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Formlose Mobel/Formless Furniture
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Formlose Mobel/Formless Furniture (Mak Studies)

by Peter Noever , Sebastian Hackenschmidt , Dietmar Rubel

(Paperback, German)
(Paperback, German)
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      Used Very Good(1 Copy): Very Good 2009. Paperback. Very Good.
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      Powell's Bookstores, Chicago
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      Used Like New(1 Copy): FINE Crisp, clean, unread paperback with light shelfwear to the covers and a publisher's mark to one edge-Nice! 1.46 lbs.
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      Used Like New(1 Copy): Like New Minimal wear to cover. Pages clean and binding tight. Hardcover.
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      None(1 Copy): Softcover, 136pp., 21.3x26.2cm., 150 col. and b/w. ills., new. German and English text. ISBN 9783775722476. Mitte der 1960er-Jahre entdeckten zahlreiche Künstler Formlosigkeit als Ausgangspunkt für ihre Materialexperimente. Die Maxime? form follows material? wurde jedoch nicht nur in der Objektkunst ausgerufen, sondern hatte großen Einfluss auch auf die Gestaltung von Möbeln, etwa auf Gunnar A. Andersens experimentelle Polyurethansessel oder den berühmten Sacco. Die umfassende Untersuchung bündelt erstmals die verschiedenen Aspekte und Ausprägungen des Formlosen im Möbeldesign und beleuchtet ausführlich die Wechselwirkungen von bildender und angewandter Kunst sowie die sich wandelnden Konzepte des Amorphen in der Moderne bis hin zu den neuesten Spielarten. Die Betrachtung aktueller Gestaltungsansätze, insbesondere der digital entworfenen? Blobjects? , veranschaulicht, dass Designer Vorstellungen von der? Guten Form? nach wie vor spielerisch unterlaufen und dabei gerade im Formlosen Chancen für ästhetische Neuerungen erkennen. Die vorgestellten Designer (Auswahl): Gunnar Aagard Andersen, Ron Arad, Bär Knell, Fernando & Humberto Campana, Tom Dixon, Gatti, Paolini & Teodoro, Frank Gehry, Gruppe Brand, Greg Lynn, Gaetano Pesce, Karim Rashid, Tejo Remy, Jerszy Seymour, Robert Stadler, Lothar Windels.
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      Used Good(1 Copy): Good 3775722475.
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      Used Good(1 Copy): Used-Good In the mid-1960s, artists like Robert Morris, Joseph Beuys, Michelangelo Pistoletto and Lynda Benglis began to experiment with formlessness in their materials. The maxim Form follows material, however, was not only proclaimed in the era's avant-garde art: it had a distinct impact on furniture design as well--for example, on Gunnar A. Andersen's experimental polyurethane Portrait of My Mother's Chesterfield Chair of 1964 and Zanotta's famous Sacco beanbag chair of 1968. Edited by Peter Noever, Director of Vienna's MAK museum of applied and contemporary art, this volume is the first to concentrate on formlessness in furniture design. Featuring work from the 1960s through today by such revolutionary figures as Frank Gehry, Gaetano Pesce, Ron Arad and Karim Rashid, it illuminates connections between the historical avant-garde and the applied arts, and tracks the various manifestations of design formlessness to have emerged over the past half century--from Robert Dean's 1967 Sea Urchin chair to today's computer-assisted blobjects.
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      New: New In the mid-1960s, artists like Robert Morris, Joseph Beuys, Michelangelo Pistoletto and Lynda Benglis began to experiment with formlessness in their materials. The maxim Form follows material, however, was not only proclaimed in the era's avant-garde art: it had a distinct impact on furniture design as well--for example, on Gunnar A. Andersen's experimental polyurethane Portrait of My Mother's Chesterfield Chair of 1964 and Zanotta's famous Sacco beanbag chair of 1968. Edited by Peter Noever, Director of Vienna's MAK museum of applied and contemporary art, this volume is the first to concentrate on formlessness in furniture design. Featuring work from the 1960s through today by such revolutionary figures as Frank Gehry, Gaetano Pesce, Ron Arad and Karim Rashid, it illuminates connections between the historical avant-garde and the applied arts, and tracks the various manifestations of design formlessness to have emerged over the past half century--from Robert Dean's 1967 Sea Urchin chair to today's computer-assisted blobjects.
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      New: New 8 x 10 Inches. 136 pgs / 130 color / 20 b&w. New copy still in shrinkwrap. English and German text.
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      New: New In the mid-1960s, artists like Robert Morris, Joseph Beuys, Michelangelo Pistoletto and Lynda Benglis began to experiment with formlessness in their materials. The maxim Form follows material, however, was not only proclaimed in the era's avant-garde art: it had a distinct impact on furniture design as well--for example, on Gunnar A. Andersen's experimental polyurethane Portrait of My Mother's Chesterfield Chair of 1964 and Zanotta's famous Sacco beanbag chair of 1968. Edited by Peter Noever, Director of Vienna's MAK museum of applied and contemporary art, this volume is the first to concentrate on formlessness in furniture design. Featuring work from the 1960s through today by such revolutionary figures as Frank Gehry, Gaetano Pesce, Ron Arad and Karim Rashid, it illuminates connections between the historical avant-garde and the applied arts, and tracks the various manifestations of design formlessness to have emerged over the past half century--from Robert Dean's 1967 Sea Urchin chair to today's computer-assisted blobjects.
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      Used Very Good(1 Copy): Used-Very Good In the mid-1960s, artists like Robert Morris, Joseph Beuys, Michelangelo Pistoletto and Lynda Benglis began to experiment with formlessness in their materials. The maxim Form follows material, however, was not only proclaimed in the era's avant-garde art: it had a distinct impact on furniture design as well--for example, on Gunnar A. Andersen's experimental polyurethane Portrait of My Mother's Chesterfield Chair of 1964 and Zanotta's famous Sacco beanbag chair of 1968. Edited by Peter Noever, Director of Vienna's MAK museum of applied and contemporary art, this volume is the first to concentrate on formlessness in furniture design. Featuring work from the 1960s through today by such revolutionary figures as Frank Gehry, Gaetano Pesce, Ron Arad and Karim Rashid, it illuminates connections between the historical avant-garde and the applied arts, and tracks the various manifestations of design formlessness to have emerged over the past half century--from Robert Dean's 1967 Sea Urchin chair to today's computer-assisted blobjects.
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      New: New Great customer service. You will be happy!
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      New: Format: Paperback. Brand New, Perfect Condition. May Ship From Overseas, Allow Additional Delivery Time.
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      About the Book

      Edited by Peter Noever. Text by Dietmar Rubel, Sebastian Hackenschmidt.

      Product Details

      • Media: Paperback Book, 133 pages
      • Language: German
      • Publisher: Hatje Cantz Publishers
      • Edition: Unknown
      • ISBN-10: 3775722475
      • Publication Date: Feb. 1st, 2009
      • ISBN-13: 9783775722476
      • Dimensions: 8.30 x 10.20 x 0.40 inches
      • Shipping Weight: 1.36 lbs
      • Categories: Furniture Design

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