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Covering the 1960s and 1970s, this volume explores new ways of
investigating, comparing and interpreting the different domains of
design culture across the Nordic countries. Challenging the
traditional narrative, this volume argues that the roots of the
most prominent features of Nordic design's contemporary
significance are not to be found amongst the objects for the home
collectively branded as 'Scandinavian Design' to great acclaim in
the 1950s, but in the discourses, institutions and practices formed
in the aftermath of that oft-told success story, during the
turbulent period between 1960 and 1980. This is achieved by
employing multidisciplinary approaches to connect the domains of
industrial production, marketing, consumption, public institutions,
design educations, trade journals as well as public debates and
civic initiatives forming a design culture. This book makes a
significant contribution to current, international agendas of
historiographical critique focusing on transnational relations and
the deconstruction of national design histories. This book will be
of interest to scholars in design, design history and Scandinavian
studies. The Open Access version of this book, available at
www.taylorfrancis.com, has been made available under a Creative
Commons Attribution-Non Commercial-No Derivatives 4.0 license.
This book will highlight the motivation for coherent optics in
access and introduce digital coherent optical system in detail,
including advanced modulation formats, architecture of modulation
and detection, and DSP flow for both transmitter and receiver. This
book will also demonstrate potential approaches to re-design and
re-engineer the digital coherent concept from long-haul and metro
solutions to the access network, leveraging reduction in complexity
and cost as well as the benefits of capacity increases and
operational improvements. This book will illustrate the details on
optimization of the digital, optical, and electrical complexity and
standardization and interoperability.
Design culture foregrounds the relationships between the domains of
design practice, design production and everyday life. Its focus is
on contemporary designed objects and the networks between the
multiple actors engaged in their shaping, functioning and
reproduction. It acknowledges the rise of design and the role of
the designer as key components and key challenges of the modern
world. Featuring an impressive range of international case studies,
ranging from examples of everyday design such as IKEA furniture and
amateur graphic design, to the role of the design professional and
the functioning of design within organisations, Design Culture
interrogates what this emergent discipline is, its methodologies,
its scope and its relationships with other fields of study. The
volume's interdisciplinary approach brings fresh thinking to this
fast-evolving field of study.
The history of modern design and architecture has seen many
attempts to embrace and merge different art forms, and to bring art
into the framing of everyday life and the organisation of modern
society, in a process understood as total design or total
architecture. These attempts were historically based on the
romanticist idea of merging all art forms into a uniting and
transgressing work of art, mostly associated with – but certainly
not limited to – Richard Wagner’s theoretical writings and
musical dramas. This utopian dream of the Gesamtkunstwerk, or Total
Work of Art, was intended both to bring unity to the people and to
bring art into the everyday life of their homes, as well as into
factories, cities and even modern media. As a result, the
experiments ranged from music, poetry and drama to architecture,
design, visual communication and city-planning. These ideas of
merging art forms into more immersive and transgressive
installations or design interventions to change everyday life are
widespread today, but their complex and often problematic roots are
mostly ignored. Design and architecture have delivered some of the
broadest and most influential experiments with the Gesamtkunstwerk,
from garden cities for workers and corporate identity design to the
German AEG corporation.
Behind rolling hills, overlooking the fjord and the islands of
Southern Funen in Denmark, you will find Faaborg Museum. With its
boldly coloured walls and decorative tile floors made from local
clay, the building has quite literally sprung from Funen soil in a
symbiosis of local nature and culture. Inside, visitors will find
art by the 'Funen Painters', created during the period 1880 to 1928
where Faaborg was home to one of Denmark's pre-eminent artists'
colonies. With their paintings of rural Funen, farmworkers and
domestic scenes, the artists Peter Hansen, Fritz and Anna Syberg,
Jens Birkholm and Johannes Larsen introduced new subject matter and
new methods of painting in Danish art. Faaborg Museum and the
Artists' Colony presents the history of Faaborg Museum, its
architecture, collection and artists to international audiences for
the first time. Lavishly illustrated, the book features
architectural photographs and plans as well as pictures of the
museum's art.
Design culture foregrounds the relationships between the domains of
design practice, design production and everyday life. Unlike design
history and design studies, it is primarily concerned with
contemporary design objects and the networks between the multiple
actors engaged in their shaping, functioning and reproduction. It
acknowledges the rise of design as both a key component and a key
challenge of the modern world. Featuring an impressive range of
international case studies, Design Culture interrogates what this
emergent discipline is, its methodologies, its scope and its
relationships with other fields of study. The volume's
interdisciplinary approach brings fresh thinking to this
fast-evolving field of study.
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