Dear Eduardo
This is amazing. Here we have a kind of "theological turn" in design theorizing, much like that occurred in phenomenology (Levinas, Marion)
If we carry on like this we could make history.
This notion of grace is a very interesting one, like a giving, or gift. Something emerges, although we have to cooperate to let it emerge. I used to do sketching (I studied art years ago) and I remember the process as a kind of iterative persistent "readiness", as you sketch the next idea comes along. In a sense like Terry said in a previous post the whole notion of drawing, to draw out, almost. Sketching and drawing. Eventually your style emerges: interesting that one has to find one's style, and not learn it. It's almost as if it appears, after a while. Of course as Simon says, the fact that there are incommensurable options and that one needs to satisfice means that there is room for style. But we can interrogate Simon: something else is needed - something that is further given. Afterall, satisfycing free choices before incommensurable options could well also result in arbitrariness, but that;s not quite style. There is something consistent about style. One's design style is not the same as one's arbitrary planning when satisficing is required (assuming more than 1 solution is available). There is a remainder: something more consistent emerges, is given, is graced. Style - good style - is even aesthetic. Perhaps it's a kind of saturating phenomenon, even signing, pointing to, something sacred as a source of that giving. I'm in danger of reification, but style begs for explanation if it so appears as graced. Perhaps this is too romantic; perhaps it's just some chanced occurance / coincidence of chemicals / recorded memories in the brain that leads to one's peculiar style. But even then, such a latter explanation is a kind of god of the gaps.
J

-----Original Message-----
.AC.UK
Subject: Re: the first Design maxim

Hello Lily, Terry and Jean
I did not mention Vasari but I should. Not only because he theorises disegno after almost one and half century of discussions in Italy on the subject since Ceninno Cennini's Libro del Arte, but also because He introduced a new sort of disegni that he calls scchizzi wich correspond to what English language designate as Sketches. Vasari was certainly one of Wotton's sources since his Vite were published in the 1550's with great success. But I think that the direct influences came from the Venetians Daniele Barbaro (Vitruvius translator) an obviously Andrea Palladio. Federico Zuccari (that visited England and even made a preparatory drawing for a portrait of Elizabeth I) published also a treatise on art in which he teorises about disegno as the sign of God - di (dio, god)) segno (sign) in the humans in the early 1600's.
Vasari and Zuccari are also important because they are linked respectively to the foundation of the Academies of Disegno in Florence and Rome.
As for designare, i found no evidence of the word in the latin version of vitruvius treatise, for instance. Also renaissane authors that write in Latin like Alberti do not use the word. A comon missconception is the one that di segno derives from designare. The prefix di is a neo latin novelty that indicates action as in di pinto or dipingere. So my guess is that di-segno has nothing to do with designare that originated design in the sense of designation.
The confusion of disegno and designare results from the way we pronounce the letters i and e in neolation and english languages which is the same sound. By the way, one of the only examples that the english E is pronounced in portuguese in the same way, is in the name Eduardo. I like very much to hear my name pronounced as A duardo by English speaking friends but the correct pronouciation is Ee duardo.
And finally Jean. Truth stands for the Ethical and Grace for the Aesthetical.
Best,
Eduardo
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National Institute of Education (Singapore) http://www.nie.edu.sg

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