Книги з історії дизайну

New materials for new shapes

Textiles explores the cultural meaning and exquisite workmanship found in the Museum of International Folk Art’s vast collection that spans centuries and includes pieces from seventy countries around the world. Handcrafted work in beautiful, vivid colors typifies the clothing, hats, robes, bedding, and shoes that represent the lives and passions of the people who created and used them.

Bobbie Sumberg is curator of Textiles and Costume at the Museum of International Folk Art in Santa Fe, New Mexico. She is the coauthor of Sleeping Around: The Bed from Antiquity to Now. For more than fifty years, the Museum of International Folk Art in Santa Fe, New Mexico, has been documenting, collecting, preserving, and interpreting the creative works of traditional artists from cultures throughout the world.

The Ambassador has been described as 'probably the most daring and enterprising trade magazine ever conceived'. With the motto 'Export or Die!', the magazine was renowned for its innovative design and adventurous editorial approach in promoting British manufacturing in the post-war period. This book takes a detailed look at the background and impact of The Ambassador. The magazine was driven by the vision of its founder Hans Juda and his wife, Elsbeth, who was responsible for much of the magazine's striking photography. Focusing on the perceived strengths of British industry, they set up ambitious photo shoots to showcase the latest couture fashions by the likes of Charles Creed and Victor Stiebel. The magazine promoted fine art as an inspiration for design, and commissioned artists such as John Piper and Henry Moore for their covers.

Originally published in France between 1876 and 1888, Auguste Racinet`s Le Costume Historique was the most wide-ranging and intelligent study of clothing ever published. Covering the world history of costume, dress, and style from antiquity through the end of the 19th century, the great work — "consolidated" in 1888 into 6 volumes containing nearly 500 plates — remains, to this day, completely unique in its scope and detail.

Racinet`s organization by culture and subject has been preserved in TASCHEN`s magnificent and complete reprint, as have excerpts from his delightful descriptions and often witty comments. Perusing these beautifully detailed and exquisitely coloured illustrations, you`ll discover everything from the garb of ancient Etruscans to traditional Eskimo attire to 19th-century French women`s couture.

Though Racinet`s study spans the globe from ancient times through his own, his focus is on European clothing from the Middle Ages to the 1880s and this subject is treated with exceeding passion and attention to detail. The Complete Costume History is an absolutely invaluable reference for students, designers, artists, illustrators, and historians; it is also an immensely fascinating and inspirational book for anyone with an interest in clothing and style.

Content:

Part I – The Ancient World (Egypt, Assyria, Israel, Persia and Phrygia, Greece, Etruscan, Greco-Roman, Rome, Barbarian Europe, Celts and Gauls)
Part II – The 19th Century - Beyond the Borders of Europe (Oceania, Africa, Eskimos, North American Indians, Mexican Indians, South American Indians, China, Japan, India, Ceylon, Middle East, Orient, Turkey)
Part III – Europe 400-1800 (Byzantium, France-Byzantine, Poland, Italy, Spain, Germany, France, England, Holland)
Part IV – Traditional Costume Till the Late 19th Century (Scandinavia, Holland, Scotland, England, Germany, Switzerland, Russia, Poland, Hungary, Greece, Italy, Spain, Portugal, France)
Part V - Patterns and Templates

For 40 years, the Cold War dominated the world stage. East and West Germany stood at the frontlines of the global confrontation, symbolized by the infamous Berlin Wall, which separated lovers, friends, families, coworkers, and compatriots.

The Wende Museum in Los Angeles, California, is named after the period of change immediately following the wall's destruction. It was established in 2002 to study the visual and material culture of the former Eastern Bloc, and, with physical and psychic distance, to foster multiple perspectives on this multilayered history that continues to shape our world.

This encyclopedic volume features around 2,000 items from its extraordinary collections. Based on our XL-sized volume, this edition includes a full spectrum of art, archives, and artifacts from socialist East Germany: official symbols and dissident expressions, the spectacular and the routine, the mass-produced and the handmade, the funny and the tragic.

Accompanying these remnants of a now-vanished world are texts from scholars and specialists from across Europe, Canada, and the United States, with themes ranging from the secret police to sexuality, from monuments to mental-mapping. More than 800 pages, featuring around 2,000 objects.A smaller, more accessible version of our XL-sized volume, the most comprehensive overview of GDR visual and material culture to date.Several dozen images of everyday life and public events from the most famous GDR photographers.Special two-language edition featuring texts both in English and German.

From November 18, 2017, visit the Wende Musem at its expanded campus in Culver City’s Armory Building, a site originally created in preparation for World War III but re-designed by Michael Boyd, Christian Kienapfel, and Benedikt Taschen to welcome its 100,000+ collection of artifacts.

Visual Revolutionaries. Design game changers, from the 1960s until today

In this second volume, Jens Müller rounds off the most comprehensive exploration of graphic design to date. With around 3,500 seminal pieces and 78 landmark projects, year-by-year spreads, and profiles of industry leaders, discover how graphic design shaped contemporary society from the 1960s until today, from the hippie movement to new forms of visual language.

Through the turbulent passage of time, graphic design — with its vivid, neat synthesis of image and idea — has distilled the spirit of each age. Surrounding us every minute of every day, from minimalist packaging to colorful adverts, smart environmental graphics to sleek interfaces: graphic design is as much about transmitting information as it is about reflecting society’s cultural aspirations and values.

This second volume rounds off our in-depth exploration of graphic design, spanning from the 1960s until today. About 3,500 seminal designs from across the globe guide us in this visual map through contemporary history, from the establishment of the International Style to the rise of the groundbreaking digital age. Around 80 key pieces go under the microscope in detailed analyses besides 118 biographies of the era’s most important designers, including Massimo Vignelli (New York subway wayfinding system), Otl Aicher (Lufthansa identity), Paula Scher (Citibank brand identity), Neville Brody (The Face magazine), Kashiwa Sato (Uniqlo brand identity), and Stefan Sagmeister (handwriting posters).

With his sweeping knowledge of the field, author Jens Müller curates the standout designs for each year alongside a running sequence of design milestones. Organized chronologically, each decade is prefaced by a succinct overview as well as a stunning visual timeline, offering a vivid display of the variety of graphic production in each decade as well as the global landscape which it at once described and defined.

This collection of important graphic works represents a long-overdue reflection on the development of a creative field constantly changing and challenging itself. These key pieces act as coordinates through contemporary history, helping us trace the sheer influence of graphic design on our daily lives.

Combined with Volume One — which spans from the field’s very beginnings until 1959 — the tomes offer the most comprehensive exploration of graphic design to date.

About the Author:

Jens Müller was born in Koblenz, Germany, in 1982 and studied graphic design. Recipient of numerous national and international design awards, Müller is Creative Director of vista design studio in Düsseldorf, editor of the A5 book series on graphic design history, and author of Logo Modernism. He is a visiting lecturer at the Peter Behrens School of Arts in Düsseldorf and at the design department of the Dortmund University of Applied Sciences and Arts.

The editor:

Julius Wiedemann studied graphic design and marketing and was an art editor for newspapers and design magazines in Tokyo before joining TASCHEN in 2001. His titles include the Illustration Now! and Record Covers series, as well as the infographics collection and books about advertising and visual culture.

After the 1897 Munich Glass Palace exhibition – when Jugendstil was ‘born’ in Germany – the Stuttgart publisher Julius Hoffmann jr. had the brilliant idea of collating the most interesting illustrations from leading international specialist journals (including Art et Décoration, l’Art décoratif moderne, Revue des Arts Décorativs, La Lorraine artiste, Magazine of Art, Art Journal, The Artist, The Studio, The House, De Woning, Tidskrift for Kunstindustri, Magyar Iparmüvészet) and publishing them in a book entitled ‘Der Moderne Stil’. He also included reproductions of objects exhibited at the Paris Salons, by the La Maison Moderne and Art Nouveau Bing galleries and by artists and makers.

The first magazine of ‘Der Moderne Stil’ [the modern style] was published in 1899; it would be followed until 1905 by 84 issues with several thousand illustrations. Thus an invaluable source of material on Jugendstil objects (with the names of their designers and makers), most of them unknown to this day, was created. We have put all issues into a single book, divided into sections on metal, ceramics, glass, furniture and jewellery.

With approx. 2.000 objects reproduced, this reprint contains a wealth of source material. Authentic, for the most part unknown, illustrations from the heyday of European Jugendstil/Art Nouveau, with all designer and maker names. An indispensable reference work for art historians, dealers, auctioneers and collectors.

Оригінальна емблема NASA є одним із найпотужніших символів у світі. Сміливе, патріотичне червоне шевронне крило, що пронизує синю сферу, що символізує планету з білими зірками та космічний корабель на орбіті. Сьогодні ми знаємо її як «фрикадельку». Однак, з розвитком технологій 1970-х років, цей значок було важко відтворити, надрукувати, і багато людей вважали його складною метафорою в те, що тоді вважалося сучасною аерокосмічною ерою.

Представляємо чистіший, витонченіший дизайн, народжений у рамках Федеральної програми покращення дизайну та офіційно представлений у 1975 році. Він мав простий, червоний унікальний шрифт слова NASA. Світ знав його як «черв'як». Створений фірмою Danne & Blackburn, логотип був відзначений у 1984 році президентом Рейганом за його простий, але інноваційний дизайн. NASA змогла процвітати завдяки численним графічним дизайнам. Було місце як для «фрикадельки», так і для «черв'яка». Однак у 1992 році бренд 1970-х років був залишений поза увагою – за винятком одягу та інших сувенірів – на користь оригінальної графіки кінця 1950-х років.

До сьогодні «черв’як» повернувся якраз вчасно, щоб відзначити повернення пілотованих космічних польотів на американських ракетах з американської землі. Ретро-сучасний дизайн логотипу агентства допоможе передати хвилювання нової, сучасної ери пілотованих космічних польотів на борту ракети-носія Falcon 9, яка доставить астронавтів на Міжнародну космічну станцію в рамках польоту Demo-2, запланованого на травень 2020 року.

The Vienna Workshop and the "total work of art"

Founded in 1903 by Josef Hoffmann, Koloman Moser, and Fritz Waemdorfer, the Wiener Werkstätte ("Vienna Workshop") was a collective of architects and craftsmen which aimed at fusing architecture and interior design into a Gesamtkunstwerk, or total work of art. Experimenting with various materials (gold, precious stones, and papier mâché, for example), the artists of the Wiener Werkstätte created buildings and objects which combined classical elegance with streamlined functionality.

Though the workshop lasted only thirty years, its influence is still strong today.

The Wiener Werkstatte ("Vienna Workshop") bears many hallmarks of a modern creative movement.

Founded in 1903 by Josef Hoffmann, Koloman Moser, and Fritz Waerndorfer, this progressive alliance of artists and designers was particularly interested in challenging industrialised society with individual handcraftsmanship, and in bringing different facets of life into one unified, elegant artwork. The workshop began life in three small rooms but soon expanded to fill a three-storey building with special departments for metalwork, leatherwork, and woodwork, as well as a bookbinder and a paint shop. Artists experimented with various materials such as gold, precious stones, and papier-mache and applied their simple, often geometric, designs across ceramics, textiles, typography, interior design, furniture, and fashion.

In architectural commissions such as the Purkersdorf Sanatorium and the Palais Stoclet in Brussels, the group was able to realize its ideal of the Gesamtkunstwerk ("total artwork"), in which every detail of an environment was designed as an integral part of a coordinated whole.

Though the workshop lasted only 30 years, it enjoyed major commercial success, with outlets in Karlsbad, Marienbad, Zurich, New York, and Berlin. It also garnered designs from many of the leading artists of the epoch, including Gustav Klimt, Oskar Kokoschka, and Egon Schiele. Today, the Vienna Workshop is recognized for its comprehensive approach to artistic practice and its stylistic influence on Art Deco and Bauhaus.

In the history of the decorative arts, there has never been another designer who has achieved such lasting impact. While lamenting the excesses of mass-production, he set up the firm of Morris, Marshall, Faulkner and Company. Soon it was producing a range of goods, from hand-woven tapestries, carpets and printed textiles to stained glass, metalwork and furniture. What the company offered was quite simply a way of life. 

In 'William Morris and the Arts & Crafts Home', Pamela Todd celebrates Morris’s genius for decoration and design and shows how he envisaged and implemented schemes for interiors in his own homes and those of others, passionately believing that beautiful surroundings promoted creativity and happiness. 

To demonstrate how the style can be applied to our living spaces today a series of ‘Case Studies’ explores six contemporary homes – from a modern London townhouse to a traditional Arts and Crafts house in Massachusetts – that have followed and adapted Morris’s guiding principles.

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Посмотреть издание книги William Morris and the Arts & Crafts Home в мягкой обложке.

Другие книги о творческом наследии Уильяма Морриса

Эта книга посвящена дизайну как виду творческой деятельности и тому, что с ним происходило во второй половине ХХ века. В ней рассказывается об основных событиях и этапах развития дизайна, даны творческие портреты наиболее известных лидеров мирового дизайна, а также рассмотрены взаимосвязи дизайна с искусством, научно-техническими открытиями, экономическими тенденциями и дискуссиями о качестве современной жизни.

Содержание

• Предисловие
• Глава 1  От войны к миру
• Выставка «Британия может это делать» · Три знаковых события в проектной культуре Франции · Итальянский дизайн в эпоху раннего неореализма · Германия: переосмысление сути вещей · Американский дизайн 1940-х годов · Советский Союз: идеальные образы и жизненная реальность
• Глава 2  Дизайн в середине ХХ века
• Международные дискуссии о дизайне · Борьба с украшательством, искусство в быт и техническая эстетика · Форма и функция в американских и европейских автомобилях · Итальянский дизайн становится национальным достоянием · Скандинавский дизайн — для себя и для всех
• Глава 3  Ульмская школа
• Ульмская школа как продолжатель идей Баухауза и Вхутемаса · Педагогическая концепция Макса Билла · Макс Бензе и Норберт Винер в Ульмской школе · Томас Мальдонадо · Теория информации Абраама Моля и ее влияние на Ульмскую школу · Финал Ульмской школы
• Глава 4 Стиль жизни в проектных моделях 1960–70-х годов 
• Дитер Рамс: «По возможности, минимум дизайна» · Экспо-дизайн врывается в современную визуальную культуру · «Дизайн для реального мира» Виктора Папанека · Выставка «Италия: новый домашний ландшафт» · Функционализм в 1970-е годы
• Глава 5  Дизайн в эпоху постмодернизма  
• «Форум дизайна» в австрийском Линце · Архитектура и дизайн на 39-й Венецианской биеннале · Уроки «Мемфиса» · Алессандро Мендини сближает искусство и дизайн · Архитектура и средовой дизайн. Стеклянная пирамида Лувра · Между архитектурой и дизайном. Большая арка Дефанс
• Заключение
• Основные события
• Именной указатель

Владимир Аронов, р. 1941
Историк искусства, доктор искусствознания. Автор книг «Эльзевиры» (1975), «Художник и предметное творчество» (1983), «Теоретические концепции зарубежного дизайна» (1992)

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