), "Storia dell Idea di Storia" (1998), "Trattato di Architettura" (2001) and "Teorica di Arredamento e Design" (2002).
The history of design was generally regarded as a subsidiary of the history of architecture, before Renato de Fusco’s contribution. In order to rectify this theoretical vacuum and to analyze design assuming its specificity and autonomy, De Fusco proposes in this work an “historiographic artifice,” according to which he establishes four related moments or elements that represent a structure that is invariably present whenever real design shows: the project, production, retail, and consumption; that is, his renowned “quadrifoglio” or his four leaf clover, widely adopted afterwards by many authors. Once he has settled the structural parameters of the “quadrifoglio,” De Fusco follows a route that goes from the printing press to our days, not aiming to define what design may be, but to describe how design shows itself, through a cultured and pleasant discourse that ends up building a concise and unitary conception of design and its implications.
The present edition incorporates the relevant modifications and additions of the 2002 reedition.
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