Gio Ponti founded Domus in 1928, this journal devoted to architecture and design, originally named “L’ Arte della Casa,” has been at the forefront of design debate in Italy. In the 1930s, it was mainly concerned with a Novecento aesthetic, but it also paid attention to more radical tendencies, as Persico’s 1934 article “A New Start for Architecture” exemplifies.
Between 1890 and 1914, the École de Nancy, or Nancy School, was a group of Art Nouveau artisans and designers based in Nancy, France. The furniture designer Louis Majorelle, the cabinet maker and glass artist Jacques Grüber, the glass and furniture designer Émile Gallé, and the Daum crystal factory were important contributors.
In honour of the Estienne family, the school was named after a famous family of printers from the 16th century, including Henri Estienne (elder), Robert Estienne and Charles Estienne. Its mission was to address the poor printing and book-making qualifications and standards, covering theoretical and practical aspects.
Just in time” design concept, this practice became an increasingly important aspect of economic manufacturing and distribution. The ability to link sales data from retail outlets and checkout terminals with centralised corporate manufacturing and distribution systems ‘just in time’ eliminated the need for manufacturer-retailers like Benetton, an Italian clothing company, to keep large amounts of stock on hand (thus wasting valuable space).
In early 2021, students from the interior design master’s degree course at the Glasgow School of Art were invited to take part in the project, reimagining the 2006 ‘Alcove’ two-seater sofa by Ronan and Erwan Bouroullec, the 1970 ‘Amoebe Highback’ by Verner Panton, and Charles and Ray Eames’ lounge chair from 1956.
Surrealism was one of the most influential and disruptive trends of the twentieth century, flourishing especially in the 1920s and 1930s and offering a radical contrast to Cubism’s rational and formal features. It emphasised the positive rather than the nihilistic, unlike Dada, from which it derived in many aspects. Surrealism aimed to gain access to the subconscious mind and convert this stream of thought into art.
“Glasgow School’ is a term used to describe several groups of artists based in Glasgow. The first and most significant of these groups was a loose association of artists active from around 1880 to the turn of the century; there was no formal membership or programme, but the artists involved (who prefered to be known as the Glasgow Boys) were united by a desire to move away from the conservative and parochial values they believed the Royal Scottish Academy in Edinburgh represented. The group’s most well-known members were Sir James Guthrie (1859–1930) and Sir John Lavery. Several of them had lived and worked in France, and they were proponents of outdoor painting. The group’s heydey was gone by 1900, and it did not survive the First World War. Still, it offered a significant spur for Scottish art in the twentieth century, paving the way for the Scottish Colourists. From roughly 1890 through 1910, a slightly later group created a different style of Art Nouveau. Charles Rennie Mackintosh, the architect and designer, was its most significant member.