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  <titleInfo>
    <title>Functionalist design</title>
    <subTitle>an ongoing history</subTitle>
  </titleInfo>
  <name type="personal">
    <namePart>Marcus, George H.</namePart>
    <role>
      <roleTerm authority="marcrelator" type="text">creator</roleTerm>
    </role>
  </name>
  <typeOfResource>text</typeOfResource>
  <genre authority="marc">bibliography</genre>
  <originInfo>
    <place>
      <placeTerm type="code" authority="marccountry">gw</placeTerm>
    </place>
    <dateIssued encoding="marc">1995</dateIssued>
    <issuance>monographic</issuance>
  </originInfo>
  <language>
    <languageTerm authority="iso639-2b" type="code">eng</languageTerm>
  </language>
  <physicalDescription>
    <form authority="marcform">print</form>
    <form authority="gmd">txt</form>
    <extent>168 p. : ill.; photo.; col. ; 24 cm.</extent>
  </physicalDescription>
  <abstract>In this copiously illustrated volume, George H. Marcus presents a corrective history of functionalism, the aesthetic that defined the course of progressive design in this century, and his work is particularly illuminating with regard to the use of color in architecture and design. Tracing the development of functionalism from Victorian times, Marcus establishes its basis as socially beneficial and without allegiance to style, material, or context. All that changed as the.</abstract>
  <abstract>definition of functionalism narrowed and became closely identified with metal furniture, industrial materials, and austerity in the 1930s and was subsequently redefined simply as a modernist style. With the advent of postmodernism, functionalism has been overshadowed, but its classic designs - the metal furniture of Mies van der Rohe, Le Corbusier, and Marcel Breuer - are now becoming broadly accessible, fulfilling social goals promoted over a century ago. The.</abstract>
  <abstract>profileration of these designs today, however, belies the difficulties of bringing them into production. Based on his archival research, Marcus documents the history of their manufacture and sheds new light on the creation and dissemination of some of the most important examples of modern design.</abstract>
  <tableOfContents>Plates
Fitness for purpose
Absence of Ornament
Standardization
Revolution in metal
Machine art
The bauhaus style
Where are we are?
</tableOfContents>
  <note type="statement of responsibility">George H. Marcus.</note>
  <note>Includes bibliographical references (p. 166-167) and index.</note>
  <note>Also issued online.</note>
  <subject authority="lcsh">
    <topic>Design</topic>
    <topic>History</topic>
    <temporal>20th century</temporal>
  </subject>
  <subject authority="lcsh">
    <topic>Decorative arts</topic>
    <topic>History</topic>
    <temporal>20th century</temporal>
  </subject>
  <subject authority="lcsh">
    <topic>Functionalism in art</topic>
    <topic>History</topic>
    <temporal>20th century</temporal>
  </subject>
  <subject authority="lcsh">
    <topic>Design, Industrial</topic>
    <topic>History</topic>
    <temporal>20th century</temporal>
  </subject>
  <classification authority="lcc">NK1390 M37 1995</classification>
  <classification authority="ddc" edition="20">745.2</classification>
  <classification authority="ddc" edition="20">709.0402</classification>
  <identifier type="isbn">3791314238</identifier>
  <identifier type="isbn">9783791314235</identifier>
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    <recordCreationDate encoding="marc">110630</recordCreationDate>
    <recordChangeDate encoding="iso8601">20200303155050.0</recordChangeDate>
    <languageOfCataloging>
      <languageTerm authority="iso639-2b" type="code">eng</languageTerm>
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