Starting with the motto “Diseñar para la humanidad,” the Escuela de Diseño de la Universidad Anáhuac has offered a program of activities since 2004 whose goal is to connect academic life with the various expressions of Mexican culture and international trends in art and design.

With the same title, for 12 years the school has organized an international congress that has been decisive to establish productive ties with personalities and institutions around the world. The choice of the Museo Nacional de Antropología of Mexico City as the site of the congress is no coincidence: it underlines the historical and cultural perspective with which the institute intends to consider contemporary design, as illustrated by the contributions of personalities like Kenji Ekuan, Peter Schneider, Alex Jordan, Germán Montalvo, Giuseppe Zecca, Kozo Sato, Peter Olpe, Masao Kuchi, Felipe Leal, Ulrike Brandi, Alejandro Magallanes, Daniel Schwabel, Jan Middendorp, Andrew Brown, Fabio Hagg, David Berlow, Annie Optis, Héctor Esrawe and Ezequiel Farca.

Outstanding events have been held for the various editions of the congress, like Typ09, the conference of the Association Typographique Internationale (ATypI)in 2009, and Mexico Design Net organized in 2011 in collaboration with the European Design Institute of Madrid.

In the context of the congress, a prize has also been organized, the Medalla Diseñar para la Humanidad, to honor the career of great designers, including Kenji Ekuan, Masao Kuchi, Kozo Sato, Félix Beltrán, Gabriel Martínez Meave, Giancarlo Iliprandi, Eduardo Terrazas, Carlos Hinrichsen, Luis Almeida, Giuseppe Zecca and Riccardo Marzullo. The list of winners also includes the philosopher Francisco Jarauta.

Another important activity included in the parallel program has to do with the organization of international biennial workshops that take place inside a transverse structure, conceived as an open space with the participation of the students of the various semesters, and all the courses of study of the Escuela, as well as graduates and faculty. The focal point of these encounters is the involvement of designers and professionals who stand out in different fields of design.

Among the many participants in the program, we can mention the Icelandic designer Sigga Heimis, who worked with artisans from Tlayacapan (Morelos, Mexico), the Spanish Gala Fernández in collaboration with the crafts company Uriarte Talavera (Puebla, Mexico), the American John Downer, the Mexicans Germán Montalvo, Selva Hernández, Quique Ollervides, Gabriel Martínez Meave, the multimedia artist Raymundo Sesma in collaboration with the Tecali Casa de Piedra workshop (Puebla, Mexico), and Michael Kramer of Nouvel, a company specializing in the working of glass.

Works made during the workshops have been shown in important national and international contexts and events: Museo Franz Mayer (Mexico City), Zona MACO (Mexico City), Design Week México (Mexico City), Abierto Mexicano de Diseño (Mexico City), Salone Internazionale del Mobile (Milan), Ventura Lambrate (Milan), and WantedDesign (New York).

Text by Martha Tappan Velázquez

 

Visual metaphors the graphic design of  Ricardo Salas Moreno
Trained in Milan at the Scuola Politecnica di Design directed by Nino Di Salvatore, and later in Switzerland at the Kunstgewerbeschule in Basel, Ricardo Salas Moreno should be given credit for having brought the cultural lesson of the great masters of the graphic arts to Mexico, including that of Attilio Marcolli, Narciso Silvestrini, Pino Tovaglia, Bruno Munari, Achille Castiglioni, Armin Hofmann and Wolfgang Weingart.

His background, based on the educational model of the Bauhaus and its principles of perception and configuration of the psychology of the Gestalt, allowed him to introduce a different perspective on graphic design in the Mexican professional circles of the early 1980s, dominated by US ad agencies and marketing firms, and by the ‘school’ of the artist Vicente Rojo in the workshops of Imprenta Madero.

Very tied to his roots, Salas collects objects he defines as “inspirational”: metates (old stone grinding mills), mill wheels, scissors and silver utensils, whose aesthetic essence is translated into graphic projects that become true visual metaphors. All his work is marked by this criterion, as the writer Alberto Ruy Sánchez clarifies: “Through the will of style, a work ethic is transformed into a particular passion for one’s job. Technical expertise can be an art, and in fact that art itself of organization is one of his passions.”

Constant research and perseverance in the study of publishing design have brought him many national and international prizes and honors, assigned as a tribute to a production of over 600 publications, including books, art and corporate catalogues, coordinate images, magazines and more, making him one of the most outstanding figures of Hispano-American culture.

Recently the Museo de la Cancillería of Mexico City organized a retrospective of his publishing work from 1983 to the present, entitled Como un libro abierto. The show will be seen in October in Madrid, then in Milan in January 2017, with the support of the Secretaría de Relaciones Exteriores de México (SRE) and the European Design Institute (IED).

Since the start of his teaching career, Salas has offered his students a concrete approach, as in a professional studio, where they create real projects based on analysis of the needs of the client and the end user, applying discussion and scouting to reach a final proposal with an impeccable presentation.

Appointed director of the Escuela de Diseño de la Universidad Anáhuac in 2004, Ricardo Salas has expanded the horizons of the institute towards the international field. His efforts focus on the creation of crossover workshops that build a bridge between academia, famous Mexican companies and professionals, giving rise to the brand Diseño Anáhuac.

Text by Tullia Bassani Antivari

gallery gallery
Metal magazine rack by José Luis Contreras: the abstract language of form combined with experimentation with materials, tools, techniques and processes.
gallery gallery
Jaula, in blown glass, designed by Mónica Paniagua
gallery gallery
View of the Escuela de Diseño de la Universidad Anáhuac.
gallery gallery
Another view of the school
gallery gallery
Axioma, cement and wood, designed by Irving Geminiano and Beatriz Ortíz
gallery gallery
Yo-yo, blown glass, design Silvino López Tovar
gallery gallery
Trompos, blown glass, design Daniel Mier.
gallery gallery
Aguacate, blown glass, design Mariana Sentíes
gallery gallery
Ceramics by Fernanda Tapia
gallery gallery
Ceramics by Gracia Zanuttini.
gallery gallery
The academic program calls for the presentation of the work of important designers like Pirwi/Alejandro Castro.
gallery gallery
A bookcase by Raúl López de la Cerda.
gallery gallery
Ricardo Salas Moreno: identity project for Galería Mexicana de Diseño, 1990
gallery gallery
Ricardo Salas Moreno
gallery gallery
Ricardo Salas Moreno: graphic design for the book La visión de un anticuario, Rodrigo Rivero Lake, Conaculta, 1997.
gallery gallery
Ricardo Salas Moreno: identity project for MIDE, Museo Interactivo de Economía, 2006.
gallery gallery
Starting with the motto “Diseñar para la humanidad,” the Escuela de Diseño de la Universidad Anáhuac has offered a program of activities since 2004 whose goal is to connect academic life with the various expressions of Mexican culture and international trends in art and design. With the same title, for 12 years the school has organized an international congress that has been decisive to establish productive ties with personalities and institutions around the world. The choice of the Museo Nacional de Antropología of Mexico City as the site of the congress is no coincidence: it underlines the historical and cultural perspective with which the institute intends to consider contemporary design, as illustrated by the contributions of personalities like Kenji Ekuan, Peter Schneider, Alex Jordan, Germán Montalvo, Giuseppe Zecca, Kozo Sato, Peter Olpe, Masao Kuchi, Felipe Leal, Ulrike Brandi, Alejandro Magallanes, Daniel Schwabel, Jan Middendorp, Andrew Brown, Fabio Hagg, David Berlow, Annie Optis, Héctor Esrawe and Ezequiel Farca. Outstanding events have been held for the various editions of the congress, like Typ09, the conference of the Association Typographique Internationale (ATypI)in 2009, and Mexico Design Net organized in 2011 in collaboration with the European Design Institute of Madrid. In the context of the congress, a prize has also been organized, the Medalla Diseñar para la Humanidad, to honor the career of great designers, including Kenji Ekuan, Masao Kuchi, Kozo Sato, Félix Beltrán, Gabriel Martínez Meave, Giancarlo Iliprandi, Eduardo Terrazas, Carlos Hinrichsen, Luis Almeida, Giuseppe Zecca and Riccardo Marzullo. The list of winners also includes the philosopher Francisco Jarauta. Another important activity included in the parallel program has to do with the organization of international biennial workshops that take place inside a transverse structure, conceived as an open space with the participation of the students of the various semesters, and all the courses of study of the Escuela, as well as graduates and faculty. The focal point of these encounters is the involvement of designers and professionals who stand out in different fields of design. Among the many participants in the program, we can mention the Icelandic designer Sigga Heimis, who worked with artisans from Tlayacapan (Morelos, Mexico), the Spanish Gala Fernández in collaboration with the crafts company Uriarte Talavera (Puebla, Mexico), the American John Downer, the Mexicans Germán Montalvo, Selva Hernández, Quique Ollervides, Gabriel Martínez Meave, the multimedia artist Raymundo Sesma in collaboration with the Tecali Casa de Piedra workshop (Puebla, Mexico), and Michael Kramer of Nouvel, a company specializing in the working of glass. Works made during the workshops have been shown in important national and international contexts and events: Museo Franz Mayer (Mexico City), Zona MACO (Mexico City), Design Week México (Mexico City), Abierto Mexicano de Diseño (Mexico City), Salone Internazionale del Mobile (Milan), Ventura Lambrate (Milan), and WantedDesign (New York). Text by Martha Tappan Velázquez   Visual metaphors the graphic design of  Ricardo Salas Moreno Trained in Milan at the Scuola Politecnica di Design directed by Nino Di Salvatore, and later in Switzerland at the Kunstgewerbeschule in Basel, Ricardo Salas Moreno should be given credit for having brought the cultural lesson of the great masters of the graphic arts to Mexico, including that of Attilio Marcolli, Narciso Silvestrini, Pino Tovaglia, Bruno Munari, Achille Castiglioni, Armin Hofmann and Wolfgang Weingart. His background, based on the educational model of the Bauhaus and its principles of perception and configuration of the psychology of the Gestalt, allowed him to introduce a different perspective on graphic design in the Mexican professional circles of the early 1980s, dominated by US ad agencies and marketing firms, and by the ‘school’ of the artist Vicente Rojo in the workshops of Imprenta Madero. Very tied to his roots, Salas collects objects he defines as “inspirational”: metates (old stone grinding mills), mill wheels, scissors and silver utensils, whose aesthetic essence is translated into graphic projects that become true visual metaphors. All his work is marked by this criterion, as the writer Alberto Ruy Sánchez clarifies: “Through the will of style, a work ethic is transformed into a particular passion for one’s job. Technical expertise can be an art, and in fact that art itself of organization is one of his passions.” Constant research and perseverance in the study of publishing design have brought him many national and international prizes and honors, assigned as a tribute to a production of over 600 publications, including books, art and corporate catalogues, coordinate images, magazines and more, making him one of the most outstanding figures of Hispano-American culture. Recently the Museo de la Cancillería of Mexico City organized a retrospective of his publishing work from 1983 to the present, entitled Como un libro abierto. The show will be seen in October in Madrid, then in Milan in January 2017, with the support of the Secretaría de Relaciones Exteriores de México (SRE) and the European Design Institute (IED). Since the start of his teaching career, Salas has offered his students a concrete approach, as in a professional studio, where they create real projects based on analysis of the needs of the client and the end user, applying discussion and scouting to reach a final proposal with an impeccable presentation. Appointed director of the Escuela de Diseño de la Universidad Anáhuac in 2004, Ricardo Salas has expanded the horizons of the institute towards the international field. His efforts focus on the creation of crossover workshops that build a bridge between academia, famous Mexican companies and professionals, giving rise to the brand Diseño Anáhuac. Text by Tullia Bassani Antivari
gallery gallery
Metal magazine rack by José Luis Contreras: the abstract language of form combined with experimentation with materials, tools, techniques and processes.
gallery gallery
Jaula, in blown glass, designed by Mónica Paniagua
gallery gallery
View of the Escuela de Diseño de la Universidad Anáhuac.
gallery gallery
Another view of the school
gallery gallery
Axioma, cement and wood, designed by Irving Geminiano and Beatriz Ortíz
gallery gallery
Yo-yo, blown glass, design Silvino López Tovar
gallery gallery
Trompos, blown glass, design Daniel Mier.
gallery gallery
Aguacate, blown glass, design Mariana Sentíes
gallery gallery
Ceramics by Fernanda Tapia
gallery gallery
Ceramics by Gracia Zanuttini.
gallery gallery
The academic program calls for the presentation of the work of important designers like Pirwi/Alejandro Castro.
gallery gallery
A bookcase by Raúl López de la Cerda.
gallery gallery
Ricardo Salas Moreno: identity project for Galería Mexicana de Diseño, 1990
gallery gallery
Ricardo Salas Moreno
gallery gallery
Ricardo Salas Moreno: graphic design for the book La visión de un anticuario, Rodrigo Rivero Lake, Conaculta, 1997.
gallery gallery
Ricardo Salas Moreno: identity project for MIDE, Museo Interactivo de Economía, 2006.
gallery gallery
Starting with the motto “Diseñar para la humanidad,” the Escuela de Diseño de la Universidad Anáhuac has offered a program of activities since 2004 whose goal is to connect academic life with the various expressions of Mexican culture and international trends in art and design. With the same title, for 12 years the school has organized an international congress that has been decisive to establish productive ties with personalities and institutions around the world. The choice of the Museo Nacional de Antropología of Mexico City as the site of the congress is no coincidence: it underlines the historical and cultural perspective with which the institute intends to consider contemporary design, as illustrated by the contributions of personalities like Kenji Ekuan, Peter Schneider, Alex Jordan, Germán Montalvo, Giuseppe Zecca, Kozo Sato, Peter Olpe, Masao Kuchi, Felipe Leal, Ulrike Brandi, Alejandro Magallanes, Daniel Schwabel, Jan Middendorp, Andrew Brown, Fabio Hagg, David Berlow, Annie Optis, Héctor Esrawe and Ezequiel Farca. Outstanding events have been held for the various editions of the congress, like Typ09, the conference of the Association Typographique Internationale (ATypI)in 2009, and Mexico Design Net organized in 2011 in collaboration with the European Design Institute of Madrid. In the context of the congress, a prize has also been organized, the Medalla Diseñar para la Humanidad, to honor the career of great designers, including Kenji Ekuan, Masao Kuchi, Kozo Sato, Félix Beltrán, Gabriel Martínez Meave, Giancarlo Iliprandi, Eduardo Terrazas, Carlos Hinrichsen, Luis Almeida, Giuseppe Zecca and Riccardo Marzullo. The list of winners also includes the philosopher Francisco Jarauta. Another important activity included in the parallel program has to do with the organization of international biennial workshops that take place inside a transverse structure, conceived as an open space with the participation of the students of the various semesters, and all the courses of study of the Escuela, as well as graduates and faculty. The focal point of these encounters is the involvement of designers and professionals who stand out in different fields of design. Among the many participants in the program, we can mention the Icelandic designer Sigga Heimis, who worked with artisans from Tlayacapan (Morelos, Mexico), the Spanish Gala Fernández in collaboration with the crafts company Uriarte Talavera (Puebla, Mexico), the American John Downer, the Mexicans Germán Montalvo, Selva Hernández, Quique Ollervides, Gabriel Martínez Meave, the multimedia artist Raymundo Sesma in collaboration with the Tecali Casa de Piedra workshop (Puebla, Mexico), and Michael Kramer of Nouvel, a company specializing in the working of glass. Works made during the workshops have been shown in important national and international contexts and events: Museo Franz Mayer (Mexico City), Zona MACO (Mexico City), Design Week México (Mexico City), Abierto Mexicano de Diseño (Mexico City), Salone Internazionale del Mobile (Milan), Ventura Lambrate (Milan), and WantedDesign (New York). Text by Martha Tappan Velázquez   Visual metaphors the graphic design of  Ricardo Salas Moreno Trained in Milan at the Scuola Politecnica di Design directed by Nino Di Salvatore, and later in Switzerland at the Kunstgewerbeschule in Basel, Ricardo Salas Moreno should be given credit for having brought the cultural lesson of the great masters of the graphic arts to Mexico, including that of Attilio Marcolli, Narciso Silvestrini, Pino Tovaglia, Bruno Munari, Achille Castiglioni, Armin Hofmann and Wolfgang Weingart. His background, based on the educational model of the Bauhaus and its principles of perception and configuration of the psychology of the Gestalt, allowed him to introduce a different perspective on graphic design in the Mexican professional circles of the early 1980s, dominated by US ad agencies and marketing firms, and by the ‘school’ of the artist Vicente Rojo in the workshops of Imprenta Madero. Very tied to his roots, Salas collects objects he defines as “inspirational”: metates (old stone grinding mills), mill wheels, scissors and silver utensils, whose aesthetic essence is translated into graphic projects that become true visual metaphors. All his work is marked by this criterion, as the writer Alberto Ruy Sánchez clarifies: “Through the will of style, a work ethic is transformed into a particular passion for one’s job. Technical expertise can be an art, and in fact that art itself of organization is one of his passions.” Constant research and perseverance in the study of publishing design have brought him many national and international prizes and honors, assigned as a tribute to a production of over 600 publications, including books, art and corporate catalogues, coordinate images, magazines and more, making him one of the most outstanding figures of Hispano-American culture. Recently the Museo de la Cancillería of Mexico City organized a retrospective of his publishing work from 1983 to the present, entitled Como un libro abierto. The show will be seen in October in Madrid, then in Milan in January 2017, with the support of the Secretaría de Relaciones Exteriores de México (SRE) and the European Design Institute (IED). Since the start of his teaching career, Salas has offered his students a concrete approach, as in a professional studio, where they create real projects based on analysis of the needs of the client and the end user, applying discussion and scouting to reach a final proposal with an impeccable presentation. Appointed director of the Escuela de Diseño de la Universidad Anáhuac in 2004, Ricardo Salas has expanded the horizons of the institute towards the international field. His efforts focus on the creation of crossover workshops that build a bridge between academia, famous Mexican companies and professionals, giving rise to the brand Diseño Anáhuac. Text by Tullia Bassani Antivari [gallery ids="113484,113486,113488,113490,113492,113494,113496,113498,113500,113502,113504,113506,113508,113522,113510,113512,1135114,113516,113518,113520"]
gallery gallery
Graphic design for the book Rufino Tamayo, Smurfit Kappa, 2011.
gallery gallery
Ricardo Salas Moreno: identity project for Museo del Palacio de Bellas Artes, 1998
gallery gallery
Ricardo Salas Moreno: identity project for Galería Mexicana de Diseño, 1990
gallery gallery
Graphic design for the book Rufino Tamayo, Smurfit Kappa, 2011.
gallery gallery
Ricardo Salas Moreno: identity project for Museo del Palacio de Bellas Artes, 1998
gallery gallery
Ricardo Salas Moreno: identity project for Galería Mexicana de Diseño, 1990
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