The originator of modern German design is not Bauhaus, but it.

Text | Ahua, part of the information comes from the Internet.

What is a German factory? Before explaining, let's learn about another modern design movement-British arts and crafts movement.

British Arts and Crafts Movement (The Art & amp； Handicraft Movement (about 1860- 1890) is a design improvement movement vigorously promoted by john ruskin and william morris, aiming at returning to the ideals and skills of medieval craftsmen.

The movement on the other side had a great influence and naturally spread to Germany. The greatest inspiration of German designers is to design products from the perspective of "art".

Of course, German designers also found that from the blind worship of British bosses in the early stage to the later stage, the tide of industrialization was unstoppable, so they raised the question-since industrialization cannot be changed, how to ensure people's quality of life is the key under the existing environment.

Under this background, 12 artists, designers and 12 enterprises located in Munich (yes, "double 12" and "double 15" at the peak) jointly established such an industrial design organization-Deutscher Werkbund.

It is declared that "through the cooperation of art, industry and handicraft industry, through education, publicity and unanimous stance on all related issues, craft manufacturing will become more elegant."

Since 1907 was founded in Four Seasons Hotel in Munich, this alliance is destined to be a glittering organization and set off a "life reform" movement.

Where is the specific "cow"? Listen to the slow track.

At the beginning of its establishment, the Manufacturing Alliance brought together all the famous German designers at that time, such as Peter Behrens, Richard Riemerschmid, Henry Vanderveld, Herman Muthesius and others.

These designers and architects are like-minded Before the establishment of the alliance, they were full of ambitions to reform all industrialized life worlds, from "sofa cushions to urban construction". They use these articles with "good form" to "educate" the people in art and cultivate their "good taste".

Later, famous designers such as le corbusier, JJ.J.PJ.P.Aude and hans scharoun were invited to hold exhibitions.

19 18- 1933 During the Weimar Republic, deutscher werkbund continued its propaganda and education work-transmitting their ideas to the general public through publications, exhibitions and residential areas.

They founded Die Form, the most active art magazine in Germany at that time, and made joint museums and exhibitions, such as Die Form (1924) and Film und Foto (1929).

It spreads the strong vision of the alliance-redesigning all the objects in the world with great changes and the latest scientific and technological development.

The exchange of products, plane, architecture, urban planning and exhibition achievements of manufacturing alliance has not only been recognized by the society and imitated by other countries (such as Austria, Switzerland, Sweden and Britain), but also laid a stable foundation for famous Bauhaus and other institutions.

Of course, there were arguments along the way. The most famous one is the "Cologne Debate" (also known as "Type Debate") between Henry Vanderveld and Herman Muthesius in 19 14.

Henry insisted on the "individualization" of artists, while Muthesius saw the inevitable "standardization" in the industrial age. Of course, in the end, Muthughes was forced to retract his views.

This is also doomed to be a victory that is not worth the loss.

This alliance was founded in 1907, and went through the storm of 100, and it didn't come to an end until 2007.

1938, due to the war and the intervention of the Nazi Party, the alliance had to be dissolved, but unlike Bauhaus, 1950 officially reorganized.

Although the reorganized manufacturing alliance has lost its original influence, during the period of 1959- 1983, the alliance began to have a new orientation and position, and turned its perspective to the destruction of the ecological environment-advocating the best design could not meet the importance of the living environment.

The main figure in this period is Walter Rosso. In the last 30 years of the 20th century, the manufacturing alliance paid attention to the living environment and participated in new themes such as "invisible design" to guide people to think.

Although in the past century, deutscher werkbund raised many questions and thoughts on different topics, the core of his work for many years is still inseparable from the word "life".

-The end-