By Mienke Simon Thomas
From the vibrant abstraction of the Rietveld chair to the dry wit of the 'milkbottle lamp' via layout cooperative Droog, smooth layout within the Netherlands has continually been a hotbed of experimentation. Dutch designers have always driven to the boundaries something from posters to postage-stamps, domestic furniture to road signage, ceramics to urban airports. certainly, within the final decade or so, Dutch layout has turn into a world phenomenon, virtually a model in itself, with usual courses in magazines and books selling the extraordinary output of this small country.This e-book takes an in-depth glance not only at designs made within the Netherlands, yet in the back of the works created in the course of the 20th century and past. writer Mienke Simon Thomas, a curator at one in all Holland's top museums, presents a compelling thematic account, guiding the reader in the course of the beginnings of crafts schooling, the debates of layout as artwork, the ethical and social beliefs of modernism, the hot occupation of commercial dressmaker, state-sponsored tasks, and conceptual layout items and 'anti-design'. As she argues, Dutch layout turns out to were encouraged by means of the desire to be sensible, uncomplicated and reasonable, yet she additionally unearths the way it has concurrently embraced luxurious, ornament or even exclusivity.A much-needed creation to Dutch designs and their creators – in addition to the consumers who commissioned them and the kingdom projects that supported them – this e-book can be crucial analyzing for designers, historians and most people with an curiosity in layout.
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Extra resources for Dutch design : a history
Both felt that it ultimately made little difference whether you had machine or handcrafted production. What mattered most was improving the lot of workers. In the end the inevitable modernization of industrialized production meant that the vva’s idealistic plan never came to anything. The Founding of the VANK Developments in design education and the attendant emancipation of the artist-craftsman led shortly after 1900 to the establishing of their own professional body. Designers felt increasingly less at home in painters’ societies or architectural associations, to which they had often belonged until then.
M. Goudriaan, 1922–4. Piet Zwart, ‘tempo 2’ cigarette packet, 1932–4. 7 Jan Eisenloeffel and Piet Zwart represented the outer extremes of a wide range of views about the role of art in design during the ﬁrst half of the twentieth century. The major difference between the German and Dutch public debate on the position of art in modern design was the timing: in Germany this took place in 1914; in the Netherlands it was ﬁfteen years later. The Arts in the VANK H. P. Berlage and Piet Zwart (Leerdam glassworks), yellow pressedglass breakfast service, 1924.
The vva came up with a plan in which workers could take a master examination similar to the medieval guild system. This was fully supported by various established designers, including Karel de Bazel, Antoon Derkinderen and Pierre Cuypers. Between 1900 and 1907 De Bazel, as a member of the vva technical committee, often drew up the designated assignments for the master examination for furniture makers, including ‘a mirror frame from mahogany with inlay work’, or ‘an armchair with a curved back’.