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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Extra resources for Design: History, Theory and Practice of Product Design
In a migration that echoes the Bauhaus exodus after 1933 – sign is at issue, equal rights although the reasons are very different, of course – many lecturers for tolerance and participation in decision-making are and students from Ulm went out across the world in search of new challenges: – In the 1960s designers from Ulm played a crucial role in setting up the Escola Superior de Desenho (ESDI) in Rio de Janeiro. – At the beginning of the 1970s an Institute of Environmental Design was founded in Paris, although it only existed for a few years.
The parallels here are obvious. During the 1980s art had largely subscribed to Jean want to accept that it has long come of age. WALTER GRASSKAMP, 1991 Baudrillard’s theory of simulation (1985), presenting itself as the art of spectacle and façade. This was demonstrated impressively in the summer of 1987 at the documenta 8 in Kassel. There, design was practically seated on art’s throne, where, as Michael Erlhoff (1987) insisted, it neither belonged nor wanted to be. As well as a number of architects, the design section of docu- menta 8 had invited about fifteen designers to present objects and environments, including the Spaniards Javier Mariscal and Oscar Tusquet Blanca, the Italians Lapo Binazzi, Paolo Deganello, Guglielmo Renzi, Denis Santachiara, and Ettore Sottsass, London-based Ron Arad, the Germans Andreas Brandolini, Florian Borkenhagen, and the Pentagon group.
Later, this type of mass-produced environment was even accused of representing repression and violation of the human psyche (Gorsen, 1979). The work of Alexander Mitscherlich (1965), Theodor W. Adorno’s 1965 lecture “Functionalism Today,” and the contributions of Heide Berndt, Alfred Lorenzer, and Klaus Horn (1968) were especially important milestones in the scientific criticism of functionalism. Criticism of functionalism was much slower to surface within design. Abraham A. Moles (1968) saw instead the problems of an affluent society rearing their heads, and drew from the crisis of functionalism the conclusion that functionalism had to be interpreted even more rigidly.