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Content includes:
Grattaciielo sui Reno, a Dusseldorf by Paul Schneider-Esleben
Una Chiesa di Neutra in California by Richard Neutra: 6 pages and many images by Julius Shulman
Il Nuovo Negozio Olivetti a Venezia by Carlo Scarpa: six pages in black and white images
Un Asilo a Gubbio by Marco Zanuso
Sulle Colline a Nord di Udine by Gianni Avon
Edizioni per Gli Architetti
Casa a Monteleggero by Annibale Fiocchi
Interni a Milano by Ettore Sottsass: 14 pages and 28 color and black and white images of apartment interior decoration by the master his own bad self.
Particolari di Tre Arredamaneti by V. Borachia , C. Santi,
La Quinta Biennale di San Paolo by Gillo Dorfles
New English Office Furniture by M. Grierson and K. Townsend

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Domus 362, January 1960. Cover design by William Klein
Domus 362, January 1960. Cover design by William Klein

 

Domus 362, January 1960. Back Cover
Domus 362, January 1960. Back Cover
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

Members Content

Beyond being mere artefacts of design, these examples encapsulate the dynamic changes Japan was undergoing during this period. The design output of this era not only served commercial purposes but also became a powerful medium for expressing these societal shifts.
Unit Editions launches Fred Troller Design on Volume – the first comprehensive survey of the work of a pioneering designer who brought Swiss modernism to America in the 1960s, via influential projects for clients including IBM, American Airlines and Geigy.
My lectures and workshops also help bridge the gap between academia and industry. Through my lectures and collecting, I strive to promote design as a ever-changing dynamic industry that has the power to shape and improve the world we live in.

Members Content

Crouwel was the successor to Willem Sandberg who used an avant-garde approach in his work, utilising torn-paper montage, mixing of sans serif and old Egyptian typefaces and often off-center positioning. Crouwel steered away from this artistic approach and implemented a cohesive design system and a strong identity that emulated the corporate identity boom of the 1950s and 60s.