The fertile dual evolution of design under socialism and capitalism in postwar Germany The cheap, colorful plastic designs of East Germany pitted against the cool functionalism of West German design: German Design 1949-1989: Two Countries, One Historydoes away with such clichés. More than 30 years after German reunification, it presents a comprehensive overview of German design history of the postwar period for the first time ever. With over 300 illustrations and numerous examples from the fields of design--fashion, furniture, graphics, automobile, industrial and interiors--the book shows how design featured in daily life on both sides of the Wall, the important part it played in the reconstruction process and how it served as a propaganda tool during the Cold War. Key objects and protagonists--from Dieter Rams or Otl Aicher in the West to Rudolf Horn or Renate Müller in the East--are presented alongside formative factors such as the Bauhaus legacy and important institutions such as the Hochschule für Gestaltung (HfG) Ulm. The exceptional case of the division of Germany allows a unique comparative perspective on the role design played in promoting socialism and capitalism. While in the Federal Republic to the West, it became a generator of the export economy and the "Made in Germany" brand, in the East it was intended to fuel the socialist planned economy and affordability for broad sections of the population was key. While the book highlights the different realities of East and West, the many cross references that connected design in both are also examined. It impressively illustrates the many facets of German design history in the postwar period: from the domestic sphere to global politics, from industrial products to design's role as a tool of protest that foreshadowed the fall of the Berlin Wall in 1989.

German design and architecture reflects the country’s rich and fraught political history in its structure and aesthetic philosophy. Jeremy Aynsley now offers an in-depth study of this relationship between German history and design since 1870 and the complex principles underlying it. Designing Modern Germany reveals how German attitudes toward national identity, modernity and technology are crucial to understanding German design. Aynsley traces the historical development of German design, beginning in the 1870s with the first dedicated Arts and Crafts schools and stretching through to the famous institutions of the Bauhaus and the Ulm Hochschule für Gestaltung. He analyses the works of leading figures such as Peter Behrens and Hannes Meyer, through to Ingo Maurer and Jil Sander, and many others in design specialties including graphics, industrial and furniture design, fashion and architecture. He also offers the first consideration of the contrasting design traditions of East and West Germany between 1949 and 1989. Whether examining the pre-First World War department store, the National Socialist fashion system or East Germany’s official design culture, Designing Modern Germany reveals that German design significantly affected citizens’ daily lives. An essential read for designers and scholars of German design and history, Designing Modern Germany is a key text for understanding Germany’s major contribution to twentieth-century design.

From the Werkbund to the Bauhaus to Braun, from furniture to automobiles to consumer appliances, twentieth-century industrial design is closely associated with Germany. In this pathbreaking study, Paul Betts brings to light the crucial role that design played in building a progressive West German industrial culture atop the charred remains of the past. The Authority of Everyday Objects details how the postwar period gave rise to a new design culture comprising a sprawling network of diverse interest groups—including the state and industry, architects and designers, consumer groups and museums, as well as publicists and women's organizations—who all identified industrial design as a vital means of economic recovery, social reform, and even moral regeneration. These cultural battles took on heightened importance precisely because the stakes were nothing less than the very shape and significance of West German domestic modernity. Betts tells the rich and far-reaching story of how and why commodity aesthetics became a focal point for fashioning a certain West German cultural identity. This book is situated at the very crossroads of German industry and aesthetics, Cold War politics and international modernism, institutional life and visual culture.

First systematic analysis of modern architecture in Kuwait based on several years of research.From the late 1940s at the inception of the oil exporting industry, via political independence in 1961, through to the late 1980s when Kuwait was invaded, the citystate experienced an extraordinary social and civic transformation, deeply inscribed in its built environment. The old coastal town was radically transformed through architecture and urban planning in the process of gaining wealth and autonomy. Important foreign and local architects found here the possibility to expand their professional horizons and the challenge to compose an entire city, creating important examples of Late Modern Architecture during these four decades. This publication is based on several years of multidisciplinary research, featuring a repertoire of more than 150 buildings, all fully illustrated and analyzed in order to understand the dynamics of change and innovation they represent. By reading the presence of the building in the urban context at the architectural level, this volume examines a wide range of buildings selected for their specific qualitative aspects, as examples of particular design methodologies or typologies, or else for the various forms of adaptation to the peculiarities of local environmental conditions.

In 2019, the Vitra Design Museum will publish the Atlas of Furniture Design, the definitive, encyclopedic overview of the history of modern furniture design. Featuring over 1700 objects by more than 500 designers and 121 manufacturers, it includes approximately 2800 images ranging from detailed object photographs to historical images documenting interiors, patents, brochures, and related works of art and architecture. The basis for the Atlas of Furniture Design is the collection held by the Vitra Design Museum, one of the largest of its kind with more than 7000 works. The book presents selected pieces by the most important designers of the last 230 years and documents key periods in design history, including early nineteenth-century industrial furniture in bentwood and metal, Art Nouveau and Secessionist pieces and works by protagonists of classical modernism and postwar design, as well as postmodern and contemporary pieces. The Atlas of Furniture Design employed a team of more than 70 experts and features over 550 detailed texts about key objects. In-depth essays provide sociocultural and design-historical context to four historical epochs of furniture design and the pieces highlighted here, enriched by a detailed annex containing designer biographies, glossaries, and elaborate information graphics. The Atlas of Furniture Design is an indispensable resource for collectors, scholars and experts, as well as a beautifully designed object that speaks to design enthusiasts.

This eccentric collection of goods features East German consumer products daringly acquired before the breaking down of the wall. From foodstuffs to household appliances, East German packaging and product design--sober yet slightly kitsch--reveals a little-known side of German popular history.

Migration, in its many forms, has often been found at the center of public and private discourse surrounding German nationalism and identity, significantly influencing how both states construct conceptions of what it means to be "German" at any given place and time. The attempt at constructing an ethnically homogeneous Third Reich was shattered by the movement of refugees, expellees, and soldiers in the aftermath of the Second World War, and the contracting of foreign nationals as Gastarbeiter in the Federal Republic and Vertragsarbeiter in the German Democratic Republic in the 1960s and 70s diversified the ethnic landscape of both Cold War German states during the latter half of the Cold War. Bethany Hicks shows how the regional migration of East Germans into the western federal states both during and after German unification challenged essential Cold War assumptions concerning the ability to integrate two very different German populations.