2023, ISBN: 3948440484

[EAN: 9783948440480], Neubuch, [PU: Slanted Publishers UG Apr 2023], INDUSTRIAL DESIGN; PRODUKTDESIGN; ARCHITEKT / INNENARCHITEKT; INNENARCHITEKTUR - DESIGN PRODUCT; ADELHART ZIPPELIUS; A… Mehr…

[EAN: 9783948440480], Neubuch, [PU: Slanted Publishers UG Apr 2023], INDUSTRIAL DESIGN; PRODUKTDESIGN; ARCHITEKT / INNENARCHITEKT; INNENARCHITEKTUR - DESIGN PRODUCT; ADELHART ZIPPELIUS; ALLTAGSGEGENSTÄNDE; AUSSTELLUNG; BAZON BROCK; DARMSTADT; DESIGNSCHULE; DESINGESCHICHTE; DOKUMENTATION; FAKSIMILE; GESTALTUNG; GESTALTUNGSWILLE; PETER VON KORNATZKI; THEORIEBILDUNG, Neuware -'Das gewöhnliche Design' (The ordinary Design) is a hidden classic of german design history, something the vinyl era would have called a B-side hit. As early as 1976 a group of students and young professors at the Faculty of Design at the University of Applied Sciences in Darmstadt questioned the way design objects were generally perceived, talked and written about. Frustrated by the contrast of their self-perception as comprehensive designers and the prospect to have future careers as mere product stylists, they were looking for an alternative understanding of what constitutes good design. The group led by Friedrich Friedl and Gerd Ohlhauser started to collect ordinary things such as bottle openers, air pumps or bus timetables. In an ad-hoc approach these objects, all from anonymous authors, where exhibited at the faculty under the title 'The ordinary Design'. This show, which presented only 'boring' everyday commodities, surprisingly received national attention and discussions flared up in the design press. In a comical manner the young designers had used means of traditional exhibition design like velvet covered pedestals, usually reserved for 'high art'. Together with the unspectacular exhibits this provoked or at least irritated the audience. At the same time the absence of any heroic, iconic or aesthetically refined qualities among the things shown seemed to mock the whole design education. The approach was original enough so that the Rhenish Open-Air and Regional Museum Kommern bought the extraordinary ordinary exhibits, repeated the show and printed an exhibition catalog. The catalog (104 pages) contained among others contributions by Bazon Brock, Peter von Kornatzki and Adelhart Zippelius. The 110 black-and-white photographs provide a specific snapshot of what unspectacular product normality meant in the mid-70s.Although this must be considered one of the earliest attempts to anchor appreciation of mundane qualities in design discourse, the catalog became a rarity and is now available in only a few libraries. Newly edited by Frank Philippin and Florian Walzel, the facsimile 'Das gewöhnliche Design' presented by Slanted returns the work to a wider audience. More than just making a design classic available again this renews the question: How much of design is owed to the ordinary In a time that dedicates its cultural attention almost exclusively to novelty and exceptionalism the every day utility is the silent opponent of 'design'.; 'Das gewöhnliche Design' ist ein heimlicher Klassiker der deutschen Designgeschichte, den man in der Vinyl-Ära wohl als B-Side Hit bezeichnet hätte. Bereits 1976 stellte eine Gruppe von Studenten und jungen Professoren am Fachbereich Gestaltung der Fachhochschule Darmstadt die Art und Weise in Frage, wie Designobjekte allgemein wahrgenommen, besprochen und beschrieben wurden. Frustriert vom Gegensatz zwischen ihrem Selbstverständnis als umfassende Entwerfer und der Aussicht auf eine spätere Karriere als bloße Product Stylists suchten sie nach einem alternativen Verständnis dessen, was gutes Design ausmacht. Angeführt von Friedrich Friedl und Gerd Ohlhauser begann die Gruppe gewöhnliche Dinge, wie Flaschenöffner, Luftpumpen oder Busfahrpläne, zu sammeln. Diese Objekte, alle von anonymen Autoren, wurden am eigenen Fachbereich unter dem Titel 'Das gewöhnliche Design' ausgestellt. Diese Schau, die ausschließlich 'langweilige' Alltagsgegenstände präsentierte, fand bundesweite Beachtung und sorgte für Diskussionen in der Designpresse. Auf ironische Weise hatten die jungen Designer traditionelle Ausstellungsmittel wie mit Samt bezogene Podeste benutzt, die normalerweise der 'hohen Kunst' vorbehalten waren. Zusammen mit den unspektakulären Exponaten provozierte dies das Publikum oder irritierte zumindest. Das Fehlen von heroischen, ikonischen oder ästhetisch verfeinerten Qualitäten unter den gezeigten Dingen schien gleichzeitig die gesamte Designausbildung zu verspotten. Der Ansatz war so originell, dass das Rheinische Freilicht- und Landesmuseum Kommern die ungewöhnlich gewöhnlichen Exponate ankaufte, die Ausstellung wiederholte und einen Ausstellungskatalog druckte. Der 104 Seiten starke Katalog enthielt unter anderem Beiträge von Bazon Brock, Peter von Kornatzki und Adelhart Zippelius. Die 110 schwarz-weiß Fotografien geben eine spezifische Momentaufnahme ab, was Mitte der 70er Jahre eine unspektakuläre Produktnormalität bedeutete.Obwohl dies als eine der frühesten Versuche angesehen werden muss, die Würdigung profaner Qualitäten im Designdiskurs zu verankern, wurde der Katalog zur Rarität und ist heute nur noch in wenigen Bibliotheken einsehbar. Neu herausgegeben von Frank Philippin und Florian Walzel legt Slanted das Faksimile 'Das gewöhnliche Design' wieder auf. Damit wird nicht nur ein Designklassiker zugänglich gemacht, sondern auch die Frage neu gestellt: Wie viel Design ist dem Gewöhnlichen geschuldet In einer Zeit, die ihre kulturelle Aufmerksamkeit fast ausschließlich dem Neuen und Außergewöhnlichen widmet, ist der alltägliche Gebrauchsgegenstand der stiller Gegner von 'Design'. 104 pp. Deutsch, Books<

ISBN: 9783948440480

„Das gewöhnliche Design“ (The ordinary Design) is a hidden classic of german design history, something the vinyl era would have called a B-side hit. As early as 1976 a group of students a… Mehr…

„Das gewöhnliche Design“ (The ordinary Design) is a hidden classic of german design history, something the vinyl era would have called a B-side hit. As early as 1976 a group of students and young professors at the Faculty of Design at the University of Applied Sciences in Darmstadt questioned the way design objects were generally perceived, talked and written about. Frustrated by the contrast of their self-perception as comprehensive designers and the prospect to have future careers as mere product stylists, they were looking for an alternative understanding of what constitutes good design. The group led by Friedrich Friedl and Gerd Ohlhauser started to collect ordinary things such as bottle openers, air pumps or bus timetables. In an ad-hoc approach these objects, all from anonymous authors, where exhibited at the faculty under the title „The ordinary Design“. This show, which presented only „boring“ everyday commodities, surprisingly received national attention and discussions flared up in the design press. In a comical manner the young designers had used means of traditional exhibition design like velvet covered pedestals, usually reserved for „high art“. Together with the unspectacular exhibits this provoked or at least irritated the audience. At the same time the absence of any heroic, iconic or aesthetically refined qualities among the things shown seemed to mock the whole design education. The approach was original enough so that the Rhenish Open-Air and Regional Museum Kommern bought the extraordinary ordinary exhibits, repeated the show and printed an exhibition catalog. The catalog (104 pages) contained among others contributions by Bazon Brock, Peter von Kornatzki and Adelhart Zippelius. The 110 black-and-white photographs provide a specific snapshot of what unspectacular product normality meant in the mid-70s. Although this must be considered one of the earliest attempts to anchor appreciation of mundane qualities in design discourse, the catalog became a rarity and is now available in only a few libraries. Newly edited by Frank Philippin and Florian Walzel, the facsimile „Das gewöhnliche Design“ presented by Slanted returns the work to a wider audience. More than just making a design classic available again this renews the question: How much of design is owed to the ordinary? In a time that dedicates its cultural attention almost exclusively to novelty and exceptionalism the every day utility is the silent opponent of „design“. Bücher 22.2 x 15.3 x 2.7 cm Buch , Slanted Publishers UG (haftungsbeschränkt), https://www.thalia.de/shop/home/artikeldetails/EAN9783948440480, Slanted Publishers UG (haftungsbeschränkt), //ww<

ISBN: 9783948440480

„Das gewöhnliche Design“ (The ordinary Design) is a hidden classic of german design history, something the vinyl era would have called a B-side hit. As early as 1976 a group of students a… Mehr…

„Das gewöhnliche Design“ (The ordinary Design) is a hidden classic of german design history, something the vinyl era would have called a B-side hit. As early as 1976 a group of students and young professors at the Faculty of Design at the University of Applied Sciences in Darmstadt questioned the way design objects were generally perceived, talked and written about. Frustrated by the contrast of their self-perception as comprehensive designers and the prospect to have future careers as mere product stylists, they were looking for an alternative understanding of what constitutes good design. The group led by Friedrich Friedl and Gerd Ohlhauser started to collect ordinary things such as bottle openers, air pumps or bus timetables. In an ad-hoc approach these objects, all from anonymous authors, where exhibited at the faculty under the title „The ordinary Design“. This show, which presented only „boring“ everyday commodities, surprisingly received national attention and discussions flared up in the design press. In a comical manner the young designers had used means of traditional exhibition design like velvet covered pedestals, usually reserved for „high art“. Together with the unspectacular exhibits this provoked or at least irritated the audience. At the same time the absence of any heroic, iconic or aesthetically refined qualities among the things shown seemed to mock the whole design education. The approach was original enough so that the Rhenish Open-Air and Regional Museum Kommern bought the extraordinary ordinary exhibits, repeated the show and printed an exhibition catalog. The catalog (104 pages) contained among others contributions by Bazon Brock, Peter von Kornatzki and Adelhart Zippelius. The 110 black-and-white photographs provide a specific snapshot of what unspectacular product normality meant in the mid-70s. Although this must be considered one of the earliest attempts to anchor appreciation of mundane qualities in design discourse, the catalog became a rarity and is now available in only a few libraries. Newly edited by Frank Philippin and Florian Walzel, the facsimile „Das gewöhnliche Design“ presented by Slanted returns the work to a wider audience. More than just making a design classic available again this renews the question: How much of design is owed to the ordinary? In a time that dedicates its cultural attention almost exclusively to novelty and exceptionalism the every day utility is the silent opponent of „design“. Bücher 22.2 x15.3 x2.7 cm Mode & Design, Slanted Publishers UG (haftungsbeschränkt)<

2023, ISBN: 9783948440480

Taschenbuch

Bearbeitung: Harmsen, Lars, Bearbeitung: Kahl, Julia, Slanted Publishers UG (haftungsbeschränkt), Taschenbuch, Auflage: 1, 104 Seiten, Publiziert: 2023-04-20T00:00:01Z, Produktgruppe: Buc… Mehr…

Bearbeitung: Harmsen, Lars, Bearbeitung: Kahl, Julia, Slanted Publishers UG (haftungsbeschränkt), Taschenbuch, Auflage: 1, 104 Seiten, Publiziert: 2023-04-20T00:00:01Z, Produktgruppe: Buch, Deutsch, Verkaufsrang: 1270058, Innenarchitektur, Design, Architektur, Film, Kunst & Kultur, Kategorien, Bücher, Geschichte & Kritik, Kommerziell, Grafikdesign, Taschenbücher, acc906d0-2585-4921-a56f-3ff277850936_4201, acc906d0-2585-4921-a56f-3ff277850936_0, Special Features Stores, Arborist Merchandising Root, Philippin, Frank, Walzel, Florian, Slanted Publishers UG (haftungsbeschränkt), 2023<

2023, ISBN: 9783948440480

Taschenbuch

Bearbeitung: Harmsen, Lars, Bearbeitung: Kahl, Julia, Slanted Publishers UG (haftungsbeschränkt), Taschenbuch, Auflage: 1, 104 Seiten, Publiziert: 2023-04-20T00:00:01Z, Produktgruppe: Buc… Mehr…

Bearbeitung: Harmsen, Lars, Bearbeitung: Kahl, Julia, Slanted Publishers UG (haftungsbeschränkt), Taschenbuch, Auflage: 1, 104 Seiten, Publiziert: 2023-04-20T00:00:01Z, Produktgruppe: Buch, Deutsch, Verkaufsrang: 1092349, Innenarchitektur, Design, Architektur, Film, Kunst & Kultur, Kategorien, Bücher, Geschichte & Kritik, Kommerziell, Grafikdesign, Taschenbücher, acc906d0-2585-4921-a56f-3ff277850936_4201, acc906d0-2585-4921-a56f-3ff277850936_0, Special Features Stores, Arborist Merchandising Root, Philippin, Frank, Walzel, Florian, Slanted Publishers UG (haftungsbeschränkt), 2023<