The history of the Confederation of German Industry, what is the Confederation of German Industry

The Deutscher Werkbund, also known as the Federation of German Industry, was the first design organization in Germany and the cornerstone of German modernist design.

Place of establishment: Munich.

The purpose of the establishment is to improve the quality of industrial products to reach the international level.

At the end of the 19th century, Germany's industrial level had caught up with Britain and France, ranking first in Europe. Germany's upswing not only demanded further industrialization, but also wanted to become a leader in the industrial age.

In 1907, German entrepreneurs, artists, and technicians formed the national organization of the Deutsche Manufacturing League, with the aim of improving the quality of industrial products to international standards, so that German goods could compete with Britain in the international market.

In 1908, at the first annual meeting, Jheoder Fischen made clear the recognition of machines in his opening speech, and pointed out that "the purpose of design is people and not things", and that industrial designers are public servants of society, rather than social masters that many plastic artists admit, all of which made the Manufacturing Alliance establish its position in the history of design as the founder and initiator of modern design.

In 1912, the first issue of the Manufacturing League Yearbook featured the AEG plant and electrical products designed by Behrens.

The 1913 yearbook focused on the assembly line of the Ford Motor Company, hoping to introduce standardization and mass production into industrial design.

In 1916, the League, in collaboration with a cultural organization, published a catalogue of designs recommending the design of household items such as tea and coffee sets, glassware, and kitchen equipment, the common features of which were functional and practical, with little ornamentation, and** affordable for the general population. This atlas is the first in a series of books published by the Manufacturing Alliance to develop and promote design standards. These communications efforts not only had a great impact in Germany, promoting the development of industrial design, but also had a positive impact on the rest of Europe.

Some countries have successively established similar manufacturing alliances, which have played a very important role in the development of European industrial design.

During World War I, the Manufacturing League held a series of influential exhibitions in neutral countries. Since then, the focus has gradually shifted from foreign to domestic, and the "internationalist" element of his thinking has given way to a "more realistic economic situation" attitude, emphasizing design as a means of improving the country's economic situation.

In 1934 the League was dissolved.

It was re-established in 1947.

Pioneers: Mutesius, Behrens, and others. The purpose of the League is to emphasize the national conscience through design.

The purpose of the Industrial Alliance:

1. Advocate the combination of art, industry and handicrafts;

2. Advocate efforts to integrate the design of different projects and improve art, industrial design and craftsmanship through education and awareness;

3. Emphasizing the unofficial route and avoiding political interference in design;

4. Vigorously promote and advocate functionalism and recognition of modern industry;

5. Resolutely oppose any decoration;

6. Advocate the mass production of standardization.

Since the establishment of this institution, German designers have a center where they can reunite, and various exhibitions and seminars organized by the German Industrial League have become important places for the research and development of design pioneers at that time. Gropius's achievements, which he commissioned to design the Cologne Exhibition Hall in 1914, are largely inseparable from the Industrial League.

Founded in 1907, the German Industrial Alliance is an organization that promotes industrial design ideas and formulates industrial specifications in all walks of life, and persuades people from all walks of life to jointly promote the "quality of industrial products", and the slogan of the Industrial Alliance is "high-quality products".

The purpose of the German Industrial Confederation is mainly reflected in the manifesto drafted by Friedrich Naumann, which itself shows several major concerns of the German design and architecture circles at that time:

1) Advocate the combination of art, industry and handicrafts;

2) Advocate through education and publicity, and strive to integrate the design of different projects to improve art, simple industrial design and handicrafts;

3. Emphasizing the unofficial route and avoiding political interference in design;

4. Vigorously promote and advocate functionalism and recognition of modern industry;

5. Resolutely oppose any decoration;

6. Advocate the mass production of standardization.

Mutesius.

According to the question bank, Mutetius was the founder of the German Federation of Industry and the founder of the entire event, and he was a teacher, diplomat, and antiques connoisseur turned design art movement organizer.

Born in Thüeringen (Herman Muthesius, 1861-1927), Mutesius was the founder and founder of the German Industrial Union (Deutscher Werkbund). It is a teacher, diplomat, and antique connoisseur who is a designer of the sports group Zen Qing weaving cover holder.

Herman. Muttesius was the founder and core figure of the German Industrial League, the organizer of the German modernist design movement, one of the important founders of modernist design theory, and he played a great role in promoting the development of German industrial design. He saw that the Achilles' heel of the British art and design movement was the rejection of industrialization, and thus established "the level of cooperation between art, industry, and crafts, and clearly pointed out that the contradiction between machinery and handicraft could be resolved through art and design."

The British Crafts Movement believed that craftsmanship was superior to mechanical production, and the Industrial League advocated a recognition of the difference between the two; Mutetius passionately argued for the value of standardization and machinery from the point of view of design, arguing that simplicity and precision were both functional requirements of machine building and symbols of 20th-century industrial efficiency and strength. The efforts of the Industrial Confederation were to merge artists and craftsmen with industry as a whole, to improve the functional and aesthetic quality of mass production, especially for low-cost consumer products. His advocacy of mechanized mass production, the use of new technologies and new materials, the idea of standardization and functionalist design, and his efforts to revitalize German design education and develop the German economy have made him a true pioneer and leader of the German industrial design movement.

It is the cornerstone of German modernist design. It laid the foundation for the rise and development of the European modernist design movement in the 20s of the 20th century, both theoretically and practically. Its founders include the famous German diplomat, art education reformer and design theorist Mut Hughes, the modern design pioneer Behrens, the famous designer Wilde and others.

Its base is in Herralau, a suburb of Dresden. Its aim is to raise the level of German design and design excellent products through the combination of art, industry and craftsmanship. The League believes that the purpose of design is people rather than things, and that industrial designers are public servants of society, not artists with the purpose of self-expression, and on the premise of affirming mechanized production, mass production and product standardization are the basic requirements of design.

It strives to promote industrial design ideas to all walks of life, introduce advanced design achievements, and promote leaders from all walks of life to support the development of design, so as to promote the improvement of German economic and national cultural literacy. It shows that Germany has entered a new stage in industrial design and is a world leader. The designers in the alliance are constantly achieving unprecedented achievements in practice.

From 1912 to 1919, the Allied published a yearbook that introduced Behrens's factory building for the German electrical joint venture and a series of its products: the administrative and office building designed by Gropius for the Confederation, the Fagus shoe last factory with a curtain wall, and the glass palace designed by Taute for the Cologne exhibition; Newman's commercial car designs, among others, have a distinctly modernist style. In particular, the introduction of the exhibits at the 1914 Cologne Exhibition is even more refreshing.

The yearbook also shows people the new trends in the development of international industrial technology in a timely manner, such as the assembly line pioneered by Ford Motor Company in the United States. The yearbook also publishes chapters on different points of view, so that people can seek truth in debate. In 1914, there was a debate within the League between Mutthughes, a theoretical authority in the design world, and Wilder, a famous designer, on the issue of standardization

Modern industrial design must be built on the basis of large industrial civilization, and mass production of mechanical products must adopt standardized production methods, under this premise to talk about style and taste. This controversy was the first controversy with international influence in the history of modern industrial design, and it was the most important and far-reaching event in all the activities of the German Industrial League. The First World War interrupted its activities.

But the design theories and principles it established laid the foundation for modernist design in Germany and around the world.