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Christian Germanaz (1940-) is an industrial French and designer of furniture; active in Paris. He studied in Paris, both at the Ecole Boulle and the Ecole Nationale Superieure des Arts Decoratifs. In 1966, he designed a selection of office furniture and his famous Airborne Half and Half chairs. In 1970, he formed his own design […]Christian Germanaz french industrial designer — Encyclopedia of Design
Design & Development: Leveraging social and economic growth through design policies – by Gabriel Patrocinio and Jose Mauro Nunes (eds.) has just been launched and is available at Amazon (Kindle) and other digital platforms (ePUB).
The book brings together a team of experts from around the world – including Gui Bonsiepe, Victor Margolin and Mugendi K. M’Rithaa (former ICSID President) – to discuss Design as a tool for national and regional development. Two exclusive and previously unpublished documents of the United Nations Industrial Development Organization are also reproduced in the book, after more than four decades.
Originally launched in Brazil, the book received two awards (in Brazil) and took part of two exhibitions in Europe (Lisbon and Madrid), being hailed as “a theoretical and academic milestone, with potential to change the current practice and understanding of Design.”
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As this topic can originate a long and tiring post, I just found great to have this short information at Britannica.com
Visitar: Diseñadores Destacados
Florence Knoll Bassett, a pioneering designer and entrepreneur who created the modern look and feel of America’s postwar corporate office with sleek furniture, artistic textiles and an uncluttered, free-flowing workplace environment, died on Friday in Coral Cables, Fla. She was 101.
Her death was announced by David E. Bright, a spokesman for Knoll Inc., the company she and her husband Hans Knoll ran for many years.
To connoisseurs of Modernism, the mid-20th-century designs of Florence Knoll, as she was known, were — and still are — the essence of the genre’s clean, functional forms. Transcending design fads, they are still influential, still contemporary, still common in offices, homes and public spaces, still found in dealers’ showrooms and represented in museum collections.
Ms. Knoll learned her art at the side of Modernist masters. She was a protégé of the German-American architect Ludwig Mies van der Rohe and Eliel Saarinen, the Finnish architect and teacher and the father of the architect Eero Saarinen. And she worked with the renowned Bauhaus architects Walter Gropius and Marcel Breuer. Throughout her career, influenced by the German Bauhaus school of design, she promoted the Modernist merger of architecture, art and utility in her furnishings and interiors, especially — although not exclusively — for offices.
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Seeking contributors for a session, “Twentieth-Century Design and the Immigrant Professional in the Americas” at the College Art Association annual meeting from February 13-16, 2019 in New York City.
Please submit a 300-500 word abstract to mcguirel at hawaii.edu by the deadline of August 6th.
Although the significant contributions of European designers who fled Nazi Europe for North and Latin America have been long recognized by historians, the broader situation of immigrant professionals – from across the globe – in twentieth-century design history remains an area ripe for scholarly examination.
This session seeks to complicate and enrich our understanding of the roles of immigrant commercial, industrial, and decorative designers in the Americas. As newcomers either by choice or by force, immigrant professionals faced singular challenges as they sought to adapt to their adopted lands.
To what degrees did the economic, ethnic, and professional difficulties they encountered shape the products of American design, design practice, and design culture?
To these ends, papers might examine not only immigrants’ professional strategies and successes but also their challenges and failures.
How did social, economic, and personal hardships, such as racism, discrimination, and cultural politics affect their professional labors?
Did the ideas and methodologies that they brought with them sometimes fail to translate in their new professional, cultural, and aesthetic spheres, and if so, what can these reveal about the history of twentieth-century American design?
Alternatively, how have some immigrant designers or immigrant groups proposed concepts that fundamentally challenged and altered the status quo?
From a historiographic perspective, how have dominant histories of design hindered a more nuanced history of the American immigrant experience?
Papers that examine lesser-known practitioners are particularly welcome, as are papers that interrogate the works of canonical designers from a perspective that highlights their status as immigrants.