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During the period before World War I, the German Werkbund tried to forge new theories of architecture and design in the light of the technological and economic developments of modernity. This work explores the ideology and aesthetic positions in the debates among those who comprised the Werkbund.
For years one of Germany's foremost cultural organizations, the Werkbund included in its membership such pioneers of the modern movement as Henry van de Velde, Hermann Muthesius, Walter Gropius, and Mies van der Rohe. Joan Campbell traces its history from its founding in 1907 to 1934, when it was absorbed into the bureaucracy of the National Socialist State. The Werkbund set out to prove that organized effort could revitalize the applied arts and architecture. In addition to acting as an agent of reform, it provided a forum for the debate of such broad concerns as the need to restore joy and dignity to work in modem industry. Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Aiming to place design developments in their broader context, this text describes the history of design from its emergence as a separate discipline around 1750 to the present. Arranged chronologically, and with colour-coded pages for ease of reference, the book includes time-lines and designers' biographies, as well as feature spreads on notable designers and companies. There is also a detailed list of major design museums and collections.
The Fagus Shoe-Last factory in Germany, designed by Walter Gropius in 1911, was the first large structure to use a steel frame and a facade almost entirely of glass. This revolutionary technique was a seminal point in modern architecture.
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Jugendstil, that is Germany's distinct engagement with the international Art Nouveau movement, is now firmly engrained in histories of modern art, architecture and design. Recent exhibitions and publications across the world explored Jugendstil's key protagonists and artistic centres to firmly anchor their activities within the trajectories of German modernism. Women, however, continue to be largely absent from these revisionist accounts. Jugendstil Women and the Making of Modern Design argues that women in fact actively participated in the cultural and socio-economic exchanges that generated German design responses to European modernity. By drawing on previously unpublished archival material and a series of original case studies including Elsa Bruckmann's Munich salon, the Photo Studio Elvira and the Debschitz School, the book explores women's important contributions to modern German culture as collectors, consumers, critics, designers, educators, and patrons. This book offers a new interpretation of this vibrant period by considering diverse manifestations of historical female agency that pushed against historically entrenched conventions and gender roles. The book's rigorous approach reshapes Jugendstil historiography by positing women's lived experiences against dominant ideologies that emerged at this precise moment. In short, the book advocates women as an integral part of the emergence, dissemination and reception of Jugendstil and questions the deeply gendered histories of this key period in modern art, architecture and design.
This book gathers together a number of leading design historians whose research points the way forward, aiming to address and promote changes to design history.
Translation of award-winning study of the development of German nationalism in a global context.