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Visies op vormgeving. 1944-2000. Deel 2. Het Nederlandse ontwerpen in teksten | Frederike Huygen | 9789076863559

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VISIES OP VORMGEVING. 1944-2000

Deel 2. Het Nederlandse ontwerpen in teksten

Author:Frederike Huygen

Publisher:Architectura & Natura

ISBN: 978-90-7686-355-9

  • Hardcover
  • Dutch
  • 528 Pages
  • Oct 14, 2008

As a follow-up to Visies op Vormgeving I, this publication documents the Dutch design world during the second half of the twentieth century by means of texts such as letters, reports, interviews and articles from magazines, newspapers and books.

Designers are given a voice, as well as critics, people commissioning projects and other involved parties. During the war, designers forged plans for a new culture and for new employer organizations. They subsequently managed to manifest themselves in the business sector and in the printing industry. In the late 1960s, a discussion emerged focusing on consumer society, advertising and the responsibility of the designer.

The built environment and rationalism were also dealt a blow, and major design firms, such as Total Design, and organizations such as Goed Wonen and the Institute for Industrial Design abandoned the course imposed upon them. Designers demanded the right to express themselves as they saw fit. A discussion arose about the relationship between art and design, and emancipating traditional artists so they could work as ‘free designers’.

As a follow-up to Visies op Vormgeving I, this publication documents the Dutch design world during the second half of the twentieth century by means of texts such as letters, reports, interviews and articles from magazines, newspapers and books.

Designers are given a voice, as well as critics, people commissioning projects and other involved parties. During the war, designers forged plans for a new culture and for new employer organizations. They subsequently managed to manifest themselves in the business sector and in the printing industry. In the late 1960s, a discussion emerged focusing on consumer society, advertising and the responsibility of the designer.

The built environment and rationalism were also dealt a blow, and major design firms, such as Total Design, and organizations such as Goed Wonen and the Institute for Industrial Design abandoned the course imposed upon them. Designers demanded the right to express themselves as they saw fit. A discussion arose about the relationship between art and design, and emancipating traditional artists so they could work as ‘free designers’.

Droog Design attracted a great deal of attention abroad, and Dutch Design gradually became a phenomenon. Vormgeving II offers insights into all of these developments in a series of thematically grouped texts. It provides biographies of the figures involved during this period and sheds light on the most important organizations and institutions.

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