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Our payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Please try again.Please try again.Please try again. Please try your request again later. This unique volume introduces modern design principles and examines them from an historically critical perspective. It concludes with some ideas for melding modern solemnity with postmodern irony. And in each phase the illustrations speak as eloquently as the text—the whole serves as a beautifully illustrated design memo. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Show details. Order it now. Ships from and sold by Amazon.com. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Register a free business account It is a book meant for the lay reader and examines its subject with the kind of wit and insight found in John Berger's Ways of Seeing (1972) and Edward R. Tufte's Envisioning Information (1990). The Bauhaus Ideal is both a picturebook and a guidebook to the fascinating and enduring legacy of modernist design, and to the continuing influence of Bauhaus on interior design-not just in architecture, but also in furniture, glassware, tableware and kitchen utensils, the whole range of domestic arts. Le Corbusier, Mies van der Rohe, Buckminster Fuller, Charles and Ray Eames and others were part of a movement to make sense of design in the modern world. This unique volume introduces modern design principles and examines them from an historically critical perspective. And in each phase, the illustrations speak as eloquently as the text.
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This invaluable book is itself a work of art and is issued at a time when there is a revival of interest in modernism-furniture by Corbusier, Noguchi and Eames has never been more popular. He lives in Berkeley, CA.To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Please try again later. Thomas( Doc Savage 45) 4.0 out of 5 stars Looking on amazon I thought hey why not. It is about design and chaos. It is a catalyst for thought, and well written. I would take issue about the building industry and what might currently be going on for the market prior to the recession. Even timberframe homes are being laid out and cut by computer. But it is a trueism that the public does not often agree with the concepts advocated by architects and designers. A good read!And so as the pendulum of design swings from minimalistic to eclectic and back again, the question is asked - what place does the Bauhaus Ideal have in contemporary design? Please try again.Please try again.Please try again. It is a book meant for the lay reader. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Register a free business account He posits, however, that modern art stopped looking new in the 1970s, when architects sought more personal and fanciful forms of expression, becoming more showbiz in their orientation than aesthetic in their fusing of high and low culture. Highly politicized (Smock asserts that Reagan's 1982 election helped kill the dream of visual language), amply illustrated with pencil sketches, and featuring a detailed annotated bibliography, Smock's short and lively book is long on controversy and ideas.
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All rights reserved To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. It also analyzes reviews to verify trustworthiness. Please try again later. Gromer 5.0 out of 5 stars Smock is good enough to be a professional illustrator. In a few lead strokes he would capture the spirit of a real person's face, or the bare branches of winter. All in all, a real treat and worth the price.This is useful because it forces the reader to re-examine the thought process behind these designs rather taking them at face value. If you are looking to better understand the process by which one can create impactful designs in this age, I'd recommend putting this book at the top of your reading list.Unfortunately, as students race into the future, it seems that subjects like Design History are the first to suffer. This book addresses that problem. You could think of it as the 'cliff notes' of Modernism. It's concise, fun to read, and beautifully illustrated. You can read it in one sitting. It connects Modernist ideas across design, art and architecture from the Bauhaus until now. Along the way, Smock pokes fun at some of the more pretensious characters and positions of Modernism. Most of all, he puts the ideas and forms of Modernism in context for our time. The author clearly has a deep appreciation for his subject, and argues that we still have much to learn from the spirit and optimism of Modernism. It suggests that rather than seeing a dusty footnote in history, maybe it's something we should pick up, polish, and re-examine. As an intro, this book should inspire further study for young designers.Thought-provoking and funny. Upload Language (EN) Scribd Perks Invite friends FAQ and support Sign in Skip carousel Carousel Previous Carousel Next What is Scribd. Books Audiobooks Magazines Podcasts Sheet Music Documents Snapshots This unique volume introduces modern design principles and examines them from an historically critical perspective.
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And in each phase the illustrations speak as eloquently as the text—the whole serves as a beautifully illustrated design memo. Read More Architecture Art All categories Publisher: Chicago Review Press Released: Jun 1, 2009 ISBN: 9780897338943 Format: Book What pool of ideas and examples do architects and industrial designers draw on. In 1960 these questions would have been easier to answer. Design was still a magic word, and the modern movement associated with the Bauhaus was reshaping the world. Its challenge to architects and designers showed no signs of flagging. Modernism offered clear, serviceable design principles. But few would claim to be modernists now, especially the architects and designers who enlisted in the modernist cause as students. Postmodern design rejects principles. It is about desire, ambiguity, and chance. This is the Information Age, not the Great Society. The Bauhaus was a product of its own time and place—Germany between two world wars. Long after its internal conflicts were forgotten, however, it came to epitomize the promise of design. Most modern design ideas predate the Bauhaus— sans serif type, skeletal furniture, flat roofs—but the Bauhaus wrapped them up in a compelling package. The Bauhaus stood for design in the public interest, for economy, simplicity and usefulness. It told us what we ought to like. Designers and architects around the world were inspired by the Bauhaus example. Then they reacted against it. At each stage, Bauhaus ideas about human nature, about social responsibility and taste provided the stimulus. Modern design aimed to create meaningful order, to fit our physical surroundings to our needs and aspirations. This idea will never go out of date. Who doesn’t feel a sneaking affection for Buckminster Fuller. Scolds like Donald Norman and Victor Papanek, insisting that their brand of design could revolutionize everyday life, always find an appreciative audience.
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Andres Duany, whose New Urbanist recipe promises to turn subdivisions into hometowns, is greeted everywhere as a Messiah. Though moralizing may be out of style, there is no pleasure like knowing best. Warning against design moralism, Rem Koolhaas studies shopping patterns and designs expensive stores. He praises the imaginative spillover that produced Manhattan. It’s true that no rational designer could have dreamed up New York. But New York is not my dream city. Neither is Berkeley, California, where I live. I can’t help feeling there is room for improvement. A lot of the best things in New York—parks, subways, museums—came from sober design foresight. In the prosperous period following World War II, Bauhaus-inspired modernists threw themselves into physical and social engineering. But public housing, mass transit and urban renewal did not erase big city problems. We live in a cynical time when taxpayers refuse to pay for public works, when the consumer is king and the mall is his library, church and hobby center rolled into one. What is the designer’s mandate now. An answer came from Frank Gehry, Philippe Starck and Ettore Sottsass in the 1970s: design will be personal and idiosyncratic. It can be grandiose. It can be superficial. It should not be boring as modernism often was. But very few practicing designers get a chance to show off. Most have to find a middle ground between originality and salability. This dissonance between the dream and the reality is nothing new. Design has always been a back-and-forth series of accommodations between the creative impulse and the marketplace. Bauhaus visionaries hoped that, by embracing economic constraints, they could magnify the designer’s role. Their plain, sensible ideas staved off the pruning impulses of the cost cutters. I was born in the hopeful era following World War II. I learned that design was going to transform everyday life for the better.
My hometown replaced a dark old Gothic high school with a new one that had big picture windows and colorful plastic chairs. I learned that art is hard to understand, and have been trying to understand Ingmar Bergman, James Joyce and Jackson Pollock ever since. Modernists believed that scientific and technical advances produced a break in history: the twentieth century was a radically new era with little to learn from the past. Modernism focused on the infinite promise of the future. That kind of confidence is no longer in the air, and I miss it. Having visited the Vitra Museum near Basel, where modern design is sold as a luxury item, I take grateful refuge in the Bauhaus ideal. Vitra wants you to think of good design as something like Beluga caviar, blessed with an aura of quality, desirable mostly because it costs a lot. Taste in design does not evolve at a steady pace across the board. Architects, whose style cycles last for decades, haven’t forgotten modernism yet. Fashion designers, who change every season, forgot it twenty-five years ago. Graphic designers gave up Helvetica and the grid, came back, and have now progressed well into the fusion stage. In this book I talk only about the slowest workers— the three-dimensional designers, whose output is all around us and built to last. The first section, aimed at people under forty-five, tells what modern design is. The second part contrasts the promise of modernism with its actual results. A lot of modern design, aiming for timelessness, now looks dated. Picking through the Jetsons’ attic, I try to separate creative design strategies from herd behavior. This quick, hypercritical shopping trip through twentieth-century design history was fun. With the benefit of hindsight, it’s easy to put modernism to the acid test. The third part of the book suggests how designers can build on modernism without indulging in retro nostalgia.
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I propose a marriage between the best postmodern character traits—irony, critical self-awareness, modesty—and the best modernist ones—honesty, generosity, and reasonableness. No one wants to drag design back to 1960. But fifty years of modernist experimentation must hold some lessons for the future. I can’t imagine a design curriculum which doesn’t stress problem-solving. School is a rational way of transmitting skills and knowledge; modernists wrote the book on rational design. I have a special attachment to the modern because of its do-gooding bent. Postmodern doesn’t have this bent. Frank Gehry couldn’t care less about low-cost housing, and Philippe Starck is not very likely to work on school furniture. I am neither an expert nor a scholar. Design is for everybody. I try to present visible corroboration of what I say. Most of my examples should look familiar. Design is one of the glories of civilization. At this very moment you are probably sitting in a chair somebody designed, in a room somebody designed, surrounded by (and wearing) designed things. Photographers like Eugene Atget and Walker Evans, who let people’s rooms and settings speak for them, can be seen as design historians. I want to encourage readers to draw their own conclusions, to sharpen their eyes and minds on the evidence all around them. As consumers, they have the deciding vote. I owe a lot to designer Bruce Burdick. Most of the research for this book was done while I was working on his projects. He encouraged me to think about the hardest design questions and tax my imagination to the utmost. I am grateful to many readers. The most meticulous and helpful one was Marc Treib. Jay Adams and Jane Cee have been my windows on the profession of architecture. Richard Serrano supplied invaluable reference materials. Some of my best ideas are actually the ideas of Steve Tornallyay.
A note on terminology: I use postmodern in the broadest possible sense—to cover everyone who, starting in the late 1960s, set out to overthrow modernism. Not all of them welcome the label because it also has a philosophical connotation, introduced by Jean-Francois Lyotard, dealing with the French-influenced world of literary theory and philosophy. For my purposes, postmodern simply means the design movement that followed the modern. Introduction to the second Edition SINCE I WROTE THIS slender book my horizons have widened a little. I have already praised Ikea for making handsome, useful things available at reasonable cost. I would like to add another company that delivers on the Bauhaus ideal: Oxo. When I first saw Oxo kitchen tools I assumed they were expensive because they work better and look better than the competition. They aren’t more expensive. I have visited two signal achievements of postmodern architecture: Frank Gehry’s Disney Concert Hall in Los Angeles, and Jean Nouvel’s Tyrone Guthrie Theater in Minneapolis. They gave me more respect for architects who defy Bauhaus precedents. The Disney Concert Hall is not a sensible building. There was no reason to wrap it in stainless steel sails, to make the walls curve or the verticals slant. The one logical element is the all-wood auditorium, which resonates like a violin. Gehry conceived it as a luxury item and insisted that the donor, Walt Disney’s widow, pay for it. Construction was delayed for years by ballooning costs. But the result is worth it—a beautifully crafted curiosity, something only a monarch could afford, like a French chateau or a Faberge egg. There are unforeseen bonuses like the walkway around the building, hidden behind stainless steel sails, offering views across the city. This is the main lobby, four stories tall. Departing altogether from a perpendicular grid, architects had to harmonize big curves and sharp angles in three dimensions. You've reached the end of this preview.
Sign up to read more. Start your free trial Page 1 of 1 Reviews Reviews What did you think. The Robert Fries review was helpful The Robert Fries review was not helpful Informative, enjoyable, easy to follow. Very inspiring in the way it lead me to look at and consider the design and function of literally everything around me. Highly recommended! Was this review helpful for you. The Robert Fries review was helpful The Robert Fries review was not helpful. Groups Discussions Quotes Ask the Author It is a book meant for the lay reader. It is a book meant for the lay reader. To see what your friends thought of this book,This book is not yet featured on Listopia.William Smock gives a fairly balanced view of an art style which has influenced not only art styles, but architecture, machines and even electronic devices. He enhances his essays with personal drawings that illustrate the buildings, art, inventions and even artists who founded this group. Their goal was to replace the fussy detai William Smock gives a fairly balanced view of an art style which has influenced not only art styles, but architecture, machines and even electronic devices. Their goal was to replace the fussy detail of Victorian art, furniture and buildings with clean, rational lines. Their buildings are known for their square, blocky and cold patterns. Some of the better known members of the group were: Ludwig Mies van der Rohe; Paul Klee; Wassily Kandinsky and the founder, Walter Gropius. The American architect, Louis Sullivan, in the late 19th century stipulated that form follows function. The Bauhaus group carried that to an extreme. Examples of Bauhaus is the Seagram Building in New York City (for comparison one can look at the Empire State building, which is Art Deco). Another command is less is more. Unfortunately, the Bauhaus was a great theory but did not pan out in real life. Take for instance Philip Johnson's glass houses.
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An interesting concept to be sure, but the design did not take into account the oppressive heat from the sun boiling into the interior without the protection of walls or even curtains. In Paris the Nation Library with its glass towers also disregards the fact that sunlight is bad for books. All the windows are now blocked by blank wooden doors. The Design Building for the Illinois Institute of Technology in Chicago has turned out to be a lousy place to study and a glass box for a theater in German also proved to be bad because theaters have to be dark, so an interior room shielding the light was built on the inside. The same goes for a glass art museum, since light hurts paintings. All three were designed by Mies van der Rohe. You'd think he'd have learned something after the first building. The most obvious case of form not following function are the housing developments in Chicago and St. Twenty years later they turned into gang war zones. These buildings have since been demolished. Smock concludes that while there is no doubt that Bauhaus heavily influenced future design of architecture and design in many fields, from kitchen appliances to cars, they are most successful at creating art objects. With actual photographs or better drawings, this would have illustrated the points and concepts of the narrative. I was particularly drawn to the theorization of functionalism. The relationship between form and function was powerfully drawn in this book. There was also some powerful theorization of modernism and postmodernism. While postmodernity was theorized in a superficial way, modernism and modernity is configured and discussed in an intricate and dynamic fashion. A fine book that provides the opportunity for further debate and discussion. The drawings are superb.
From staplers to skyscrapers, he compares modernist to post modernist design principles of the 20th and 21st centuries in what amounts to a user-friendly entry level publication with hand-drawn illustrations. Whilst The Bauhaus was a call for the purity of pared back design (which in essence s From staplers to skyscrapers, he compares modernist to post modernist design principles of the 20th and 21st centuries in what amounts to a user-friendly entry level publication with hand-drawn illustrations. And so as the pendulum of design swings from minimalistic to eclectic and back again, the question is asked - what place does the Bauhaus Ideal have in contemporary design? A great introductory read. Covers the key figures of the Bauhaus in moderate detail, moves on to the mid-century titans, leavens the discussion with a generous sprinkling of Bucky Fuller, and wraps up more or less with Gehry and Philippe Starck. Along the way, the design of many everyday objects Covers the key figures of the Bauhaus in moderate detail, moves on to the mid-century titans, leavens the discussion with a generous sprinkling of Bucky Fuller, and wraps up more or less with Gehry and Philippe Starck. Along the way, the design of many everyday objects is added to the mix. Smock's essay is neither reverent worship for the glass-box-loving acolytes, nor is it a cranky polemic claiming that modern architecture was all a big Mies-take. It's definitely irreverent, but never scornful or reactionary; instead, Smock is irreverent in an affectionate way that conveys the humanity and idealism of the modernists. It's as if you had a knowledgeable, witty friend quickly explain 100 years of design theory over a shot-and-a-few-beers. Finally, the annotated biography at the end is excellent and fun to read for its own sake. Also, we're probably mostly done with obvious post-modern mannerism now, and into a new eclectic minimalism.
La bibliografia anotada del final es un excelente lugar para adentrarse en modernismo, postmodernismo y sus detalles. Recomendado. There are no discussion topics on this book yet. Kindle eBooks can be read on any device with the free Kindle app.Tuesday, Jan 19Tomorrow Used: GoodFast dispatch and delivery. Excellent Customer Feedback. Over 6 Million items sold. Fast dispatch and delivery. Excellent Customer Feedback.Please try again.Please try your request again later. This unique volume introduces modern design principles and examines them from an historically critical perspective. And in each phase the illustrations speak as eloquently as the text—the whole serves as a beautifully illustrated design memo. Show details. Ships from and sold by Amazon.ca. In order to navigate out of this carousel, please use your heading shortcut key to navigate to the next or previous heading. Download one of the Free Kindle apps to start reading Kindle books on your smartphone, tablet, and computer. Obtenez votre Kindle ici, or download a FREE Kindle Reading App. It is a book meant for the lay reader and examines its subject with the kind of wit and insight found in John Berger's Ways of Seeing (1972) and Edward R. Tufte's Envisioning Information (1990). This invaluable book is itself a work of art and is issued at a time when there is a revival of interest in modernism-furniture by Corbusier, Noguchi and Eames has never been more popular. He lives in Berkeley, CA.In order to navigate out of this carousel, please use your heading shortcut key to navigate to the next or previous heading. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. It also analyzes reviews to verify trustworthiness. And so as the pendulum of design swings from minimalistic to eclectic and back again, the question is asked - what place does the Bauhaus Ideal have in contemporary design?Looking on amazon I thought hey why not. A good read!
In the first section, Smock lays out the basic tale of the Bauhaus, the key players, and their tenets: form follows function, truth to materials, less is more. As the twentieth century progressed, what was “Modern” in art and design became a bug in amber, preserved in places like the Museum of Modern Art in New York. Are they really part of the same thing?” Smock muses on Postmodernism, the resulting reaction to the aging sacrosanct principles of Modernists, which called for designers to “contextualize” and “historicize” their work and to do it with an ironic distance. In the second section, Smock critiques the byproducts of the Modernist principles: uncomfortably hot glass buildings, overpriced tea kettles and streamlined pencil sharpeners. Modernists had good intentions; they believed the world was getting better, and they were leading the charge. However, he notes how relatively expensive Eames chairs belied Modernism’s egalitarian ideals. And “less is more” hasn’t always been the rule in the design of the mundane. “The cheapest silverware comes in a Lily of the Valley design. Decoration is not inherently expensive, nor is simplicity inherently cheap.” In the final section, Smock optimistically suggests how designers can build on Modernism. “I propose a marriage between the best Postmodernism character traits—irony, critical self-awareness, modesty—and the best Modernist ones—honesty, generosity, and reasonableness.” To renew our faith in metaphor, he notes that some of the best gadgets have similar forms to body parts, like the grasping hand and the head of a wrench. “If every form is in some way a quotation, then metaphor is an indissoluble part of design.” We need to learn from the past, noting those designs that did not necessarily fall out of the teachings of the Bauhaus, like the light bulb or the double-edged potato peeler. We need to reclaim the vocabulary of Modernism.
Today’s architects and designers produce sensible, functional solutions, but that is not what’s evoked when people commonly refer to “design.” “Design is now the whimsical add-on, the designer touch. It is the skyscraper shaped like an inverted L, the candy-colored computer, the fifth leg on the dining room table.” Smock’s rambling prose has a staccato rhythm. His observations are terse and stated bluntly and he often ends chapters abruptly. Combined with the droll sketches, it’s like a narrated slideshow. The abruptness lends his assessments a strident, bold tone. For example, “This Philippe Starck door handle is both antler-like and perfectly practical. (He has made impractical ones.)” Rim shot! Ultimately, Smock believes that timeless design principles do exist. He writes that imaginative design is just as important as new advances in technology and that we shouldn’t stop dreaming, but, rather, raise our sights and run new ideals up the flagpole, with ideals like housing everybody, preventing traffic accidents, or putting on our own set of wings and flying. —Angelynn Grant. And in each phase the illustrations speak as eloquently as the text--the whole serves as a beautifully illustrated design memo. He posits, however, that modern art stopped looking new in the 1970s, when architects sought more personal and fanciful forms of expression, becoming more showbiz in their orientation than aesthetic in their fusing of high and low culture.He posits, however, that modern art stopped looking new in the 1970s, when architects sought more personal and fanciful forms of expression, becoming more showbiz in their orientation than aesthetic in their fusing of high and low culture. Verisign. It is a book meant for the lay reader. He posits, however, that modern art stopped looking new in the 1970s, when architects sought more personal and fanciful forms of expression, becoming more showbiz in their orientation than aesthetic in their fusing of high and low culture.
All rights reserved All Rights Reserved. The site uses cookies to offer you a better experience. By continuing to browse the site you accept our Cookie Policy, you can change your settings at any time. View Privacy Policy View Cookie Policy Le Corbusier, Mies van der Rohe, Buckminster Fuller, Charles and Ray Eames, and others were part of a movement to make sense of design in the modern world. Their experiments - both successes and failures - eloquently demonstrate what design can accomplish. 'Design' itself was an invention of the Bauhaus era to combine usefulness, beauty, and economy into a reasonable whole. And in each phase the illustrations speak as eloquently as the text. This invaluable book is itself a work of art and is being issued in paperback at a time when there is revival of interest in modernism - furniture by Le Corbusier, Noguchi, and Eames have never been more popular. It serves as a beautifully illustrated design manifesto.By continuing to use the site you agree to our use of cookies. Find out more. Registered in England and Wales. Company number 00610095. Registered office address: 203-206 Piccadilly, London, W1J 9HD. Please note that owing to current COVID-19 restrictions, many of our shops are closed. Find out more by clicking here. If this item isn't available to be reserved nearby, add the item to your basket instead and select 'Deliver to my local shop' (UK shops only) at the checkout, to be able to collect it from there at a later date. You can remove the unavailable item(s) now or we'll automatically remove it at Checkout. Choose your country's store to see books available for purchase. It concludes with some ideas for melding modern solemnity with postmodern irony. And in each phase the illustrations speak as eloquently as the text—the whole serves as a beautifully illustrated design memo. Choose your country's store to see books available for purchase. We appreciate your feedback. We'll publish them on our site once we've reviewed them.