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architectuur --- architecture [discipline] --- Architecture --- anno 1900-1999 --- Architecture and society --- Civilization, Modern --- Domestic space --- History --- Psychological aspects. --- Psychological aspects
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"An innovative new history of how the migration of designers in the 20th century shaped modernist art and architecture"--
Modernism (Aesthetics) --- Architecture, Modern --- Art, Modern --- Expatriate architects. --- Expatriate artists. --- ART / History / Modern (late 19th Century to 1945) --- DESIGN / Reference --- History
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Aesthetics of art --- anno 1900-1999 --- Germany --- Art, German --- Avant-garde (Aesthetics) --- Design --- Art, Modern --- ABR-Stuttgart (Group of artists) --- Bewegung Nurr (Group of artists) --- Blaue Reiter (Group of artists) --- Blaue Vier (Group of artists) --- Die Sieben (Group of artists) --- Ellipse (Group of artists) --- Gruppe Kranich (Group of artists) --- Künstlergruppe Chemnitz --- Neben E1N Ander (Group of artists) --- Pathetiker (Group of artists) --- Aesthetics --- Modernism (Art) --- History --- Bauhaus. --- Staatliches Bauhaus --- Baohaosi --- Bauhaus Dessau
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This beautifully illustrated book provides a new interpretation of modern architecture and design in Germany during the heyday of the Bauhaus and the Werkbund, tracing modernism’s lasting allure to its many manifestations of luxury. Robin Schuldenfrei casts the work of legendary figures such as Peter Behrens, Walter Gropius, and Ludwig Mies van der Rohe in an entirely different light, revealing the complexities and contradictions inherent to modernism’s promotion and consumption. Luxury and Modernism shows how luxury was present in bold, literal forms in modern designs — from lavish materials and costly technologies to deluxe buildings and household objects—and in subtler ways as well, such as social milieus and modes of living. While modernism was publicized as a fusion of technology, new materials, and rational aesthetics to improve the lives of ordinary people, it was often out of reach to the very masses it purportedly served. Schuldenfrei exposes the disconnect between modernism’s utopian discourse and its luxury objects and elite architectural commissions. Despite the movement’s egalitarian rhetoric, many modern designs addressed the desires of the privileged individual. Yet as Schuldenfrei demonstrates, luxury was integral not only to how modern buildings and objects were designed, manufactured, and sold, but has contributed to modernism’s appeal to this day.
Modern movement (Architecture) --- Modernism (Aesthetics) --- Design --- Technology --- Luxury --- 749.037(430) --- 72.037(430) --- Architectuur en design ; Duitsland ; 1ste helft 20ste eeuw --- Modernisme --- Bauhaus --- Deutsche Werkbund --- Mies van der Rohe, Ludwig --- Economics --- Wealth --- Cost and standard of living --- Leisure class --- Applied science --- Arts, Useful --- Science, Applied --- Useful arts --- Science --- Industrial arts --- Material culture --- Aesthetics --- Modernism (Architecture) --- Modernist architecture --- Architecture, Modern --- International style (Architecture) --- History --- Social aspects --- Meubelkunst en design ; 1900 - 1950 ; Duitsland --- Architectuurgeschiedenis ; 1900 - 1950 ; Duitsland --- Art styles --- Architecture --- design [discipline] --- Modern Movement --- aesthetics --- Modernist --- anno 1910-1919 --- anno 1900-1909 --- anno 1920-1929 --- Germany --- Luxury. --- luxury
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In devising a concept for the Abbildungen exhibition, Konstantin Grcic thought back to one of his earliest designs, an additional pedestal for a sculpture by Constantin Brancusi. This became the leitmotif of his staging of twenty-one selected objects. The exhibition is the underpinning for the conception of this publication, which turns its gaze on the media-framing of Grcic's design objects. First researched in early magazines, company prospectuses, flyers and other print media, the selected pieces are presented here as reproductions of reproductions. The publication is accompanied by an in-depth analysis by Robin Schuldenfrei, Professor at the Courtauld Institute of Art in London, who, in presenting Konstantin Grcic's oeuvre to the German-speaking world, examines it from a historical perspective for the first time. Finally, the staged gallery spaces at Kunsthalle Bielefeld are documented in photographs by Wolfgang Gunzel, Offenbach. Exhibition: Kunsthalle Bielefeld, Germany (19.03.-03.07.2016).
kunst --- 745.071 GRCIC --- meubilair --- Grcic Konstantin --- meubelkunst --- interieurvormgeving --- productdesign --- design --- 772.81 --- Grcic, Konstantin --- meubelen --- verlichting --- productdesign, historisch, 1945-, ontwerpers afzonderlijk --- Exhibitions --- Furniture design --- Furniture --- Chairs --- Industrial design --- Design --- Meubles --- Chaises --- Exhibitions. --- Expositions --- Grcic, Konstantin,
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fotografie. --- Bauhaus. --- Moholy, Lucia. --- 20ste eeuw.
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Sculpture --- installations [visual works] --- sculpting --- Kwade, Alicja
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