Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
612-822-4611

  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
German Design 1949-1989: Two Countries, One History

German Design 1949-1989: Two Countries, One History

Geisler, Thomas A.
Nemecková, Klara
Kries, Mateo

Paperback

Furniture DesignGeneral DesignIndustrial Design

Currently unavailable to order

ISBN10: 3945852447
ISBN13: 9783945852446
Publisher: Vitra Design Museum
Published: Jun 15 2021
Pages: 320
Weight: 3.00
Height: 1.20 Width: 8.60 Depth: 11.00
Language: English

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 History does 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.

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