In a world defined by cosmopolitanism, globalization and aesthetic heterogeneity, the increasing importance of so-called industrial design and its capacity for adaptation through different media and languages cannot be overlooked. However, and unlike what took place at the beginning of the last century, in our times design is not conceived of as the key tool in the reformulation of social and economic structures, based on the utopia or the messianism of the artist, but rather as the common denominator in all human production, and therefore, one of the most powerful vehicles of aesthetic and conceptual expression. Design no longer aspires to change the world, but it informs it, dealing with the comprehension of the multiple particularities of every society, ephemeral and local, interwoven into the global network replete with convergences and divergences.

 

Having overcome the fictitious barrier which distanced it from art—through the illusion of “great art” which survived for centuries in the collective unconscious—industrial design today helps to generate new spaces far from the rhetoric of traditional exhibition sites, and for that reason it constitutes one of the pillars sustaining the formal experimentation of Factoría.