Search results for ""Design Museum""

The Umbrella House is the smallest residential home by Japanese architect and mathematician Kazuo Shinohara (1925–2006). This book tells the story of his unique masterpiece, which was first built in Tokyo in 1961. More than sixty years later, a stroke of good fortune made it possible to save the Umbrella House from demolition and move it to a new location, where it now stands on the Vitra Campus in Weil am Rhein (Germany). The wooden house’s post-and-beam construction references traditional Japanese domestic and temple architecture. Experts from Japan and Europe supervised the dismantling of the house in Tokyo and its reassembly in Weil am Rhein. The book traces the long journey of the Umbrella House in lavish illustrations including impressions from 1960s Japan, architectural designs and plans, and photographs that document its dismantling and reassembly or show the house in its new location. Texts by Ryue Nishizawa (SANAA), Shin-ichi Okuyama, and David B. Stewart discuss the Umbrella House against the background of Japanese architectural discourse between 1960 and the present. "The strength of my conviction that A House is a Work of Art was born of the struggle with this small house. I wished to express the force of space contained in the doma [earthen-floor room] of an old Japanese farmhouse, this time by means of the geometric structural design of a karakasa [oiled-paper Japanese umbrella]." Kazuo Shinohara in a text on the Umbrella House published in October 1962 in the Japanese architecture journal Shinkenchiku (vol. 37, no. 10; first published in English in February 1963 in The Japan Architect, vol. 38, no. 2).

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Hello, Robot. Design Between Human and Machine investigates how robotics is becoming part of our everyday lives. The exhibitions shows that design in its traditional function as a mediator is indispensable if robots are to become a visible reality and not just remain hidden in washing machines, cars and cash machines. The volume clarifies where we already encounter these intelligent machines and where we may come across them in the near future: in industry, in the military and in everyday settings; at nurseries and retirement homes; in our bodies and in the cloud; when shopping and having sex; in video games and, of course, in film and literature. In a series of in-depth essays and interviews, experts such as the science fiction author Bruce Sterling and the design duo Dunne & Raby explore the question of how we deal with our environment becoming increasingly digital, smarter and more autonomous. They highlight our often ambivalent relationship to new technologies and discuss the opportunities and challenges that are posed to us as individuals and as a society in this context. In this regard, Hello, Robot. broadens the scope of the discussion to the ethical and political questions with which we are faced today in the light of technological advances in robotics, whilst confronting us with the contradictions that are often found in the answers to these questions.

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Artificial light has revolutionized our environment like almost no other medium. Today, we are experiencing a profound change in the world of artificial light, with as yet unforeseeable consequences for people’s lives. »Lightopia« presents icons and examples of lighting design, setting them in a broader cultural and historical context. The publication comprises three separate books in a slipcase. In volume 1, renowned authors take a close look at the cultural history of light in a number of essays dealing with topics as diverse as the scenographic significance of light or its psychological aspects. Volume 2 presents a selection of the 100 most important luminaires from the collection of the Vitra Design Museum – dating from 1900 to today – and includes texts on the development of lighting design. In volume 3, interviews with well-known lighting designers and artists explore how new illumination technologies revolutionize the creative use of light today. With its three volumes, »Lightopia« constitutes a unique compendium of lighting design. It is opulently illustrated and encompasses an exceptional spectrum of examples from design, art and architecture; with works by Olafur Eliasson, Gino Sarfatti, Ingo Maurer, mischer’traxler, Carlos Cruz-Diez, Wilhelm Wagenfeld, Richard Sapper, Achille Castiglioni, Ulrike Brandi, Pieke Bergmans and many others.

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Plastic has shaped our daily lives like no other material. Originally associated with convenience, progress, even revolution, today plastic seems to have lost its utopian appeal. Plastic is everywhere, yet most conspicuous as waste and as a key factor in the global environmental crisis. This book examines the success story of plastic in the twentieth century and at the same time presents the different discourses on how we should manage the waste the material produces and also find solutions that take into account its entire life cycle in the future. Mark Miodownik, Susan Freinkel, and Nanjala Nyabola each contribute an essay that sheds light on the history of plastics from 1850 to today. A material-rich visual chronology illustrates how consumers’ perception of plastics has changed over the decades. Brief descriptions of a selection of 50 objects examine the importance of plastics for material culture. Reprints of fundamental texts about the history of plastics—for example by Alexander Parkes and Roland Barthes—provide a context from the history of ideas. The book reflects the current discourse and state of research on plastic with numerous individual interviews and panel discussions that were held with designers, representatives from industry, researchers, and environmental activists. Underpinning these conversations are comprehensive data visualizations on plastic production and consumption, recycling.

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This exhibition catalogue for a show at the Neue Sammlung (Design Museum) in Munich documents the first solo show by Swiss jewellery artist Therese Hilbert, former student of Max Fröhlich in Zurich and Hermann Jünger in Munich. It features 250 works, going back 50 years and beginning with her earliest, unknown pieces through to her newest work created in 2020. One of her life-long passions is volcanoes: she has climbed many of them and has used them as a theme in her jewellery design for many years. The sense of heat below the surface of her minimalist designs underlines her passion for the subject. Her work is in the collections of the Design Museum (Munich), the National Gallery of Victoria, the Dallas Museum of Art, and Museum of Arts and Design (New York). Features texts by Heike Endter, Otto Künzli, Ellen Maurer-Zilioli, Pravu Mazumdar, Angelika Nollert, Warwick Freeman and Petra Hölscher. Text in English and German.

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The Swiss artist Otto Künzli has revolutionised modern art jewellery. In the 45-odd years in which he has been addressing the topic of jewellery, Künzli has carved out for himself a unique position of far-reaching international influence, not only as an artist and a pioneer but also as an author and mentor. Otto Künzli's works are based on complex reflection, conceptual and visual imagination. The result: objects with a clear, minimalist appearance, captivatingly crafted to perfection and highly visible - jewellery that adorns and at the same time possesses an autonomous aesthetic status of its own. The publication presents for the first time Otto Künzli's highly diverse oeuvre. It includes hundreds of jewellery objects as well as interdisciplinary conceptual works from the artist's various creative phases. An extraordinary artist's book designed in close collaboration with Otto Künzli and Die Neue Sammlung - The International Design Museum Munich. Otto Künzli was born in 1948 in Zurich, Switzerland. Since 1991 Künzli has held the Chair of Art Jewellery at the Academy of Fine Arts in Munich - as the successor of Prof. Hermann Jünger. Otto Künzli's work is represented in numerous international museums and collections. Alongside numerous awards, in 2010 Otto Künzli was awarded the Swiss Grand Prix Design, and in 2011 the Goldener Ehrenring der Gesellschaft für Goldschmiedekunst, the golden ring of honour conferred by the German Association for Goldsmiths' Art.

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30 members of the international studio jewellery scene present their latest works. A valuable contribution to the positioning of jewellery in the arts. Karen Pontoppidan (b. 1968), Curator and Professor of Jewellery and Devices at the Munich Academy of Fine Arts, invites 30 international artists to the annual jewellery exhibition at Die Neue Sammlung - The Design Museum to present contemporary positions in studio jewellery. The publication SCHMUCKISMUS reveals that artists of this medium of expression no longer start from the mere decoration of individuals. Instead jewellery becomes a platform for discourse on cultural norms and values. Reflecting less on themselves as individuals, this new generation of artists is concentrating more on issues affecting society as a whole, such as ecology, consumer society or feminism. ARTISTS: T. Alm (SE), Y. Aydin (TR/SE), D. Bernadisiute (LT/SE), B. Brovia (IT/SE), C. Castiajo (PT), N. Cheng (HK/SE), E. Chun (KR/DE), S. Cohen (IL), I. Eichenberg (DE/US), C. Gimeno (AR), D. Hakim (IL), S. Hanagarth (FR), S. Heuser (DE), H. Hedman (SE), M. Iwamoto (JP/DE), H. Joris (BE/US), S. Khalil (LB), M. Klein (DE), G. Kling (SE), N. Kuffner (DE), B. Lignel (FR), J. Matzakow (DE), N. Melland (NO), N. Scholz (DE), K. Spranger (DE/GB), G. Stach (DE), V. Touloumidi (GR/DE), T. Tuupanen (FI), J. Yang (CN/DE), P. Zimmermann (AT) Text in English and German.

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Jewellery and object artist Anton Cepka (1936) is one of the most important jewellery artists of the twentieth century and a protagonist of the so-called studio jewellery movement, which arose after the Second World War. Today he is considered the doyen of Slovakian and Czech jewellery designers. Whitened silver, optical glass, stones and modern acrylic glass are Anton Cepka's preferred materials. His jewellery and his objects as he himself says 'bear all the signs of today. At the same time they express the reflection of today's over-engineered world.' Movement and light unexpectedly come into play in these pieces; thus kinetic art enters jewellery art for the first time in a conceptual way. Aerotechnical, fragile futuristic forms, the colour of the whitened silver and titles such as Radar, Antenna, Airplane, Satellite and Planet reflect the current, technological advancement and reference of our times. The execution of the objects bears witness to a great craftsmanship that is essential to Cepka's objects. Text in English and German.

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Recipient of the Cooper-Hewitt National Design Museum Award for Lifetime Achievement and the AIA Gold Medal, Antoine Predock is an icon of American architecture. This book is the comprehensive consideration of his life s work.

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A portrait of an eminent jewellery artist and her unique creations! Inspired by the Arte Povera movement, the Italian jewellery artist Annamaria Zanella (b. 1966) uses base materials, which only gain meaning through their context. Corroded metal or found objects convey statements that can be both political and personal in nature. Zanella wants to bring the soul of the material to light through the work of her own hands. The colour used is intended to evoke feelings and reactions. To this end Zanella studied the history of colours and their production, especially that of her unmistakable blue. She produced a blue pigment according to a recipe from the fourteenth century, invoking in its modern use pioneering artists such as Giotto, Wassily Kandinsky and Yves Klein. Annamaria Zanella is represented in numerous museums, including Musee des Arts Decoratifs, Paris (FR); Kunstgewerbemuseum Berlin (DE); Die Neue Sammlung The Design Museum, Munich (DE); Museum of Arts and Design, New York (US); Schmuckmuseum Pforzheim (DE); Museo degli Argenti, Florence (IT); Victoria and Albert Museum, London (GB); Palazzo Fortuny, Venice (IT); Cooper Hewitt, Smithsonian Design Museum, New York (US); Swiss National Museum, Zurich (CH). Text in English and Italian.

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This volume gathers Stephen Bayley's collected writings on design. Since the late 1970s, Bayley has advised Sir Terence Conran, created the influential Boilerhouse Project at the Victoria and Albert Museum, directed London's Design Museum and advised the Labour government. His journalism, although best known for covering taste and design in the widest meaning of the words, has also delved into a much wider range of issues related to popular culture, car culture, art and society. The book groups early academic pieces, essays from exhibition catalogues and book extracts.

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From Maira Kalman, the author of the bestsellers The Principles of Uncertainty and The Elements of Style, comes this beautiful pictorial and narrative exploration of the significance of objects in our lives, drawn from her personal artifacts, recollections, and selections from the collection of the Cooper-Hewitt, Smithsonian Design Museum. With more than fifty original paintings and featuring bestselling author and illustrator Maira Kalman's signature handwritten prose, My Favorite Things is a poignant and witty meditation on the importance of both quotidian and unusual objects in our culture and private worlds. Created in the same colorful, engaging, and insightful style as her previous works, which have won her fans around the world, My Favorite Things features more than fifty objects from both the Cooper-Hewitt, Smithsonian Design Museum and Kalman's personal collections: the pocket watch Abraham Lincoln was carrying when he was shot, original editions of Winnie-the-Pooh and Alice in Wonderland, a handkerchief in memoriam of Queen Victoria, an Ingo Maurer lamp, Rietveld's Z chair, a pair of Toscanini's pants, and photographs Kalman has taken of people walking towards and away from her. A pictorial index provides photographs of the actual objects and a short description of them, enhancing the reading experience. As it speaks to the universal experience and importance of beloved objects in our lives-big and small, famous and private-this unique work is a fresh way of examining and understanding our society, history, culture, and ourselves.

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In The Language of Things Deyan Sudjic, Director of the Design Museum, decodes the things around us: their hidden meanings, our relationship with them, how they shape our lives and why we desire them. Design is everywhere. It seduces, pleases and inspires us. It makes us part with our money. It defines who we think we are. An iPhone, an anglepoise lamp, a Picasso, a banknote, an Armani suit, a William Morris textile, a Lucky Strike packet, a spacecraft - every object tells a story. And understanding their stories offers us a whole new way of seeing the world. 'Articulate and wonderfully knowledgeable ... for anyone who takes an interest in the world around us' Time Out 'A nightmare vision of a world drowning in objects ... witty, well observed and wide-ranging' Guardian 'An elegant, witty and free-ranging survey, from Thomas Chippendale's ponderous 18th-century manor-house furnishings to Jonathan Ive's sprightly Macintosh iBooks' Daily Telegraph 'Lively ... engaging' Evening Standard 'Readable, sharp and worthwhile' Financial Times Director of the Design Museum, Deyan Sudjic was born in London of Yugoslav parents. He is a former architecture critic for the Observer, and a visiting professor at the Royal College of Art. Sudjic was Director of the Venice Architecture Biennale in 2002 and is author of The Edifice Complex, the much-praised 100-Miles City, the best-selling Architecture Pack, The Language of Things and monographs on John Pawson, Ron Arad and Richard Rogers.

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Wendepunkte im Bauen begleitet die Ausstellung in der Pinakothek der Moderne in München von März bis Juni 2010. Das Buch beinhaltet: • Aufsätze u.a. zur Geschichte des Systembaus in Deutschland, über Industrialisierung und Digitalisierung des Bauens und über den Einsatz von Computern in der Planung • Ausführlicher Katalogteil mit Fotos von Modellen/gebauten Beispielen und Plänen zu Projekten (August von Voit | Glaspalast, Jean Prouvè | Maison tropicale, Richard Buckminster Fuller | Dymaxion House, Konrad Wachsmann | United States Air Force Hangar, Frank O. Gehry | Vitra Design Museum, Thomas Herzog, Hanns Jörg Schrade | Design Center, Foster and Partners | Überdachung des Great Court des British Museum, UNStudio - van Berkel & Bos | Mercedes-Benz Museum • Gedanken zeitgenössischer Architekten zu Bedeutung und Wirkung von Wachsmanns „Wendepunkt im Bauen“ "

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The director of the Design Museum defines the greatest artefact of all time: the cityWe live in a world that is now predominantly urban. So how do we define the city as it evolves in the twenty-first century? Drawing examples from across the globe, Deyan Sudjic decodes the underlying forces that shape our cities, such as resources and land, to the ideas that shape conscious elements of design, whether of buildings or of space. Erudite and entertaining, he considers the differences between capital cities and the rest to understand why it is that we often feel more comfortable in our identities as Londoners, Muscovites, or Mumbaikars than in our national identities.

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The first major publication devoted to weaver and designer Dorothy Liebes, reinstating her as one of the most influential American designers of the twentieth century At the time of her death, Dorothy Liebes (1897–1972) was called “the greatest modern weaver and the mother of the twentieth-century palette.” As a weaver, she developed a distinctive combination of unusual materials, lavish textures, and brilliant colors that came to be known as the “Liebes Look.” Yet despite her prolific career and recognition during her lifetime, Liebes is today considerably less well known than the men with whom she often collaborated, including Frank Lloyd Wright, Henry Dreyfuss, and Edward Durrell Stone. Her legacy also suffered due to the inability of the black-and-white photography of the period to represent her richly colored and textured works. Extensively researched and illustrated with full-color, accurate reproductions, this important publication examines Liebes’s widespread impact on twentieth-century design. Essays explore major milestones of her career, including her close collaborations with major interior designers and architects to create custom textiles, the innovative and experimental design studio where she explored new and unusual materials, her use of fabrics to enhance interior lighting, and her collaborations with fashion designers, including Clare Potter and Bonnie Cashin. Ultimately, this book reinstates Liebes at the pinnacle of modern textile design alongside such recognized figures as Anni Albers and Florence Knoll. Beautifully designed by Estudio Herrera, the book offers the reader a tactile experience. The real cloth cover with silkscreened typography and inset photograph opens to reveal an exposed spine and colored threads that tie together the page signatures and echo Liebes’s own craft. Published in association with Cooper Hewitt, Smithsonian Design Museum Exhibition Schedule:Cooper Hewitt, Smithsonian Design Museum (July 7, 2023–February 4, 2024)

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Martin Eder's new body of work is inhabited by ghostly hybrid creatures. Blurring the transition between humans, animals, and supernatural beings, Eder explores the motif of the boundary and its transgression in his oil paintings. His subjects allude to an encounter with the underworld and recall Dante's Inferno. A symbolism that both reflects a (post-)pandemic unease and hints at the encounter of reality and illusion. Eerie and fascinating at the same time, the paintings outline a space marked by the collapse of a shared perception. In addition to studio insights and paintings, the volume includes an elucidating text by art historian Thomas Elsen as well as a conversation between Eder, Damien Hirst and Tim Marlow, director of London's Design Museum.

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The Danner Rotunde, the jewellery room in the Pinakothek der Moderne, Munich, was opened in 2004. Ambitious activities by the Danner-Stiftung and Die Neue Sammlung - The Design Museum, with the support of renowned jewellery artists such as Hermann Jünger, Otto Künzli and Peter Skubic, bore the fruit of two globally renowned jewellery collections. Today these comprise far in excess of 1,700 jewellery items, presented in pictures for the first time in this synopsis. Interviews with the creative minds behind these two unique collections in the field of studio jewellery enable insights into a previously unknown history, and an illustrated chronology arrives at astonishing results. Biographies on more than 300 jewellery artists also present those who have been virtually forgotten today. An indispensable compendium on the subject of contemporary jewellery art. Text in English and German.

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The consummate Susan Grant Lewin Collection - recently donated to Cooper Hewitt - captures the diversity and achievements of contemporary art jewellery with nearly 150 significant works from the last 15 years by designers from the United States, Europe, Asia and Australia. The brooches, necklaces and rings reveal how these contemporary jewellers have revolutionised the medium in transforming jewellery conventions as expressions of our time. Descriptions of specific works demonstrate that while the mastery of materials and techniques is critical to the creative process, it is not an end in itself, but only the means to accomplish an aesthetic vision. Process statements from each designer and a full gallery of the jewellery accompany the narrative sequence of extraordinary, stirring, unique pieces. Published to accompany the Exhibition at Cooper Hewitt, Smithsonian Design Museum, New York (US), 17 November 2017-28 May 2018.

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In 2020, in recognition of outstanding accomplishments in new design concepts and developments in craftsmanship, the Danner Prize, four honorary Danner awards, and an impressive exhibition were conferred for the thirteenth time. This publication presents the selected works with large-format photographs, descriptions of the artisans, and texts by renowned artists. To celebrate the 100th anniversary of the Danner Stiftung, several choice objects from the foundation’s own collection are also being exhibited, alongside exquisite items of jewellery by the court goldsmith Karl Rothmüller. This diverse series of highlights is complemented by photos from the exhibition in the Pinakothek der Moderne in Munich. Read, view, and enjoy this all-round fascinating publication! Published to accompany an exhibition at Die Neue Sammlung - The Design Museum - in Munich from 15 October 2020-17 January 2021. Text in English and German.

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Josh Owen presents an overview, project by project, of his industrial design process. Lenses for Design describes and explains the unique, creative process of American industrial designer and educator, Josh Owen. Project by project, Owen illustrates and decodes his philosophy and approach to design inventionand problem solving. His designs combine clarity of purpose and functional efficacy with emotive and tactile qualities that will prove instructive and inspirational. JOSH OWEN is a designer and professor of Industrial Design at Rochester Institute of Technology in New York. His work has been featured at the Venice Biennale and is in the permanent design collections of the Centre Georges Pompidou, Chicago Athenaeum, Musée des Beaux-Arts de Montreal, National Museum of American Jewish History, Philadelphia Museum of Art, and the Taiwan Design Museum, among others. Significant manufacturers in the U.S. and Europe produce his home/design, furniture, and office products.

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Architectural practice Conran + Partners aim to create spaces and places that improve the quality of people’s lives and the built fabric of our towns and cities. Adopting a multi-disciplinary approach which embraces architecture and interiors, the practice’s portfolio encompasses residential projects, hotels and restaurants, as well as work and retail spaces, mixed-use developments and master planning, with commissions across the UK, Europe and Asia.The practice benefits from a long and prestigious history, with decades of experience gained under the leadership of Sir Terence Conran. Under his stewardship, the firm was responsible for iconic London designs ranging from Bluebird Café and Quaglinos through to Butler’s Wharf and The Design Museum. This book shows how the current team at Conran + Partners is building upon this rich heritage, while also taking the firm onwards into new sectors and fresh parts of the world, embracing 21st-century challenges.

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The volume traces over 50 years of activity in the field of industrial design by Antonio Citterio, one of the masters of contemporary design. Introduced by Andrea Branzi and Francesco Bonami, the volume - structured in seven chapters - offers an accurate and extensive account of a work that has seen the production of over 600 products, united by a stylistic code capable of combining a discreet and elegant modernity with a meticulous attention to detail: from the Diesis series and the Baia sofa, designed with Paolo Nava and which mark the beginning of a ten-year collaboration with B&B Italia, to the important collaborations with Flexform, Arclinea, Vitra, Flos, Axor, up to the most recent works with Cassina and Illy. The rich iconographic repertoire includes product images, archival photographs - some of which tell the “behind the scenes” of the birth of some design icons - and autographed sketches. Texts by Stefano Casciani, Francesca Picchi, Deyan Sudjic (former director of the Design Museum of London).

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Stephen Bayley was the person for whom the term "design guru" was coined, something he accepts with what he likes to think of as self-deprecating irony. After a short and blameless period in provincial academe, he joined Terence Conran in an attempt to popularise design. This resulted in The Boilerhouse Project in London's V&A which became the most successful gallery of the eighties. The Boilerhouse evolved into the unique Design Museum which Mrs Thatcher opened in 1989, after some finger wagging and insisting it should not be called a "museum". During this period he learnt a lot about the perversity of genius and the absurdity of ambition. Stephen Bayley has written many books and hundreds of articles which have shaped the popular understanding of design. This is his first attempt at fiction. He is Chairman of The Royal Fine Art Commission Trust, an honorary visiting professor at the Liverpool University School of Architecture and a Chevalier de l'Ordre Des Arts et Des

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The book, with contributions from personalities from the world of design, art and of architecture, recounts some of the main works designed by ACPV ARCHITECTS - founded by Antonio Citterio and Patricia Viel in 2000 - through photographs by Carlo Valsecchi.Structured in two parts, the book retraces in the first half - through a series of 126 photographs by the artist Carlo Valsecchi, taken during 12 years of travel between Italy, Germany and Taiwan - the architectural artefacts of ACPV ARCHITECTS, in a process of continuous exchange between the built environment, the landscape and the complexity of the city; the second part of the book is a collection of project histories, from their conception, to their evolution, to their completion, in a kind of logbook' in which the voices of the ACPV ARCHITECTS' designers themselves tell the story.The book is enriched by contributions from the art critic Francesco Bonami, the former director of the Design Museum in London Deyan Sud

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Stephen Bayley was the person for whom the term "design guru" was coined, something he accepts with what he likes to think of as self-deprecating irony. After a short and blameless period in provincial academe, he joined Terence Conran in an attempt to popularise design. This resulted in The Boilerhouse Project in London's V&A which became the most successful gallery of the eighties. The Boilerhouse evolved into the unique Design Museum which Mrs Thatcher opened in 1989, after some finger wagging and insisting it should not be called a "museum". During this period he learnt a lot about the perversity of genius and the absurdity of ambition. Stephen Bayley has written many books and hundreds of articles which have shaped the popular understanding of design. This is his first attempt at fiction. He is Chairman of The Royal Fine Art Commission Trust, an honorary visiting professor at the Liverpool University School of Architecture and a Chevalier de l'Ordre Des Arts et Des

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2018 marks the fiftieth anniversary of the first international symposium of silver jewellery Jablonec '68. Thanks to the liberalisation endeavours as part of the 'Prague Spring', European jewellery artists from East and West came together for a 'summit' at the invitation of the Czech artists' association in Jablonec, northern Bohemia. On the guest list were such renowned names as Anton Cepka, Hermann Junger and Bruno Martinazzi - artists celebrated today as the founders of studio jewellery. The jewellery pieces that developed at that time have remained in the Muzeum skla a bizuterie in Jablonec nad Nisou and to this day have lost nothing of their exceptional and pioneering aura. This publication - which contains a reprint of the original catalogue from 1968 - makes these pieces accessible to a wider audience for the very first time. A document that in a wholly authentic way allows the reader to experience this unique historical moment in the history of the international studio jewellery scene. Text in English and German. Accompanies the exhibition at Die Neue Sammlung The Design Museum, Munich (DE), 10 March-3 June 2018.

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Illustrated with contemporary case studies, Curating Design provides a history of and introduction to design curatorial practice both within and outside the museum. Donna Loveday begins by tracing the history of the collecting and display of designed objects in museums and exhibitions from the 19th century 'cabinet of curiosities' to the present day design museum. She then explores the changing role of the curator since the 1980s, with curators becoming much more than just ‘keepers’ of a collection, with a remit to create narrative and experiential exhibitions as well as develop the museum’s role as a space of learning for its visitors. Curating as a practice now describes the production of a number of cultural and creative outputs, ranging from exhibitions to art festivals; shopping environments to health centres; conferences to film programming as well as museums and galleries. Loveday explores how design has come to the fore in curatorial practice, with new design museums opening around the world as well as blockbusting exhibitions of fashion and popular culture. Interviews with leading practitioners from international design and arts museums provide a spotlight on contemporary challenges and best practice in design curatorship.

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Illustrated with contemporary case studies, Curating Design provides a history of and introduction to design curatorial practice both within and outside the museum. Donna Loveday begins by tracing the history of the collecting and display of designed objects in museums and exhibitions from the 19th century 'cabinet of curiosities' to the present day design museum. She then explores the changing role of the curator since the 1980s, with curators becoming much more than just ‘keepers’ of a collection, with a remit to create narrative and experiential exhibitions as well as develop the museum’s role as a space of learning for its visitors. Curating as a practice now describes the production of a number of cultural and creative outputs, ranging from exhibitions to art festivals; shopping environments to health centres; conferences to film programming as well as museums and galleries. Loveday explores how design has come to the fore in curatorial practice, with new design museums opening around the world as well as blockbusting exhibitions of fashion and popular culture. Interviews with leading practitioners from international design and arts museums provide a spotlight on contemporary challenges and best practice in design curatorship.

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Gisbert Stach's (b. 1963) monograph Jewellery and Experiment presents a multifaceted opus from twenty-five years of gold- and silversmithing. In his oeuvre the primarily conceptual artist combines jewellery with video, photography and performance. One focus of his work deals with processes of transformation and experiment - pieces disappear through chemical dissolution, and form is determined by agencies of growth in nature. Stach works with means of alienation and irritation. Ground amber serves as pigment, which he works into jewellery pieces in the form of fish fingers, sliced bread or schnitzel. A further characteristic of his work is the performative act, for example when brooches are pelted with knives. Gisbert Stach is represented in numerous museums and collections, including Die Neue Sammlung - The Design Museum, Munich (DE); Fondazione Cominelli, Brescia (IT); Museo de Arte Moderno, Tarragona (ES); Museum of Arts & Crafts, Itami (JP); Gallery of Art, Legnica (PL); Museum of Bohemian Paradise, Turnov (CZ); Amber Museum, Gdansk (PL). Published to accompany exhibitions at Arnoldsche Art Publishers, Stuttgart (DE), 9-11 November 2018, and Bayerischer Kunstgewerbeverein (BKV), Munich (DE) 28 February-24 March 2019. Text in English and German.

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‘Jens Quistgaard is a designer’s book, tightly focused on materials and construction details. This is apparent from the moment you pick it up.’ – The New Yorker The first authoritative monograph on the life and work of the celebrated Danish-American designer Jens Quistgaard – an unsung hero of Danish Modern and Mid-century Modern design Jens Quistgaard (1919–2008), considered one of the founders of Scandinavian Modern style, spent 30 years as chief designer at the American company Dansk Designs, resulting in more than 4,000 products. His design philosophy – that utilitarian, everyday items should function harmoniously – influenced his approach to everything from spoons and pans to crockery and pepper mills, and is as relevant today as it was half a century ago. Quistgaard’s work is represented at major museums in Europe and the USA, including Design Museum Denmark, MoMA, New York, and the British Museum, London, with many of his designs still in production to this day. With never-before-seen sketches, archival photography, case studies, ephemera, and an illustrated inventory of his designs, this book delves deep into Quistgaard’s life and work to reveal his critical contribution to design history.

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Arranged chronologically, this book follows the arc of Gehry's later career, during which he has focused mainly on public and cultural facilities. The book explores how Gehry has overcome technological setbacks and aesthetic backlash, never wavering from his vision. It examines his work in the context of the urban environment, showing how Gehry continually strives to make cities "less boring" and to create urban buildings that echo their surroundings. The buildings profiled here - including the Vitra International Furniture Manufacturing Facility and Design Museum in Switzerland, Walt Disney Concert Hall in Los Angeles, the 8 Spruce Street Skyscraper (Beekman Tower) in New York, and the Fondation Louis Vuitton - are represented in dazzling colour photographs as well as preparatory drawing, plans and models. From his early years working within the L.A. Art Scene, to his Pritzker-winning stardom, to his current fascination with the application of computer-aided-design in such areas as cancer research, Frank Gehry, now in his ninth decade, continues to surprise and inspire the public. This informative, fascinating volume is a must-have for his ardent fans and anyone interested in architecture.

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'Bayley, the author of books on style, design and taste, tells the Habitat story with his customary polycultural panache . . . [Mavity is] good at conveying the experience of being in a room with Conran' Sunday TimesTerence Conran, a visionary and a myopic. A design entrepreneur and imaginative restaurateur, he was a democratising idealist who was also a selfish hedonist. His influence is everywhere in modern Britain from where we live to what we eat. Terence: The Man Who Invented Design is the most definitive, intimate and revelatory biography of this design legend, by two of his closest collaborators, Roger Mavity and Stephen Bayley. Frank, amusing, indiscreet, sharp, rude, respectful and knowing, it tells Terence's story as it evolved, from before Habitat's humble chicken brick to Bibendum's sophisticated poulet de Bresse, via personal successes and corporate calamities, culminating in that peculiar temple to the religion he invented: The Design Museum. It celebrates Terence's genius and immeasurable impact on British life - and ensures his rightful status as national treasure. Terence: The Man Who Invented Design is the most candid, up-close insight into the man and myth.

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'A terrific read, bubbling with anecdotes and insight' Daily Mail, 2021's best biographies'Bayley, the author of books on style, design and taste, tells the Habitat story with his customary polycultural panache . . . [Mavity is] good at conveying the experience of being in a room with Conran' Sunday TimesTerence Conran, a visionary and a myopic. A design entrepreneur and imaginative restaurateur, he was a democratising idealist who was also a selfish hedonist. His influence is everywhere in modern Britain from where we live to what we eat. Terence: The Man Who Invented Design is the most definitive, intimate and revelatory biography of this design legend, by two of his closest collaborators, Roger Mavity and Stephen Bayley. Frank, amusing, indiscreet, sharp, rude, respectful and knowing, it tells Terence's story as it evolved, from before Habitat's humble chicken brick to Bibendum's sophisticated poulet de Bresse, via personal successes and corporate calamities, culminating in that peculiar temple to the religion he invented: The Design Museum. It celebrates Terence's genius and immeasurable impact on British life - and ensures his rightful status as national treasure. Terence: The Man Who Invented Design is the most candid, up-close insight into the man and myth.

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The Swiss artist David Bielander (b.1968) is one of the most significant proponents of contemporary art jewellery in the world. With him, nothing is what it seems: corrugated cardboard is actually silver or gold, Wiener sausages are a chair in a coffee house, shapely lips are made of rubber...This ambiguity distinguishes his work as much as his exceptional knowledge of materials and artisanal skill. Created with the support of Pro Helvetia, Schweizer Kulturstiftung, David Bielander offers the first, comprehensive review of this multi-award-winning artist, who with his conceptual reflection and power of imagination creates works full of wit and sensuality. With essays by: Gijs Bakker, Maria Cristina Bergesio, Rutger Emmelkamp, Karl Fritsch, Toni Greenbaum, Florian Hufnagl, Bernhard Schobinger, Marjan Unger, Jorunn Veiteberg et al. David Bielander is represented in numerous museums worldwide. His art is on permanent loan at the Danner Foundation, Munich (DE), and can also be found at Die Neue Sammlung - The Design Museum, Schmuckmuseum Pforzheim (DE), Bundesamt fur Kultur Schweiz at mudac, Lausanne (CH), CODA Museum, Apeldoorn (NL), the National Gallery of Australia, Canberra (AU), Musee des Arts decoratifs, Paris (FR), FNAC, Paris (FR), Middlesbrough Institute of Modern Art (UK), Hiko Mizuno College of Jewelry, Tokyo (JP), Dallas Museum of Art, Rose-Asenbaum Collection (US), Los Angeles County Museum of Art (US), and The Metropolitan Museum of Art, New York (US).

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Winfried Kruger (born 1944) belongs to that generation of jewellery artists who witnessed the birth of avant-garde jewellery in the 1960s. The skilled goldsmith liberated himself from precision, fineness and other virtues of his craft in order to allow free rein to his creativity. For Kruger jewellery is ever-present. From the tread of a shoe via the launch pad of a firework to the set of a science fiction film - he finds inspiration in all of these things. Translated into metal, extraordinary artworks are then created, which in the examination of ideas, form, materiality and surface show a modern, innovative understanding of jewellery, which he has imparted to his students over twenty years as lecturer at the technical college for design in Pforzheim. In spite of this, Winfried Kruger has, as far as publishing his work is concerned, played hard to get. For the very first time this monograph presents the artist's work in a comprehensive retrospective, whose focus rests on the work from the last twenty years.Winfried Kruger is represented in numerous prestigious museums and collections, including Schmuckmuseum Pforzheim (DE), Designmuseo, Helsinki (FI), Museum fur Kunst und Gewerbe Hamburg (DE), Stedelijk Museum's-Hertogenbosch (NL), Musee des Beaux Arts de Montreal (CAN), Die Neue Sammlung - The International Design Museum Munich (DE), Galerie Marzee, Nijmegen (NL), Musee de design et d'arts appliques contemporains, Lausanne (CH).

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A beautifully illustrated retrospective of Art Nouveau architect and designer Hector Guimard, positioning him at the forefront of the modernist movement The aesthetic of architect Hector Guimard (1867–1942) has long characterized French Art Nouveau in the popular imagination. This groundbreaking book showcases all aspects of his artistry and recognizes the fundamental modernity of his work. Known for, among other things, the decorative entrances to the Paris Métro and the associated lettering, he often looked to nature for inspiration, and combined materials such as stone and cast iron in unique ways to create designs composed of curves and waves that evoked movement. Guimard broke away from his classical Beaux-Arts training to advocate a modern, abstract style; he also pioneered the use of standardized models for his design objects and experimented with prefabricated designs in his social housing commissions, advancing the technology of the time. With copious, beautifully reproduced illustrations of his architectural drawings as well as his furniture, jewelry, and textile designs, this volume explores Guimard’s full oeuvre and elucidates the significance of his work to the history of modern art. Essays by an international group of scholars present Guimard as a visionary architect, a shrewd entrepreneur, an industrialist, and a social activist.Published in association with the Richard H. Driehaus MuseumExhibition Schedule:Cooper Hewitt, Smithsonian Design Museum, New York (November 17, 2022–May 21, 2023)The Richard H. Driehaus Museum, Chicago (June 22, 2023–January 7, 2024)

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The incredible life story of one of the 20th century's most important designers, who knew everyone from Hemingway to Picasso.Ettore Sottsass and the Poetry of Things chronicles the life and times of one of the most important, prolific, and, above all, interesting designers and architects of the 20th century. Sottsass (1917-2007), originally trained as an architect and worked as a design consultant for Olivetti, where he developed the iconic Valentine typewriter, before going on to found the Memphis Group in the 1980s, ushering in an era of influential designs in furniture, ceramics and lighting that continue to inspire design minds today with their flamboyance and use of color.Author Deyan Sudjic (Director of London's Design Museum) does not limit his narrative to an examination of Sottsass' iconic designs. Though a native son of Italy, Sottsass cast a shadow of influence on the entire world, traveling extensively over the course of his life and interacting with some of the 20th century's most iconic figures, including Picasso, Hemingway and Allen Ginsberg. Sudjic's writing, complemented by unpublished personal photographs from Sottsass' archive, offers a unique view of Sottsass from the perspective of the world that surrounded him, recounting anecdotes of encounters between the designer and his famous contemporaries. The result is a unique and comprehensive portrait not only Sottsass but of the last 100 years of design in Italy and around the world.Features anecdotes of his encounters with the biggest creatives of the time, and details of his influences and inspirations, documenting the contemporary design scene both in Italy and abroad.

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Deyan Sudjic's The Edifice Complex: The Architecture of Power is a fascinating exploration of the language of architecture as an insight into the psychology of power, from tyrants to billionaires. Why do presidents and prime ministers, tycoons and tyrants share such a fascination with grand designs? Is it to impress or terrify, to wield state power, make a bid for immortality or just satisfy their egos? From Hitler's vast Chancellery to Saddam Hussein's Mother of all Battles mosque, from Olympic stadiums to Donald Trump's excesses, Deyan Sudjic examines the murky relationship between buildings, money and politics, revealing the power of architecture - and the architecture of power. 'A thrilling and passionately indignant trawl through vanity's most polluted depths' The Times 'An often frightening, sometimes hilarious set of stories of brutality, absurdity and occasionally beauty' Evening Standar 'Punchily written ... deftly amusing ... a closely argued, brilliantly marshalled, important book' Daily Mail 'Informed, lively and intelligent ... an asylum of power-mad politicians and Croesus-rich patrons' New Statesman 'By turns funny, acidic, penetrating and provocative ... as compelling a read as a popular novel' Norman Foster Director of the Design Museum, Deyan Sudjic was born in London of Yugoslav parents. He is a former architecture critic for the Observer, and a visiting professor at the Royal College of Art. Sudjic was Director of the Venice Architecture Biennale in 2002 and is author of The Edifice Complex, the much-praised 100-Miles City, the best-selling Architecture Pack, The Language of Things and monographs on John Pawson, Ron Arad and Richard Rogers.

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A *New* Program for Graphic Design is the first Communication Design textbook expressly of and for the 21st century. Synthesizing the pragmatic with the experimental, this volume builds upon mid- to late-20th-century pedagogical models to convey advanced principles of contemporary design in an understandable form for students of all levels. David Reinfurt, a graphic designer, writer, educator and one half of design collaboration Dexter Sinister, has developed a graphic design curriculum at Princeton University in which three courses provide a broad and comprehensive introduction to the field for undergraduate students coming from a range of other disciplines. These courses Typography, Gestalt and Interface are the foundation of this book. Through a series of in-depth historical case studies (from Benjamin Franklin to the Macintosh computer) and assignments that progressively build in complexity, A *New* Program for Graphic Design serves as a practical guide for designers looking to understand and shape the increasingly networked world of information and design. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and The Serving Library (2012), graphic designer and teacher David Reinfurt (born 1971) has been involved in several studios and collectives that have reimagined graphic design, publishing and archiving in the 21st century. His work is included in the collections of the Walker Art Center, the Whitney Museum of American Art, the Cooper Hewitt National Design Museum and the Museum of Modern Art, but can also be accessed on a daily basis: he was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. Reinfurt teaches at Princeton University.

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"If you are determined to encourage creativity and provide a collaborative environment that will bring out the best in people, you will want this book by your side at all times." —Bill Moggridge, Director of the Smithsonian's Cooper-Hewitt National Design Museum "Make Space is an articulate account about the importance of space; how we think about it, build it and thrive in it." —James P. Hackett, President and CEO, Steelcase An inspiring guidebook filled with ways to alter space to fuel creative work and foster collaboration. Based on the work at the Stanford University d.school and its Environments Collaborative Initiative, Make Space is a tool that shows how space can be intentionally manipulated to ignite creativity. Appropriate for designers charged with creating new spaces or anyone interested in revamping an existing space, this guide offers novel and non-obvious strategies for changing surroundings specifically to enhance the ways in which teams and individuals communicate, work, play--and innovate. Inside are: Tools--tips on how to build everything from furniture, to wall treatments, and rigging Situations--scenarios, and layouts for sparking creative activities Insights--bite-sized lessons designed to shortcut your learning curve Space Studies--candid stories with lessons on creating spaces for making, learning, imagining, and connecting Design Template--a framework for understanding, planning, and building collaborative environments Make Space is a new and dynamic resource for activating creativity, communication and innovation across institutions, corporations, teams, and schools alike. Filled with tips and instructions that can be approached from a wide variety of angles, Make Space is a ready resource for empowering anyone to take control of an environment.

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Master of the Midcentury: The Architecture of William F. Cody is the first, long-overdue book on this key Palm Springs architect, abundantly illustrated and detailed. Of the architects who made Palm Springs a crucible of midcentury American modernism, William F. Cody (1916-1978) was one of the most prolific, diverse, and iconic. Directing a practice ranging from residences to commercial centers and industrial complexes to master plans, Cody's designs are so recognizable that they provide visual shorthand for what is widely hailed as "Desert Modern." While his architecture was disciplined and technically innovative, Cody did not practice an austere modernism; he imbued in his projects a love for social spaces, rich with patterns, texture, color, and art. Though the majority of Cody's built work was concentrated in California and Arizona, he had commissions in other western states, Hawaii, Mexico, Honduras, and Cuba. From icons like the Del Marcos Hotel (1946), to inventive country clubs like the Eldorado (1957), to houses for celebrities (Frank Sinatra, Bing Crosby, Walt Disney), Cody's projects defined the emerging West Coast lifestyle that combined luxury, leisure, and experimental design. Cody also pushed the boundaries of engineering, with beams and roof slabs so thin that his buildings seemed to defy gravity. Master of the Midcentury is the first monograph devoted to Cody, authored by the team that curated the acclaimed exhibition Fast Forward: The Architecture of William F. Cody at the Architecture and Design Museum in Los Angeles: his daughter, Cathy Cody, design historian Jo Lauria, and architectural historian Don Choi. Replete with photographs of extant and now-lost structures, as well as masterful color renderings and drawings for architectural commissions and plans for vanguard building systems, Master of the Midcentury is the authoritative resource on Cody.

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