Dutch Design
Dutch Design is a term used to connote design in the Netherlands, product design in particular. It refers to the design esthetic that is common to designers in the Netherlands. Dutch design can be described as minimalistic, experimental, innovative, useful and it often has a funny or quirky twist. These are the main characteristics that made this design famous around the globe.
Dutch design has a long and rich history, but the term only has become known since the late eighties. During the nineties Dutch Design became more and more known in the world.
"Dutch design is simple and powerful", according to Hugo van den Bos, strategy director of Dutch graphic design studio Koeweiden Postma. Author and journalist Tracy Metz notes
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Hereby he has been named the founder of Dutch Design. His designs are funny and minimalistic at the same time, which has become an unwritten rule which Dutch Design still must meet nowadays.
Willem Dudoc Willem Dudoc (1884 – 1974) is an architect from Amsterdam who designed iconic buildings throughout the entire country. Examples are the Hollandse Bankunie in Rotterdam, the monument on the Afsluitdijk and, probably the most famous building, the Brasserie Dudoc in Rotterdam.
W.H. Gispen Another leader in design was W.H. Gispen (1890 – 1981). Gispen was a genuine furniture designer. Back in his metal factory he developed furniture for offices. The simple but strong designs made his furniture timeless. His designs are still sold and are inspiration to the new generation
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This ‘less is more’ mentality is becoming more and more popular nowadays. Lots of designs that were made during that period are launched on the market nowadays, under the name ‘Dutch design classics’.
Famous Dutch designers and brands nowadays are:
• Moooi
• Droog design
• Pol’s Potten
• Marcel Wanders
• Studio Job
• Piet Hein Eek
• NgispeN
Pol’s potten
Pol’s potten is an example of modern Dutch design that has been made accessible for everyone because of their reasonable prices. The products are simple, innovative, ironic, humoristic and they show off their Dutch roots. Most of the people know this brand because of their specialism in ceramic and glass products like vases and crockery. For over 20 years the products of Pol’s potten have made houses homes. Also the majority of the products are handmade by local professionals what means every product is unique.
Sources:
- Wikipedia, the free encyclopedia. http://en.wikipedia.org/wiki/Dutch_Design (last consulted on 26-1-2015)
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I wander down the Hall of Mirrors in the French Palace of Versailles. Soon after I am thinking of the converse style, and recall that German Architect Mies van der Rohe has created the most simplistic a...
At the turn of the century marks a wave of change. Although between 1800 and 1900 shows the biggest wave of change not only as a big as the whole world, but also as small as the home-front. Within just a hundred years sofa design shifted from being artistic to functional; especially with the influence of the industrial revolution.
Most often artist influence of movement or design from another pattern. These designers influenced by movement such as De Stiji, Bauahaus. According designers, they used a few methods and themes, which considered as the most fascinating form of communication because of the creativity it contains and the vision it requires. They said that the theme "Optimism, collaboration, and design" used because they wanted to create something on the subject of year, which aid them to think about Roman numerals. At last, they used "Year 2010" in Roman numerals.
Theo van Doesburg was a famous Dutch painter, theorist, architect, and designer. He was the founder of Dj Stijl movement which means The Style in English. He also started to publish a magazine by the name of Dj Stijl from the year of 1917. It was an avant-garde magazine. Famous painters, designers, and architects like Piet Mondrian, Bart van der Leck, Gerrit Rietveld, and J.J.P. Oud joined this movement with Doesburg. This famous personality devoted his life to the understanding of art from the rational, essential, and universal aspects. The Will to Style is a lecture given by Doesburg and it tries to critically analyze the features of the new style which he advocated for.
The Van Nelle Factory is a coffee, tea, and tobacco company located in Rotterdam, the Netherlands. Commissioned by Chairman Kees van der Leeuw, construction of the building began in 1925 and was forced to completion in 1931. J.A. Brinkman, a civil engineer whose father was the original planned architect for this project, formed a union with well-known architect L.C. van der Vlugt to continue the project after his father’s sudden death.
"Design, 1975–present". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/dsgn4/hd_dsgn4.htm (October 2004)
Rowland, Kurt F. A History of the Modern Movement: Art Architecture Design. New York: Van Nostrand Reinhold, 1973. 142. Print.
River scene with boats near a jetty by a tavern, currently housed at the Ackland Art Museum, is a seventeenth century drawing rendered by Jan van Goyen in black chalk and gray wash on paper. True to its name, van Goyen presents the viewer with a Dutch landscape that sweeps the viewer’s eye in a remarkable progression from land to water to sky. This formal analysis will argue that Jan van Goyen’s River scene with boats near a jetty by a tavern exudes visual energy amidst a temporal backdrop, creating a tension against the solidity and immobility that might be associated with the archetypal Dutch landscape scene. The manner in which van Goyen’s work advances this thesis will be examined through the spatial, linear, and color techniques and effects
In the early twentieth century the Modern movement of architecture and industrial design came about. This movement was a reaction to the change within society and the introduction of new technologies. The ever changing world and technology meant artists to evolve alongside the changing world and this kind of ‘industrial revolution’ that was happening. Modernists ideas have seeped into every form of design especially architecture and design. Although most modernists insisted they were not following any style in particular, their work is instantly
Modernism as a new contemporary style was seen as pure geometric forms having distinct structural systems, and a relationship with the new technological advancements caused by the Industrial Revolution. Throughout Mies van der Rohe’s career he was in pursuit to provide clarity, and evolve his architecture to convert the technical solution into an architectural expression. He exposed the structure to exploit all expressive effects, which lead Mies van der Rohe to become one of four Masters of Modern Architecture
Design has established itself as core elements in societies helping countless communities build infrastructure, invent new ways to better living conditions and create design desirable for consumption hence bettering the economy. Though this is a positive, most designers of the 21st century use their skills and their designs alike for those who can afford it; designing for what’s in fact the minority, 10% of the world’s population. The reason why developmental aid and design for development is essential to improving standards of living for those who live in developing countries, but to also bridge the gap between the rich and the poor. Ilse Oosterlaken (2009, p.100) equates most designs for development that use a `participatory' process as having a limited, user-centred approach; and suggests instead a more universal design approach, which she calls ‘capability sensitive design’. This essay will illustrate designs that have contributed to developmental design through capability sensitive design approach, considering sustainable design that are not only better the environment, community health and social welfare but the country’s economic standing. Through evaluating each example’s potential for real, sufficient, diverse and lasting value for the targeted users we can determine each design’s efficiency.
Throughout the world, there are an abundance of diverse cultures, each truly unique in comparison to another. Culture is described as the “characteristics of a particular group of people, defined by everything from language, religion, cuisine, social habits, music and arts” (Zimmermann). Each of these traits is what sets each society apart, and is what influences their expression of design. Throughout this course, we’ve learned how planning and design have varied all through history, however we decided to take it a step further and focus on how different regions throughout the world create spaces that reflect their own cultures’ particular interests. Being a group composed entirely of Interior Design majors, our emphasis is investigating the use of material, color, motifs and layouts of their interior spaces, and how they reflect their societies. Not only do we explore a culture’s influence on design, but we briefly touch on environmental factors as well. Of all of the regions throughout the world, we decided to focus our research on the cultural practices and designs of Mexico, India, and Japan. Our reasoning behind centering on these three cultures is that these cultures are some of the most well-known, yet each entirely distinct within their own way, thus providing a greater understanding of design styles around the world.
Towards the end of the nineteenth century, the Art Nouveau style became an international movement. For the first time in decorative arts history there was a simultaneous movement throughout Europe and America. Art Nouveau brought the finest designers and craftsmen together in order to design buildings, furniture, wallpaper, fabrics, ceramics, metalwork and glasswork. Art Nouveau was considered more than a style, it was a philosophy. From this philosophy carefully designed articles for the home were designed intended to fit into the scheme of the whole Art Nouveau style. Line was the most important aspect of the Art Nouveau period. Art Nouveau was a rebellion against machine made articles of the 19th century that were copies of past designs. Art Nouveau was also a reaction against the old Victorian tradition. Art Nouveau designers borrowed from the past but because of the emphasis on line and adaptation of natural forms to design. Art Nouveau is easily distinguishable from any other period in decorative arts.
Hegeman, J. (2008). The Thinking Behind Design. Master Thesis submitted to the school of design, Carngie Mellon University. Retrieved from: http://jamin.org/portfolio/thesis-paper/thinking-behind-design.pdf.
‘You cannot hold a design in your hand. It is not a thing. It is a process. A system. A way of thinking.’ Bob Gill, Graphic Design as a Second Language.