Search results for ""Author Museum fur Gestaltung Zurich""

Under the label Atelier Zanolli, a fantastic world of silk fabrics that were painted and imprinted with patterns, opulently embroidered cushions, colourful pearl creations, as well as finely crafted leather and wood articles, was created between 1905 and 1939 in Zurich. The Zanollis had immigrated from Italy in 1905. Their family business was entirely women-run by mother Antonietta and her daughters Pia, Lea, and Zoe Zanolli. The cultural and stylistic influences manifested in the Zanollis’ visually appealing product world range from the avant-garde to a typically Swiss aesthetic forged by a national spirit of defence against the increasingly felt threat that Nazi Germany posed to the country in the 1930s. Driven by a striving for artistic self-realisation, the atelier defied the many economic challenges of the period and carried out many commissions for Zurich’s leading textile businesses and department stores. This book traces the history of Atelier Zanolli, places its work in the context of the development of Zurich and the Swiss textile industry in the first half of the 20th century, and for the first time also positions the “Zanolli style” internationally. More than 600 images show the wealth of colours and shapes of the cosmos of textiles and crafted objects, as well as templates, sketches, private photographs, business cards, and letters. The essays illuminate the techniques and work processes used, discuss entire motif families and unique designs, and grant a rare comprehensive insight into the tastes of the time.

Read more less

Bodies act as powerful signs: Which bodies are represented and how, which gaze determines them, which bodies are not shown or only shown in a particular way and in a particular context? Normative ideas of the body and beauty shape images of the self and the world. They are bodies that manifest inequalities and reflect the prevailing relations of power and violence. Talking Bodies examines mechanisms of representation of the body in medial cultures and illus- trates them exemplarily with posters. Masterpieces of art history that have inscribed themselves in the collective memory are negotiated, as are contemporary self-dramatizations in social media, gender stereotypes, images of black bodies, and the representation of disabled and non-normative bodies. With its focus on the construction and impact of body images, but also on possible strategies of resistance, the publication sees itself as a critical contribution to current debates. With essays by Markus Dederich, Florian Diener, Hans Fässler, Bettina Richter, Maria Schreiber, Marilyn Umurungi, Paula-Irene Villa

Read more less

As a pioneer of modern design, Willy Guhl created world-famous furniture such as the Eternit garden chair or Europe’s first plastic shell chair. In the tradition of modernism and against the traditional Heimatstil, after 1945 he developed a holistic design approach oriented to human beings and their needs; functionality and reduction to the essential characterize his everyday objects. In collaboration with Swiss companies such as Dietiker, Eternit and Aebi, Willy Guhl designed seating furniture, planters and mowing machines. Willy Guhl’s designs, his teaching methods and his image archive bear witness to the innovations of the booming design industry of the post-war period and the changing professional image of the industrial designer. As a teacher and later head of the class for interior and product design at the Zurich School of Arts and Crafts from 1941 to 1980, Willy Guhl influenced generations of Swiss designers, including Robert Haussmann, Kurt Thut and Andreas Christen. The trained carpenter and interior designer passed on his design knowledge “hands-on,” with illustrative objects, by model making and storytelling. This first comprehensive monograph illuminates Willy Guhl’s legacy in the context of this design and teaching practice as well as current theories of the design discipline. As a thematically structured catalog of works, it offers a complete index of all design projects, and illustrates in sketches, plans and photographs his exploratory working method and his passion for material and technology, which is equally evident in the selection of exemplary student works.

Read more less

The Form Guide is an easy-to-use and conveniently sized dictionary of key design terminology covering product forms, constructions and impressions. The 100 products examples used are presented with a brief description of their origin, making the Form Guide an informative tool for students, teachers and practitioners alike. Renowned design colleges and institutes have collaborated on the development and publication of the form guide: Zurich University of the Arts (Industrial Design department), the Museum of Design Zurich (design collection), the Burg Giebichenstein University of Art and Design Halle, and idea...Institut [interior design environment and architecture] Halle (Saale) Germany. Text in English and German.

Read more less

Iranian graphic design looks back on a brief history. The first poster designers completed independent artistic training and created painterly-illustrative works in the 1960s. The simultaneous opening to the West under Shah Mohammad Reza Pahlavi promoted global cultural exchange. With the proclamation of the Islamic Republic in 1979 and the First Gulf War (1980–1988), however, this was rapidly interrupted. At the end of the 1980s, a new generation of designers took up the graphic heritage of the pre-war period. At the turn of the millennium, the Iranian poster finally conquered international festivals and caused a great stir in the Western community. The volume Contemporary Iran brings together Iranian cultural posters from 1960 to the present. Despite the many different creative approaches, they always demonstrate the search for a fusion of history and contemporaneity, Iran’s own tradition and Western inspiration, art and everyday culture. An often unorthodox interpretation of Persian cultural heritage is combined with the confident use of computer-generated graphics. Thus, some posters confirm common Western notions of Islamic aesthetics, while others radically undermine them and irritate and surprise us.

Read more less

What kind of fashion exists without mass production, without Hollywood and international fashion weeks? In Switzerland, far from the international spotlight and the dictates of the major fashion hubs, small labels, collectives, and young graduates as well as established brands test their potential for greatness. Creative designers take initiative and position themselves in Berlin, join the fashion circus in Paris, or establish clever business models at home in Switzerland. Wild Thing - The Swiss Fashion Scene, published in conjunction with an exhibition at Museum für Gestaltung Zürich, puts a spotlight on this development and the products resulting from it. The book picks up on current topics - such as minimalism and the questioning of assigned gender identities - that shape designs, design concepts, and processes. Lavishly illustrated, it features looks and creations by important labels, selected outfits, textile inventions, and collection presentations. Together with brief interviews, portraits of individual designers, and text contributions, Wild Thing - The Swiss Fashion Scene is a highly attractive snapshot of Switzerland’s creative and vibrant fashion scene. In addition, the book contains links to short print-in-motion videos, which can be watched by pointing a smartphone camera at the corresponding image. The videos offer portraits of designers, interviews with fashion experts, and contributions from fashion schools. Text in English and German.

Read more less

The history of posters is rich in variations on the hand. In consumer posters, a hand presents desirable products. But the hand can also take the form of a symbolically charged gesture in the political poster. In cultural posters, the hand then becomes the emblem of the creative individual. Just as versatile as the rhetoric of the hand are its diverse uses as a design element. In this volume, photographic, illustrative and abstract graphic images add up to a small cultural history of the hand as an eloquent conveyor of messages.

Read more less