By Bernhard E. Burdek
Der Autor zeigt die Entwicklung des Designs von seinen Anfängen im ausgehenden 19. Jahrhundert über die wichtigsten Bewegungen des 20. Jahrhunderts bis hin zur biologischen Wende, die das 21. Jahrhundert bestimmen wird. Die wichtigsten Grundlagen der Designtheorie und -methodologie werden vorgestellt, besonders auch die kommunikativen Funktionen der Produkte.
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Additional resources for Design; History, Theory and Practice of Product Design
Otl Aicher, Hans Gugelot, and Tomás Maldonado were appointed as the School’s first lecturers. 1956–1958 This phase was characterized by the inclusion of new scientific disciplines in the curriculum. The lecturers, Aicher, Maldonado, Gugelot, and Zeischegg in particular, pointed out the close relationships between design, science, and technology. Max Bill left the School in 1957 because he no longer agreed with the direction it was taking. This phase was also marked by the preparation of an educational model for the School, which Maldonado countersigned in 1958 with a clear statement: “As you can see we have spared no effort to put the work of the School on a precise footing” (Spitz 2001).
In 1955 Dieter Rams – who incidentally studied not only at Ulm but also at the School of Arts and Crafts in Wiesbaden – started work as an architect and interior designer at Braun, where he was already taking on his first product design tasks by 1956 (Burkhardt and Franksen 1980). Hans Gugelot and Herbert Hirche worked with Rams to create the first substantive basis for Braun’s corporate image. 55 56 D E S I G N A N D H I S TO RY HIGH-FIDELITY SOUND SYSTEM, t+a akustik 606 SHELVES, design: Dieter Rams, sd+ > T H E E X A M P L E O F B R AU N 57 THE PRINCIPLES The implementation of functionalist principles is extremely clear in Braun’s products (Industry Forum Design Hannover 1990).
His designs for the Lausitz Glassworks and WMF (Württembergische Metallwarenfabrik) have become so widespread that they occupy an almost anonymous position in everyday culture, because Wagenfeld as a designer gave prominence to his products rather than his person (for his lifework see Manske and Scholz 1987). 37 38 D E S I G N A N D H I S TO RY It should, however, be pointed out that the Bauhaus designs had no influence on the mass culture of the 1930s. Purchasers of Bauhaus products came from intellectual circles, which were open to new design concepts.
Design; History, Theory and Practice of Product Design by Bernhard E. Burdek