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a brief overview from the design point of view with emphasis on the current Dutch design scene.
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DESIGNCRAFTS ART
1920
1900
1940
1960
1980
1990
2000
2010
a brief overview from the design point of viewwith emphasis on the current dutch design scene
DESIGNCRAFTS ART1900
1940
1960
1980
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2010
1920
all the ideas are expressed in material (usually com-ing from the perspec-tive of one material based discipline)
material is just a means of expressing the idea (especially conceptual design)- working for client(originally intended for)
free of outsiderestrictions - can start from material or from idea
DESIGNCRAFTS ART
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ARTS AND CRAFTS
The Arts and Crafts Move-ment began primarily as
a search for authentic and meaningful styles for the
19th century and as a reac-tion to the eclectic revival
of historic styles of the Vic-torian era and to “soulless” machine-made production
aided by the Industrial Revolution.
1900
DESIGNCRAFTS ART
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DESIGNCRAFTS ART
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DESIGNCRAFTS ART1900
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1920 MODERNISMFUNCTIONALITY = GOOD DESIGN
FUNCTIONFUNCTIONAL CERAMICS(cleaning, washing, eating)
DESIGNCRAFTS ART
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MODERNISMFUNCTION
FUNCTIONAL CERAMICS(cleaning, washing, eating)
DESIGNCRAFTS ART
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MODERNISMFUNCTION
FUNCTIONAL CERAMICS(cleaning, washing, eating)
DESIGNCRAFTS ART
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FUNCTIONAL CERAMICS(cleaning, washing, eating)
AS OPPOSED TO CERAMICS AS SUPERFLOUS GOODS
DESIGNCRAFTS ART
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DESIGNCRAFTS ART1900
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1920 MODERNISMREADY MADE
DESIGNCRAFTS ART1900
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1920 MODERNISMFUNCTIONALITY = GOOD DESIGN
Bauhaus (Walter Gropius)architects became designers
DESIGNCRAFTS ART
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1920 MODERNISMCERAMICS IN BAUHAUS
Theodor BoglerMarguerite Friedlaender
Otto Lindig
Walter Gropius
DESIGNCRAFTS ART
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DESIGNCRAFTS ART
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ORNAMENT AS OPPOSED TO FUNCTION
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1920 MODERNISMORNAMENT
Adolf Loos “In a highly productive nation, ornament is no longer a natural
product of its culture, and therefore represents backwardness or even a
degenerative tendency.”
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1920 MODERNISMFUNCTION AS ORNAMENT
Function has become a purpose per se
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1960 CONCEPTUAL ARTSol LeWitt
“In conceptual art the idea or concept is the most important aspect of the
work. When an artist uses a concep-tual form of art, it means that all of
the planning and decisions are made beforehand and the execution is a
perfunctory affair. The idea becomes a machine that makes the art.”
DESIGNCRAFTS ART
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1980 POSTMODERNISMMEMPHIS
Ettore SottsassMatteo Thun
“No-one mentioned forms, colours, styles, decorations,” observed Radice. That was the point. After decades of modernist doctrine, Sottsass and his collaborators longed to be liberated from the tyranny of smart, but soul-
less ‘good taste’ in design.”
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1990 CONCEPTUAL DESIGNDUTCH DESIGN = DROOG
Dutch platform of conceptual design promotes the work of designers who
believe that form, function, use of material and decoration are rigorous-
ly subordinate to underlying ideas. Concept, humour, simplicity, and
comment on the world and its own discipline come first.
READY MADE
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POSTMODERNISMDUTCH DESIGN = DROOG DESIGN
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2000CONCEPTUAL DESIGN
IN HOLLANDGROWING INTEREST IN CRAFTS
Awareness that traditional craft is an excellent means of telling stories and visualising ideas has penetrated the world of contemporary art and de-
sign. Traditional techniques are not only the means but also the goal.
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STORYTELLINGEMOTIONAL DESIGN
IMPORTANCE OF CONTEXT
Royal MakkumHella JongeriusMarcel WandersWieki Sommers
Studio JobPiet Hein Eek
Atelier NLVincent de Rijk
Geert Lap
DESIGN IS OVELAPING WITH ART
GROWING INTEREST IN CRAFTSEXPERIMENTS WITH MATERIAL
DESIGNCRAFTS ART
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STORYTELLINGEMOTIONAL DESIGN
IMPORTANCE OF CONTEXT
DESIGN IS OVELAPING WITH ART
GROWING INTEREST IN CRAFTSEXPERIMENTS WITH MATERIAL
Hella JongeriusWieki SommersMarcel WandersRoyal Makkum
Baukje Trenning Studio Job
Piet Hein EekLonny van Rijswijck
DESIGNCRAFTS ART
1920
1900
1940
1960
1980
1990
2000
2010
2000
STORYTELLINGEMOTIONAL DESIGN
IMPORTANCE OF CONTEXT
Hella JongeriusWieki SommersMarcel WandersRoyal Makkum
Baukje Trenning Studio Job
Piet Hein EekLonny van Rijswijck
DESIGN IS OVELAPING WITH ART
GROWING INTEREST IN CRAFTSEXPERIMENTS WITH MATERIAL
DESIGNCRAFTS ART
1920
1900
1940
1960
1980
1990
2000
2010
2000
STORYTELLINGEMOTIONAL DESIGN
IMPORTANCE OF CONTEXT
DESIGN IS OVELAPING WITH ART
GROWING INTEREST IN CRAFTSEXPERIMENTS WITH MATERIAL
Hella JongeriusWieki SommersMarcel WandersRoyal Makkum
Baukje Trenning Studio Job
Piet Hein EekLonny van Rijswijck
DESIGNCRAFTS ART
1920
1900
1940
1960
1980
1990
2000
2010