This article aims to provide an overview of the German Design Council (Rat für Formgebung), which was established in 1951 to ensure standardisation of the form of German design products, thus creating a platform for design to act as a key economic driver in Germany (German Design Council Foundation, n.d).
Creating A National, Design-Driven Identity:
Initially, the notion of creating a design council was suggested by the German Werkbund (Betts, p.179), an establishment that was formed to respond to the ‘rapid industrialization’ (Campbell, p.3) of Germany. After the disastrous outcome of a German exhibition show held in New York in 1949, the need to move away from the kitsch was imperative, in order to create the sense that Germany, or West Germany in particular, was not ‘culturally backward’ (Betts, p.180). Thus, making the proposal of a design council even more appealing and pertinent. The intention to create a design-driven identity was first seen in the Council’s participation in the Milan Triennial X in 1954, where an exhibition was held in order to display works of art and architecture, re-integrating West Germany into ‘the international community of states’ (Rat für Formgebung: German Design Council, n.d).
One can clearly observe that an attempt to move away from kitsch or imitative forms was made, as the pieces on display were refined and communicated certain forms maturely. As the sixties emerged, discourse and discussions about the significance of functionalism became more prevalent, along with growing public interest in good form and design (Rat für Formgebung: German Design Council, n.d), which soon became reflected in the Council’s logo, designed by Anton Stankowski, where the ‘Design Council had to work both internally and externally – hence the two directions of form.’ (Rat für Formgebung: German Design Council, n.d). Below, many iterations of the logo can be seen, with the iteration in the bottom-right corner being the finalised logo.
The aspect of working internally and externally is reflected in the sixties, where domestic markets and trade became more accessible, which, according the President of the German Design Council in 1988 (Dieter Rams), was a result of the fact that ‘the beginning of exports was a challenge and a test also for design’ (Rat für Formgebung: German Design Council, n.d). In order to implement a certain level of standardisation into the evaluation of design products, Herbert Ohl, former technical director of the council in the seventies, established a systematic procedure, where each design product that was submitted for review was evaluated using 768 aspects or criteria (Hahlweg, n.d, p.15). This was intended to create an equal level of objectivity amongst all design products, and, in some ways, measure design (Hahlweg, n.d, p.15).
As the Council became more successful in establishing a design-driven identity for Germany, it endeavoured more in promoting a design dialogue that transcended politics (Hahlweg, n.d., p.g 15). This was accomplished in numerous ways, but most notably through the 1991 FormWende Exhibition (Design Turnaround), which was displayed in some of the Eastern German cities as well, symbolising a unity in ‘a country that was divided for decades’ (Hahlweg, n.d. p.15).
The Council’s Ventures In The 21st Century:
If one were to reflect the amalgamation of the aforementioned internal and external roles within the council, as well as the growing design dialogue, into the current social landscape, it would be best observed in the Council’s priority to elevate Germany’s ‘Mittelstand (middle-sized businesses)’ (Wong, 2019) to an international level. In 2012, the Council established the German Design Awards, promoting products ‘whose market launch was no longer than five years ago’ (Rat für Formgebung: German Design Council, n.d). According to Joerg Suermann, organiser of the German Design Awards in 2012, the country’s design industry needs to move away from the ‘minimalist, Bauhaus-inspired aesthetic’ (Fairs, 2012), which is quite a contrast from the need to move away from the kitsch, in the 20th Century. With establishments known on an international level, such as the Ulm School of Design and the Bauhaus, Suermann suggested that the new, emerging generation of designers not only have these establishments, but more innovative concepts to show the international design community (Fairs, 2012).
Another prominent venture that the Council endeavoured in, was the partnership with the New European Bauhaus Initiative, where they have committed to support the scheme through collecting ideas from an interdisciplinary range of professionals and engaging with people to gather their needs and expectations (New European Bauhaus, n.d). This partnership is, perhaps, due to Europe’s aim to be ‘climate neutral by 2050’ (Haus von Eden, n.d), which aligns with the views of Lutz Dietold (managing director of the council) and the council as a whole, as seen in the image and quote below:
In summary, from its establishment, to its ongoing ventures as a partner of the New European Bauhaus and leader of the German Design Awards, the German Design Council has always strived to elevate innovative German products on an international level, in order to sustain Germany’s design identity.
References:
- Betts, P. (2004) The Authority of Everyday Objects : A Cultural History of West German Industrial Design. Berkeley: University of California Press (Weimar and Now). Available at: https://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=119321&site=ehost-live&scope=site [Accessed: 8 November 2024].
- Campbell, J. (1978). The German Werkbund : The Politics of Reform in the Applied Arts. Princeton, New Jersey: Princeton University Press (Princeton Legacy Library). Available at: https://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=946655&site=ehost-live&scope=site [Accessed: 8th November 2024].
- Fairs, M. (2012) Germany needs “new design language” – German design prize organiser [online] Available at: https://www.dezeen.com/2012/10/01/germany-needs-new-design-language-says-german-design-prize-organiser/ [Accessed 16th November 2024]
- German Design Council Foundation. (n.d). German Design Council Foundation [online] Available at: https://ifdesign.com/en/brands-creatives/company/german-design-council-foundation/9343 [Accessed 8th November 2024]
- Hahlweg, B. (n.d), German Design Council – a look back at 60 years of design culture [online] Available at: https://www.german-design-council.de/fileadmin/gdc/upload/PDF/Markenbuch_60Jahre_Historie_EN.pdf [Accessed 16th November 2024]
- Haus von Eden. (n.d) New European Bauhaus: The Green Deal for NextGenEU [online] Available at: https://www.hausvoneden.com/urban-living/new-european-bauhaus-council-for-design/#:~:text=The%20German%20Design%20Council%20is,European%20Commission%20to%20promote%20sustainability&text=Europe%20is%20targeting%20to%20be,with%20%22New%20European%20Bauhaus%20%22. [Accessed 16th November 2024]
- New European Bauhaus. (n.d) Official Partners [online] Available at: https://new-european-bauhaus.europa.eu/about/official-partners_en [Accessed 16th November 2024]
- Rat für Formgebung: German Design Council. (n.d.) 70 Years German Design Council [online] Available at: https://www.german-design-council.de/en/about-us/70-years-of-german-design-council [Accessed 16th November 2024]
- Wong, H. (2019) From Bauhaus to Berlin’s poster culture: a German design guide [online] Available at: https://www.designweek.co.uk/issues/9-15-december-2019/german-design-guide/ [Accessed 16th November 2024]
Image URLs:
Image 1: https://www.german-design-council.de/en/about-us/70-years-of-german-design-council
Image 2 : https://www.german-design-council.de/en/about-us/70-years-of-german-design-council
Image 3 : https://deerdesigner.com/blog/3-ways-to-measure-design-quality/
Image 4 : https://ndion.de/en/transforming-ambivalences-into-creative-energy/
Image 5 : https://www.hausvoneden.com/urban-living/lutz-dietzold-interview-sustainable-design/
