Károly Simon
Since the nineteenth century, the rapidly developing industrial production and the demands of mass manufacture gave rise to the profession we now refer to as the designer.
Its meaning has by now become more or less clear, although its practitioners operate across a remarkably wide spectrum that encompasses graphic design, packaging, advertising graphics, smaller and larger objects of everyday use, as well as both the macro- and micro-worlds of the built environment.
From the original meaning of line drawing (designo), design has, by the twenty-first century, evolved into a complex term, for instance in the sense defined by Attila Tasnádi in his 2004 monograph on Károly Simon: “What is design in reality then? Philosophy? Craft? Art? Perhaps a scientific or ethical standpoint? Or a synthesis of all these? Design, however − paradoxically − is both less and more than the terms listed… All criteria fall into place, however, if we examine design not by itself but together with its intended target, the consumer.” Tasnádi eventually drew the conclusion that: “The designer is thus the expert who determines the relationship of products to human beings. Consequently, although design is composed of many components, it is first and foremost a social phenomenon.”
In the history of design, there are even more approaches than these. Therefore, on the basis of my experience so far and my professional conviction, in the present caseI rely on the artist’s own formulation, as set out by Károly Simon in the catalogue he himself compiled for his life’s work exhibition held in 2012 at the Iparművészeti Múzeum (Museum of Applied Arts). He organised its essence around a single idea: the work, and what lies behind it. From this alone it becomes clear that Simon regards both the activity and its outcome as art, as an artistic process, since it is a complex intellectual activity concentrating on the objective (the task). From this viewpoint, design belongs to the series of value-generating activities that serve human needs, and is therefore profoundly humane.
Simon himself formulates it as follows: “My design career may be called successful because I managed − not without considerable effort − to make that particular background, the road leading to the birth of the intended work, convincingly clear and evident to those partners who took part in its creation, both at the beginning of our cooperation and during the course of design. It was during the shared work that they became convinced that the technical and formal qualities of the product are inseparable.” In this precise formulation, every word carries special significance.
Károly Simon is an exceptionally logical and thorough individual, who takes seriously the need to survey the task at hand, preparing several variants of the plans without omitting meticulous sketches, adapting with discipline to given constraints, and mustering a solid range of professional arguments along the complex trajectory extending from design to production and even to marketing, in order to persuade the client.
One might say that this is a basic requirement for any designer, yet Simon’s oeuvre stands out from that of his colleagues active in the field, and it is worth drawing attention to this, despite his own admission that he was born under a fortunate star. This may indeed be so, though competence, thoroughness, conscientious preparation and industrious diligence provided far more tangible anchors.
In his choice of career, he moved with certainty towards the field of mechanical engineering, and as an excellent student of a discipline that was then only budding at the Iparművészeti Főiskola (College of Applied Arts), his diploma project was purchased even before he had graduated. This testified to his suitability and talent for his chosen path. From this point on, reliability and integrity were joined by passion and loyalty in all his creations. In his 2012 catalogue − a work that could easily serve as a textbook and is remarkable for its rarity and informativeness − he leads even the lay reader through, with characteristic thoroughness, the months-long design phases underpinning the modern solutions of these twentieth-century mechanical marvels.
At the Elektronikus Mérőkészülékek Gyára (Electronic Measuring Instruments Factory) in Esztergom − later MEDICOR − and at the Ganz Villamossági Művek (Ganz Electric Works), Simon exemplified the possible harmony between creative spirit, persistent and above all unassailable constructional design, and credible manufacturability. In both positions he was eventually entrusted not only with the full design process of given products, but also with the comprehensive visual identity of the factories themselves, including the appearance of exhibition pavilions at international fairs, and he did not disappoint.
Owing to these two foundational tasks, and citing his outstanding achievements during the 1970s−80s, Simon was invited to take part in teaching, moreover at a time when fierce debates raged over the field of applied arts. He became head of the design department and the first appointed university professor of the profession. He always acted in the interest of judicious, forward-looking aims within those social and public frameworks (artistic organisations, artists’ colonies, later the NKA) in which he could offer an appealing vision of the future. He understood service in its broadest sense, sharing his knowledge as author, lecturer and university educator alike. During the past quarter century the possibilities inherent in the international relations of universities expanded − one need only think of ERASMUS and CEEPUS − and through student exchange he was able to share his professional experience selflessly. Alongside his wide-ranging knowledge, his reliable friendship, generosity, understanding and cheerful personality captivated all those who worked with him. He belongs among those designers who are surrounded by the appreciation and respect of their colleagues. In keeping with the humane spirit that characterises his designer’s outlook, he finds any kind of plan or action inconceivable that does not improve the circumstances of human beings or strengthen their system of values in a positive manner.
He was entrusted with a rather singular task when he was appointed Director General of the Iparművészeti Múzeum (Museum of Applied Arts) between 2001 and 2006. He sought to replace the closed, humanities-oriented scholarly approach of museology with the perspective of the innovative artist and constructor, attentive to contemporary needs – an endeavour which, in my view, lacked both the financial and the intellectual conditions necessary for its realisation. Nevertheless, Simon attempted to create more favourable collecting and exhibition opportunities for modern or contemporary applied arts. He also embarked upon the conception of a modernised institutional framework for the museum – whose physical condition had, incidentally, been deteriorating for decades – yet under the circumstances his efforts could hardly unfold.
In 2002, in the report written for the Nemzeti Kulturális Örökség Minisztériuma (Ministry of National Cultural Heritage) – which served as the introduction to the 2003 work plan – he posed the question: “Is it possible to establish a distinguished permanent applied arts exhibition?” He referred to his proposal for the institutional tender: “The reconstruction of the building must be continued so that those historical exhibitions that form part of the museum’s core activity, yet are currently absent, can be realised.” In agreement with the scholarly staff, it was established that the collection of some 170,000 works of art undoubtedly offered the opportunity to create a distinguished permanent exhibition, and that this need was so urgent that it could not await the major reconstruction. The programme, treated as a priority for years – the permanent exhibition of the Museum of Applied Arts – was finally realised in spring 2006, towards the end of Simon’s mandate. The concept was the result of an internal competition. The title of the exhibition was formulated by Simon: Gyűjtők és kincsek (Collectors and Treasures). This exhibition displayed the museum’s finest pieces (which might justly be called treasures), while at the same time honouring the renowned patrons of the collection.
In organising exhibitions, Simon sought to maintain balance between the historical holdings of the Museum of Applied Arts, contemporary survey exhibitions, retrospectives, and annually recurring shows. On average, twenty-five exhibitions could be visited in the museum each year, including those held in its branch institutions. True to his plans, Simon succeeded in realising eight major thematic design exhibitions, as well as fourteen contemporary solo exhibitions.
As early as 2002, Simon pointed out to the NKÖM the necessity of creating the Modern Osztály (Modern Department), which would address the recent past, noting that all curatorial departments supported the proposal. The department began its operation on 1 September 2003. The minister justified the instruction for its dissolution with essentially two words – ‘unfounded, hasty’ – the order setting 1 March 2004 as the deadline for closure. “I am not disheartened,” Simon said at the time, “because I know that this decision was unfounded, for I am certain that the Modern Department cannot be bypassed in the future of the Museum of Applied Arts, for it will not be the past that is decisive, but the joint representation, lessons and guidance of past, present and future.”
The career and fate of the Hungarian designer Károly Simon form part of modern Hungarian industrial history and represent an important contribution to it.
[2012]