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Issued in connection with an exhibition held May 18, 2011-July 31, 2011, Bard Graduate Center, New York.
Florence Knoll (1917–2019) was a leading force of modern design. She worked from 1945 to 1965 at Knoll Associates, first as business partner with her husband Hans Knoll, later as president after his death, and, finally, as design director. Her commissions became hallmarks of the modern era, including the Barcelona Chair by Mies van der Rohe, the Diamond Chair by Harry Bertoia, and the Platner Collection by Warren Platner. She created classics like the Parallel Bar Collection, still in production today. Knoll invented the visual language of the modern office through her groundbreaking interiors and the creation of the acclaimed "Knoll look," which remains a standard for interior design today. She reinvigorated the International Style through humanizing textiles, lighting, and accessories. Although Knoll's motto was "no compromise, ever," as a woman in a white, upper-middle-class, male-dominated environment, she often had to make accommodations to gain respect from her colleagues, clients, and collaborators. No Compromise looks at Knoll's extraordinary career in close-up, from her student days to her professional accomplishments.
"Twentieth-Century Pattern Design combines photographs - including many newly published images - with soundly researched text, creating an essential resource for enthusiasts and historians of modern design. The book also serves as a creative sourcebook for students and designers, inspiring new flights of fancy in pattern design."--Jacket.
When the Thomas Mann House in Los Angeles was recently bought by the Federal Republic of Germany and transformed into a representative 'transatlantic meeting place', it was Walter Knoll furnishings that defined its interior design and showcased German creativity and economic-cultural performance. Based in Herrenberg, near Stuttgart, the more than 150-year-old business is one of the most successful furniture companies of the modern era and a global leader in the high end furnishings segment. Walter Knoll's impressively long history dates back to Wilhelm Knoll, the founding father of the Knoll dynasty, who first set up a leather shop in Stuttgart in 1865. Knoll rose from being a cobbler to the court purveyor to the House of Württemberg. When his sons, Willy and Walter, took over the company in 1907, they began producing seating - introducing the first club armchair to Germany and becoming the industry's first exporter. Their advances marked a revolution in upholstered furniture. After founding his own company in the 1920s, Walter Knoll was a breakout sensation in the avant-garde interior design world with a landmark exhibition at the Weissenhof Estate in Stuttgart, under the direction of Mies van der Rohe, in 1927. His son Hans Knoll went to the U.S. in the 1930s and founded his own company, Knoll Inc., which re-wrote design history. In 1993, Markus Benz, the son of Rolf Benz, joined the Knoll ranks, continuing the successful cooperation with internationally-renowned architects and designers.
The colour diagrams is this book are derived from images from 80 UNESCO nature sites in every continent. The spot colours are based on specific parts of the diagrams
An astonishing survey of the use of fashion and textiles as powerful propaganda tools in the Second World War era
This stunning volumes presents a complete visual history of furniture design since 1945, with 144 spectacular color photographs (and another 203 in bandw), all accompanied by detailed descriptions. A comprehensive reference section provides designer biographies, a bibliography, a lists of retail outlets and museums, and advice on collecting. Annotation copyrighted by Book News, Inc., Portland, OR
A long-overdue reassessment of one of the most important and influential woman artists working at midcentury Anni Albers (1899–1994) was a German textile designer, weaver, and printmaker, and among the leading pioneers of 20th-century modernism. Although she has heavily influenced generations of artists and designers, her contribution to modernist art history has been comparatively overlooked, especially in relation to that of her husband, Josef. In this groundbreaking and beautifully illustrated volume, Albers’s most important works are examined to fully explore and redefine her contribution to 20th-century art and design and highlight her significance as an artist in her own right. Featured works—from her early activity at the Bauhaus as well as from her time at Black Mountain College, and spanning her entire fruitful career—include wall hangings, designs for commercial use, drawings and studies, jewelry, and prints. Essays by international experts focus on key works and themes, relate aspects of Albers’s practice to her seminal texts On Designing and On Weaving, and identify broader contextual material, including examples of the Andean textiles that Albers collected and in which she found inspiration for her understanding of woven thread as a form of language. Illuminating Albers’s skill as a weaver, her material awareness, and her deep understanding of art and design, this publication celebrates an artist of enormous importance and showcases the timeless nature of her creativity.