[EN] The consolidation of the figure of the industrial designer in the United States during the middle decades of the twentieth century is the issue raised by this investigation. This process involves the transition between craft and industry that had begun centuries ago. American designers specialized in a new profession, they set up a shared, multidisciplinary intelligence. Perhaps unwittingly they pioneered in blurring the boundaries between the creative disciplines. It is a valuable model of transformation and adaptability that you can draw conclusions and parallels with the current period, an example with which to prepare and understand the acceleration produced by the third industrial revolution, and the changes produced in the creative professions. There have always been more or less traditional way, ways to mass produce everything around us, from everyday objects to architectures. But it is the second industrial revolution, with the emergence of Taylorism and the Ford revolution, which by new machines and systematization of manufacturing processes introduced a turning point in this development. Movements in Europe as the Arts and Crafts succeeded, groups and associations were established as the Wiener Werkstätte and the Bauhaus and later Werkbunds was established, all connected and that influenced in part on the evolution of design in the young American nation. The United States gave an exceptional context: a market coupled with unprecedented scale, a company with an innovative technical comfort in energy, materials and media led to a way of life, The American way of life, with its lights and shadows. It was just the right distance from the European tradition of the elements that favored the consolidation of the industrial design profession in US territory. The historical uniqueness lies in the level of technical expertise had increased to make the knowledge to produce a well exceed the ability of a person. The pioneers of American design coordinated work of multidisciplinary teams of engineers, architects, manufacturers, advertisers... while accompanying the product until the communication process, encouraged by the needs of large companies. This allowed them to work in a variety of projects that did not happen so broadly notable examples from the Renaissance. They worked in fields such as graphic design, industrial design, interior design, architectural design, urban design, automotive design, railways, naval design, aircraft design... even aerospace design, creating new types and extending the scope of their work. The most important designers of the period were Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague and Henry Dreyfuss, from the world of stage design, illustration and window dressing. Guided by intuition helped the beauty industry from the 1920s. Speaking of the birth of industrial design assumes deepen relations between art and industry, between man and machine. It invites us to ask questions that make up what is to come. / [ES] La consolidación de la figura del diseñador industrial en Estados Unidos durante las décadas centrales del siglo XX es el tema que suscita la presente investigación. Este proceso supone la transición entre artesanía e industria que había comenzado siglos atrás. Los diseñadores americanos se especializaron en una nueva profesión, pusieron en marcha una inteligencia compartida y multidisciplinar. Quizás sin saberlo fueron pioneros en desdibujar los límites entre las disciplinas creativas. Es un valioso modelo de transformación y adaptabilidad del que se pueden extraer conclusiones y paralelismos con la época actual, un ejemplo con el que poder preparar y entender la aceleración producida por la tercera revolución industrial, y los cambios que produce en las profesiones creativas. Siempre han existido, de forma más o menos artesanal, maneras para producir en serie todo lo que nos rodea, desde los objetos más cotidianos hasta las arquitecturas. Pero es la segunda revolución industrial, con la aparición del Taylorismo y la revolución Ford, la que mediante nuevas máquinas y la sistematización de los procesos de fabricación introducen un punto de inflexión en este avance. En Europa se sucedieron instituciones, escuelas y movimientos como las Arts and Crafts, se establecieron colectivos y asociaciones como los Wiener Werkstätte y las Werkbunds y posteriormente se constituyó la Bauhaus, conectados todos ellos y que influyeron en parte en la evolución del diseño en la joven nación norteamericana. En Estados Unidos se dio un contexto excepcional: un mercado unido con unas dimensiones sin precedentes, una sociedad con un confort técnico novedoso en energías, materiales y medios de comunicación dieron lugar a un modo de vida, The american way of life, con sus luces y sus sombras. Fue la distancia justa de la tradición europea uno de los elementos que favoreció la consolidación del Diseño Industrial como profesión en territorio norteamericano. La singularidad histórica radica en que el nivel de especialización técnica había aumentado hasta hacer que los conocimientos para producir un bien excedieran la capacidad de una persona. Los pioneros del diseño americano coordinaban el trabajo de equipos multidisciplinares formados por ingenieros, arquitectos, fabricantes, publicistas¿ a la vez que acompañaban al producto hasta el proceso de comunicación, animados por las necesidades de las grandes compañías. Esto les permitió trabajar en una variedad de proyectos que no sucedía de forma tan amplia desde los notables ejemplos del Renacimiento. Trabajaron en campos como el diseño gráfico, el diseño industrial, diseño de interiores, diseño arquitectónico, diseño urbanístico, diseño automovilístico, diseño de ferrocarriles, diseño naval, diseño aeronáutico¿ incluso diseño aeroespacial, generando nuevos tipos y ampliando el espectro de sus trabajos. Los diseñadores más relevantes de esta época fueron Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague y Henry Dreyfuss, procedentes del mundo de la escenografía, la ilustración y el escaparatismo. Guiados por la intuición de la belleza ayudaron a la industria a partir de la década de 1920. Hablar del nacimiento del Diseño industrial supone profundizar en las relaciones entre arte e industria, entre el hombre y la máquina. Nos invita a plantearnos preguntas que inventen lo que está por venir. / [CA] La consolidació de la figura del dissenyador industrial als Estats Units durant les dècades centrals del segle XX és el tema que suscita la present investigació. Aquest procés suposa la transició entre artesania i indùstria que havia començat segles arrere. Els dissenyadors americans es van especialitzar en una nova professió, van posar en funcionament una intel¿ligència compartida i multidisciplinar. Tal vegada, sense saber-ho, van ser pioners en desdibuixar els límits entre les disciplines creatives. És un valuós model de transformació i adaptabilitat del que es poden extraure conclusions i paral¿lelismes amb l'època actual, un exemple amb el què poder preparar i entendre l'acel¿leració produïda per la tercera revolució industrial, i els canvis que produeix amb les professions creatives. Sempre han existit, de forma més o menys artesanal, maneres per a produïr en sèrie tot allò que ens envolta, des de els objectes més quotidians, fins a les arquitectures. Però és la segona revolució industrial, amb el sorgiment del taylorisme i la revolució Ford, la que, mitjançant noves màquines i la sistematització dels processos de fabricació, introdueixen un punt d'inflexió en aquest avançament. A Europa es van succeïr institucions, escoles i moviments com les Arts and Crafts, es van establir col¿lectius i associacions com els Wiener Werkstätte i les Werkbunds, i posteriorment es va constituir la Bauhaus, connectats tots ells i que van influir en part en la evolució del disseny a la jove nació nordamericana. Als Estats Units es va donar un context excepcional: un mercat unit amb unes dimensions sense precedents, una societat amb un comfort tècnic novedós en energies, materials i mitjans de comunicació van donar lloc a un estil de vida, The american way of life, amb les seues llums i les seues ombres. Va ser la distància justa de la tradició europea un dels elements que va afavorir la consolidació del Disseny Industrial com a professió en territori nordamericà. La singularitat històrica radica en què el nivell d'especialització tècnica havia augmentat fins a fer que els coneixements per a produïr un bé excediren la capacitat d'una persona. Els pioners del disseny americà coordinaven el treball d'equips multidisciplinars formats per enginyers, arquitectes, fabricants, publicistes¿ a la vegada què acompanyaven el producte fins al procés de comunicació, recolzats per les necessitats de les grans companyies. Allò els va permetre treballar en una varietat de projectes que no succeïa de forma tan ampla des dels notables exemples del Renaixement. Van treballar en camps com el disseny gràfic, el disseny industrial, disseny d'interiors, disseny arquitectònic, disseny urbanístic, disseny automovilístic, disseny de ferrocarrils, disseny naval, disseny aeronàutic¿ inclús disseny aeroespacial, generant nous tipus i ampliant l'espectre dels seus treballs. Els dissenyadors més destacats d'aquesta època van ser Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague i Henry Dreyfuss, procedents del món de l'escenografia, la il¿lustració i l'escaparatisme. Guiats per la intuició de la bellessa, van ajudar a la indùstria a partir de la dècada de 1920. Parlar del naixement del Disseny Industrial suposa aprofundir en les relacions entre art i indùstria, entre l'home i la màquina. Ens convida a plantejar-nos preguntes que inventen allò que està per vindre. / Silvestre Navarro, FM. (2016). PENSADO A MANO, FABRICADO EN SERIE. Pioneros del Diseño Industrial. Transformación y adaptabilidad de las profesiones creativas [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62207

This work addresses the history, development and conservation of the Werkbund exhibition estates in Europe. Specifically, these are six housing estates built between 1927-1932 in Stuttgart, Brno, Wroclaw, Zurich, Vienna and Prague as part of exhibitions of modern living. The aim is to compare the development in individual cities and above all their preservation and the way of conservation and restoration. The first chapter deals with the formation of colonies and their differences. In the next part we deal with the fate and the structural changes during the war and the first post-war years until the first colony was declared a monument. The third chapter explains the developments in the 1960s and early 1980s, the beginnings of monument conservation and the first comprehensive renovation of the housing estates. The last chapter focuses on today's housing estates, today's approach to the restoration of functionalist architecture and its pitfalls. In all chapters, we managed to compare the development and to show the specifics of the individual files, which made it possible to specify why the colonies need to be protected, the extent to which they are preserved today, how much they are preserved, and what problems the building regeneration brings. Due to the different status and approach in individual...

Die Arbeit präsentiert die Geschichte der modernen Wirtschaftswerbung in der ersten Hälfte des 20. Jahrhunderts und zeigt, dass Werbung trotz kultureller Barrieren die Alltagswelten der Deutschen kolonialisierte und Einfluss auf die „deutsche Kultur“ nahm. Die Arbeit zeigt, dass das Konstrukt der „deutschen Kultur“ nicht ausschließlich durch die bürgerliche Hochkultur definiert wurde, sondern zunehmend auch durch Einflüsse der Konsumkultur bestimmt war. Die Bilderwelten der Werbung prägten nationale Ikonen, schufen (bspw. durch Leuchtwerbung) modifizierte "Oberflächen" und Raumwahrnehmungen, ebenso wie die Logik der Marktdifferenzierung und des Marketing soziale Interaktionen als auch die politische Kommunikation (Hitler als Marke) zu bestimmen begann. Diese Entwicklung verlief nicht konfliktfrei. Sowohl die Debatten über Werbung als auch die direkte Konfrontation zwischen Kulturkritikern und Werbern verdeutlichen den massiven Zusammenprall zweier Mentalitäten, die den Konflikt von traditionellem zünftigem Denken, hochkultureller Repräsentation sowie einer vermeintlich authentischen Ästhetik des Inhalts auf der einen Seite und einer "Welt des Scheins" und einer Ästhetik der äußeren Form auf der anderen Seite hervortreten ließ. In dieser Debatte spielte eine Frage eine zentrale Rolle: inwieweit Kapitalismus, Marktwirtschaft, Konsum und die Ästhetik der modernen Lebenswelt mit ihrer spezifischen (werblichen) Oberflächenstruktur mit Vorstellungen "des Deutschen" zu vereinbaren waren. / This dissertation offers a history of modern commercial advertising during the first half of the twentieth century and demonstrates that despite cultural barriers, advertising colonized the everyday world of Germans and began to encroach upon “German culture”. The work shows that the construct of “German culture” was not only defined by bourgeois high culture, but rather increasingly by factors from consumer culture. The imagery of advertising shaped national icons, created modified “surfaces” (for example, through illuminated ad media) and perceptions of space. Likewise, the logic of market differentiation and marketing began to determine social interactions as well as political communication (Hitler branding). This development did not progress without conflict: Debates surrounding both advertising as well as the direct confrontation between cultural critics and advertisers make clear that there was a massive collision between two mentalities. This allowed a conflict to emerge between traditional, guild thinking, high cultural representations and a putatively authentic aesthetics of content, on the one hand, and on the other hand, a “world of appearances” and aesthetic of the exterior form. One question in particular played a central role in this debate, namely: the extent to which capitalism, the market economy, consumption and the aesthetics of the modern Lebenswelt with its specific (commercial) texture were in accord with ideas of “Germanness.”

<p>This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).</p><p>Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.</p><p>Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.</p><p>Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.</p><p>Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.</p><p>Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.</p>

This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”). Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson. Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist. Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society. Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press. Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.

A Landscape with Furniture. Designs, plans, and buildings of Jan E. Koula (1896-1975) and his notion of a "people's dwelling". Marcela Suchomelová Abstract (EN) The thesis focuses on the professional and personal course of life of a Prague architect, designer, painter, documentarian, teacher, theoretician and editor of specialized magazines on architecture and housing culture in the interwar and the onset war era and in line with the avant-garde thinking. Nowadays, the theoretical and artistic legacy of Jan E. Koula (1896-1975) is seen in his remarkable ability to popularize ethics and aesthetic in the contemporary housing culture, and in his capability of pragmatic characterization, evaluation and promotion of modern style of living. He was very consistent and unceasing in doing so, while having the model of Le Corbusier's functionalist purism in mind. An analysis of the then publications, archival documents and Koula's autobiography allowed us to compare his singular interventions in architecture and design as well as the interior housing or exhibition concepts, not to mention the circumstances of their origin and ideological contribution in the plurality of activities, interests, and the social and cultural background of the period between 1920' and 1940'. Jan E. Koula dealt with the issue of housing...