Fred Ward: Australian pioneer designer, 1900-1990
This fascinating biographical narrative describes how Fred Ward, a pioneer Australian furniture designer, tried to show from the 1930s onwards how good design was the missing factor in industry, commerce, the bureaucracy, education and the diplomatic corps. He believed that apathy, ignorance, misunderstanding, and possibly our geography, eventually undermined design’s potential benefits to everyone. There are lessons for the future in this story as he clearly explains how a man with vision proved through a lifetime of example that science and art can enhance our lives through the useful art of furniture.
Bauhaus women: a global perspective /
Forty five key women of the Bauhaus movement.0Bauhaus Women: A Global Perspective reclaims the other half of Bauhaus history, yielding a new understanding of the radical experiments in art and life undertaken at the Bauhaus and the innovations that continue to resonate with viewers around the world today. 0The story of the Bauhaus has usually been kept narrow, localized to its original time and place and associated with only a few famous men such as Walter Gropius, Marcel Breuer, Paul Klee, Wassily Kandinsky, and Laszlo Moholy-Nagy. 0Bauhaus Women: A Global Perspective bursts the bounds of this slim history by revealing fresh Bauhaus faces: Forty-five Bauhaus women unjustifiably forgotten by most history books. This book also widens the lens to reveal how the Bauhaus drew women from many parts of Europe and beyond, and how, through these cosmopolitan female designers, artists, and architects, it sent the Bauhaus message out into the world and to a global audience.
Bauhaus journal 1926-1931: facsimile edition
One hundred years after the founding of Bauhaus, it's time to revisit Bauhaus journal as a significant written testimony of this iconic movement of modern art. In this journal, published periodically from 1926 to 1931, the most important voices of the movement are heard: masters of the Bauhaus, among others, Josef Albers, Walter Gropius, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, and Oskar Schlemmer, as well as Herbert Bayer, Marcel Breuer, Ludwig Mies van der Rohe, Gerrit Rietveld and many more. They address the developments in and around the Bauhaus, the methods and focal points of their own teaching, and current projects of students and masters. At the time primarily addressed to the members of the"circle of friends of the Bauhaus," the journal published by Gropius and Moholy-Nagy makes tangible the authentic voice of this mouthpiece of the avant-garde. The facsimile reprint is intended to give new impetus to international discussion and research on the Bauhaus, its theories and designs.
The word for world is still forest
The Word for World is Still Forest creates a space for the reader-as-exhibition-viewer to consider how forests may be seen not only for their trees, but also how they can enable experiences of elegance, affirmation, and creation for a multitude of creatures. in response to their violent destruction, which characterizes the Anthropocene, these pages traverse various woodlands by way of their semiotic, socio-political, historical, and epistemic incitements in order to reveal how practices of care, concern, and attention also enable humans to inhabit and flourish in this world as forest.
Design, nature, and revolution : toward a critical ecology
TWhat good is design? In a world facing social unrest, political tribalism, and impending ecological doom, Tomás Maldonado poses philosophical inquiries into the role design plays during a moment of crisis and analyzes what “design” might mean as an ever-enlarging compass beyond stylization of specific objects. He discusses how design is both influenced by and central to ecological crisis. Written as a kind of obituary to the Modern movement’s wave of failed “concrete utopias,” Maldonado combines philosophy, sociology, radical countercultural thought, and the ecological sciences into a polemic that recenters design in the human environment.
The ANU Design Unit 1954-1977: Design Awareness in the Modern University
The ANU Design Unit was first established in 1954 to design and manufacture furniture for a steadily growing Australian National University. From 1962 ahead of a rapid expansion of the campus, the Design Unit, under the helm of Derek Wrigley as University Designer and Architect, embraced a concept of ‘total integrated design’. This vision proposed a cohesive approach to architecture, urban planning, furniture, interiors, landscaping and graphic design across the campus’ learning and research environment. This book, which accompanies an exhibition of the same name at Canberra Museum and Gallery, ells the story of ANU embracing the concept of 'total' design, from furniture, to landscaping, interior, industrial, architectural and graphic design for a cohesive and functional campus aesthetic.
