By Mienke Simon Thomas
From the vibrant abstraction of the Rietveld chair to the dry wit of the 'milkbottle lamp' by means of layout cooperative Droog, smooth layout within the Netherlands has regularly been a hotbed of experimentation. Dutch designers have always driven to the bounds 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 develop into a world phenomenon, nearly a model in itself, with general courses in magazines and books selling the striking 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 every of Holland's major museums, offers 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 clothier, state-sponsored projects, and conceptual layout gadgets and 'anti-design'. As she argues, Dutch layout turns out to were encouraged by way of the desire to be sensible, easy and cheap, yet she additionally unearths the way it has at the same time 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 nation tasks that supported them – this e-book may be crucial interpreting for designers, historians and most of the people with an curiosity in layout.
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From the vibrant abstraction of the Rietveld chair to the dry wit of the 'milkbottle lamp' by way of layout cooperative Droog, glossy layout within the Netherlands has continuously been a hotbed of experimentation. Dutch designers have regularly driven to the bounds whatever from posters to postage-stamps, domestic furniture to road signage, ceramics to urban airports.
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Extra resources for Dutch design : a history
Wegerif completely ignored the dogmatic Amsterdam designers who feared commercialism – besides, the foreign press was quite taken with his designs. 40 Remarkably, the simple furniture designs were by Karel Sluyterman, a designer who had recently forsaken his earlier, effusive Art Nouveau style. Van Wisselingh did not have a complete interior but submitted individual furniture designs. Gerrit Dijsselhof was represented by, among others, a dividing screen that was prized by the reviewer of The Studio as one of the most noteworthy of the Dutch exhibits: ‘the grand polyptych, with several panels .
In one hand she holds an orb, from which shafts of light radiate down to revitalize a flower. In the other hand is a bleeding heart, from which drops of blood trickle down to regenerate a flower. The message of its caption, ‘Exhibition of Works of Art in the Stedelijk Museum’, must presumably be that knowledge and passion are capable of regenerating the industrial arts. Under Penaat and Van der Sluys, however, the association did not eschew commerce. They created a Publicity and Propaganda Committee and in 1921 set up the Institute for Decorative and Industrial Art (Instituut voor Sier en Nijverheidskunst, ISN), where the business world and government could ﬁnd information about prospective designers.
Mod_Chap1 19/8/08 16:55 Page 34 inspiration. Honesty of materials, simplicity and ‘rationality’ were no doubt the most important starting-points of the Golden Age. The vases, pots and dishes by Van der Hoef sold by ’t Binnenhuis were traditionally made at Amstelhoek from native types of clay. They were decorated with simple, flat, inlaid clay motifs in a contrasting colour or with traditional ringeloor or slip decoration. Jan Eisenloeffel’s silver and copper services were created from plain, geometric shapes ﬁrmly secured to each other with rivets.
Dutch design : a history by Mienke Simon Thomas