By Bernhard E. Burdek
Der Autor zeigt die Entwicklung des Designs von seinen Anfängen im ausgehenden 19. Jahrhundert über die wichtigsten Bewegungen des 20. Jahrhunderts bis hin zur biologischen Wende, die das 21. Jahrhundert bestimmen wird. Die wichtigsten Grundlagen der Designtheorie und -methodologie werden vorgestellt, besonders auch die kommunikativen Funktionen der Produkte.
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Extra info for Design: History, Theory and Practice of Product Design
37 38 D E S I G N A N D H I S TO RY It should, however, be pointed out that the Bauhaus designs had no influence on the mass culture of the 1930s. Purchasers of Bauhaus products came from intellectual circles, which were open to new design concepts. Nonetheless, looking back from today’s perspective, we can certainly speak of a “Bauhaus style” that was a formative influence in twentieth-century design (Bittner 2003). In fact, our actions did not proceed from art, but rather from things and thus actual- BAUHAUS AND FURNITURE DESIGN ly from people.
Loos failed, however, to recognize that the everyday needs of the population were complex and generally shaped by traditional aesthetic models. Even before the work of the Bauhaus, Ernst Bloch attempted dialectically to at least keep the rigid dictum of ornamentlessness a little open. Loos’s ideas had their first heyday during the Bauhaus period. The design approach and methodology developed there was understood as overcoming styles, although in fact, their strict application gave rise to a new style, which became the symbol of a small intellectual and progressive stratum of the population, who demonstrated it in their houses and apartments through tubular steel furniture and spartan bookcases.
Although a total of oped as scientific chemistry in the age of alchemy. GUI BONSIEPE, 2002 52 D E S I G N A N D H I S TO RY PLYWOOD CHAIR, design: Wilhelm Ritz (1958/59), Wilkhahn STACKABLE ASHTRAYS, design:Walter Zeischegg (1967), Helit TC 100 STACKABLE DISHES, design: Hans Roericht (1958/ 59), Thomas/Rosenthal AUTONOVA FAM, design: Fritz B. Busch, Michael Conrad, Pio Manzù (1965) DENTAL UNIT, design: Peter Beck, Peter Emmer, Dieter Reich (1961/62) ANIMAL BUILDING BLOCKS, design: Hans von Klier (1958) CAROUSEL S SLIDE PROJECTOR, design: Hans Gugelot (1963), Kodak STREETLAMP, design: Peter Hofmeister, Thomas Mentzel, Werner Zemp (1965/66) ELEVATED TRAIN in Hamburg, design: Hans Gugelot, Herbert Lindinger, Helmut Müller-Kühn (1961/62) ULMER STOOLS, design: Max Bill, Hans Gugelot, Paul Hildinger (1954) > THE ULM SCHOOL OF DESIGN 53 54 D E S I G N A N D H I S TO RY 640 students studied there, only 215 left the School with a degree, so it is certainly correct to speak of a “Mayflower effect” (Bürdek 1980).
Design: History, Theory and Practice of Product Design by Bernhard E. Burdek