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In many different parts of the world modern furniture elements have
served as material expressions of power in the post-war era. They
were often meant to express an international and in some respects
apolitical modern language, but when placed in a sensitive setting
or a meaningful architectural context, they were highly capable of
negotiating or manipulating ideological messages. The agency of
modern furniture was often less overt than that of political
slogans or statements, but as the chapters in this book reveal, it
had the potential of becoming a persuasive and malleable ally in
very diverse politically charged arenas, including embassies,
governmental ministries, showrooms, exhibitions, design schools,
libraries, museums and even prisons. This collection of chapters
examines the consolidating as well as the disrupting force of
modern furniture in the global context between 1945 and the
mid-1970s. The volume shows that key to understanding this
phenomenon is the study of the national as well as transnational
systems through which it was launched, promoted and received. While
some chapters squarely focus on individual furniture elements as
vehicles communicating political and social meaning, others
consider the role of furniture within potent sites that demand
careful negotiation, whether between governments, cultures, or
buyer and seller. In doing so, the book explicitly engages
different scholarly fields: design history, history of interior
architecture, architectural history, cultural history, diplomatic
and political history, postcolonial studies, tourism studies,
material culture studies, furniture history, and heritage and
preservation studies. Taken together, the narratives and case
studies compiled in this volume offer a better understanding of the
political agency of post-war modern furniture in its original
historical context. At the same time, they will enrich current
debates on reuse, relocation or reproduction of some of these
elements.
In many different parts of the world modern furniture elements have
served as material expressions of power in the post-war era. They
were often meant to express an international and in some respects
apolitical modern language, but when placed in a sensitive setting
or a meaningful architectural context, they were highly capable of
negotiating or manipulating ideological messages. The agency of
modern furniture was often less overt than that of political
slogans or statements, but as the chapters in this book reveal, it
had the potential of becoming a persuasive and malleable ally in
very diverse politically charged arenas, including embassies,
governmental ministries, showrooms, exhibitions, design schools,
libraries, museums and even prisons. This collection of chapters
examines the consolidating as well as the disrupting force of
modern furniture in the global context between 1945 and the
mid-1970s. The volume shows that key to understanding this
phenomenon is the study of the national as well as transnational
systems through which it was launched, promoted and received. While
some chapters squarely focus on individual furniture elements as
vehicles communicating political and social meaning, others
consider the role of furniture within potent sites that demand
careful negotiation, whether between governments, cultures, or
buyer and seller. In doing so, the book explicitly engages
different scholarly fields: design history, history of interior
architecture, architectural history, cultural history, diplomatic
and political history, postcolonial studies, tourism studies,
material culture studies, furniture history, and heritage and
preservation studies. Taken together, the narratives and case
studies compiled in this volume offer a better understanding of the
political agency of post-war modern furniture in its original
historical context. At the same time, they will enrich current
debates on reuse, relocation or reproduction of some of these
elements.
This book examines the emergence and evolution of the discipline of
urban design as articulated through the work of Josep Lluis Sert
(1902-1983), one of its most influential practitioners. Sert was
noted for his city planning and urban development projects in
Europe, South America, and the United States, and the master plans
of his later career were significant for their integration of
natural landscape features into the urban building scheme. With
essays by leading scholars and a wide selection of archival
materials, illustrations, plans, and maps, this book provides a
timely look at the man who advocated the idea of "urban
consciousness" and an architecture that dealt with the total
environment--well before these concepts became commonplace.
Published in association with the Harvard University Graduate
School of Design
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