A complete reproduction of Max Bill's exhibition "a myth of Swiss design" in book form
The international touring exhibition “Die gute Form” was conceived by Max Bill on behalf of the Swiss Werkbund and was shown for the first time in 1949 at the Basel Mustermesse trade fair. The exhibition consisted of 80 display panels, designed by Bill, presenting a selection of consumer goods from all over the world, chosen by Bill as examples of good design. The show caused some upset in Switzerland and fuelled heated debates abroad. But it also exerted a wide-reaching influence – for example, upon the way in which consumer goods were perceived. This publication documents Bill’s initiative in reproductions of the original display panels and layout plans for the venues visited by the exhibition, and places “Die gute Form” in a theoretical context that considers its reception and impact within the history of design.
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FORMAT: Hbk, 8.5 x 11.75 in. / 160 pgs / 106 images. LIST PRICE: U.S. $50.00 LIST PRICE: CANADA $75 ISBN: 9783037783726 PUBLISHER: Lars Müller Publishers AVAILABLE: 2/20/2015 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA
Max Bill's View of Things Die Gute Form: An Exhibition 1949
Published by Lars Müller Publishers. Edited by Lars Müller.
A complete reproduction of Max Bill's exhibition "a myth of Swiss design" in book form
The international touring exhibition “Die gute Form” was conceived by Max Bill on behalf of the Swiss Werkbund and was shown for the first time in 1949 at the Basel Mustermesse trade fair. The exhibition consisted of 80 display panels, designed by Bill, presenting a selection of consumer goods from all over the world, chosen by Bill as examples of good design. The show caused some upset in Switzerland and fuelled heated debates abroad. But it also exerted a wide-reaching influence – for example, upon the way in which consumer goods were perceived. This publication documents Bill’s initiative in reproductions of the original display panels and layout plans for the venues visited by the exhibition, and places “Die gute Form” in a theoretical context that considers its reception and impact within the history of design.
