JOSEF FRANK (Austrian, 1885–1967) Chair for Haus Und Garten, Vienna, Ca.1925 Mahogany 31.5" H X 19" W X 23" D; 17" D Seat, 17" H Seat

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! ! JOSEF FRANK (Austrian, 1885–1967) Chair for Haus und Garten, Vienna, ca.1925 Mahogany 31.5" H x 19" W x 23" D; 17" D seat, 17" H seat ! ! ! ! Josef Frank Austrian,1885-1967 Josef Frank was the leading innovator of Modern Swedish design in the 20th century. Frank was born in Vienna and it was there that he pursued an education in architecture at the University of Technology. In 1933 Frank emigrated to Sweden. Shortly thereafter, he began working at the prestigious Stockholm design ﬁrm, Svenskt Tenn (Swedish Pewter), where he produced much of the oeuvre for which he is so admired. There are over 2,000 furniture sketches and 160 textile designs that Frank produced for Svenskt Tenn alone. Contrary to the precepts of Le Corbusier's modernism, Frank developed his pieces with a warmth, beauty and practicality that aligned more with the traditional ideals and comforts of the Swedish home. Many of Frank's designs incorporated organic and open frameworks, and he favored cheerful and vivid patterned textiles and hues, all of which emulated the freedom of the natural world indoors. Frank's works were popularized in the great World Expositions in Paris in 1937 and in New York in 1939. His works were prized and collected by Prince Eugen of Sweden and are presently featured throughout many prominent public art collections as an integral part of their design programs. MUSEUMS The Museum of Modern Art, New York The Metropolitan Museum of Art, New York The Cooper Hewitt Museum, New York The Art Institute of Chicago The Victoria and Albert Museum, London The Röhsska Museum, Gothenburg The Nationalmuseum, Stockholm The Museum of Applied Arts, Vienna AWARDS 1965 Grand Austrian State Prize for Architecture 5 1 E 1 0 t h S T • N E W YO R K , N Y 1 0 0 0 3 p h o n e 2 1 2 3 4 3 0 4 7 1 • f a x 2 1 2 3 4 3 0 4 7 2 i n fo @ h o s t l e r b u rr o w s . c o m • h o s t l e r b u rr o w s . c o m ! .

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The Other Modern Dwelling: Josef Frank and Haus & Garten Christopher Long School of Architecture University of Texas at Austin January 1999 Working Paper 98-2 ©1999 by the Center for Austrian Studies (CAS). Permission to reproduce must generally be obtained from CAS. Copying is permitted in accordance with the fair use guidelines of the U.S. Copyright Act of 1976. CAS permits the following additional educational uses without permission or payment of fees: academic libraries may place copies of CAS Working Papers on reserve (in photocopied or electronically retrievable form) for students enrolled in specific courses; teachers may reproduce or have reproduced multiple copies (in photocopied or electronic form) for students in their courses. Those wishing to reproduce Center for Austrian Studies Working Papers for any other purpose (general distribution, advertising or promo- tion, creating new collective works, resale, etc.) must obtain permission from the Center for Austrian Studies, University of Minnesota, 314 Social Sciences Building, 267 19th Avenue S., Minneapolis MN 55455. Tel: 612-624-9811; fax: 612-626-9004; e-mail: [email protected] A direct link to the CAS e-mail address cannot be included on this page, because it has been reproduced in Adobe Portable Documrnt Format (pdf) rather than html. We have done this because of the many high-quality images embedded in the paper. 1 In an article published in Der Architekt in 1921, the year when the economic and political fortunes of Austria finally began to revive, Josef Frank took time out to reflect on what the new realities of the postwar era would mean for the future of the arts and crafts in Vienna.
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Sweden Celebrates 85 Years with Josef Frank
The Frank 85 exhibition is open from September 21th to October 28th, 2018 Sep 21, 2018 13:42 GMT Sweden celebrates 85 years with Josef Frank This year marks 85 years since one of Sweden’s most renowned designers came and enriched his new homeland with colourful prints and timeless interiors. To commemorate this, Svenskt Tenn has created an exhibition presenting a mix of newly produced and classic designs, as well as objects from the archives – all created by Josef Frank. Josef and Anna Frank left their homeland, Austria, in December 1933 due to the rise of anti-Semitism. In January 1934, Josef Frank began a lifelong collaboration with Svenskt Tenn’s founder Estrid Ericson. “With this tribute exhibition we want to show the breadth of Josef Frank’s creativity and how much his designs have contributed to Swedish design history and the present,” says Thommy Bindefeld, marketing manager and creative director. This autumn’s big fabric news is Josef Frank’s Baranquilla, which is now being launched with a black base. There will also be a number of new launches from the archives: Cabinet 2215 is a classic piece of furniture that will return to Svenskt Tenn’s range in 2018, together with a sideboard, a stool a classic captain’s chair and a round dining table. “Estrid Ericson felt that a round dining table with room for eight people was the most suitable for serving dinner, so all of the dinner guests could see and hear each other. Our customers have also been asking for a large, round dining table and subsequently, table 1020 has returned to our range,” says Bindefeld.
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JOSEF FRANK: Against Design
Press Release JOSEF FRANK: Against Design Press Conference Tuesday, 15 December 2015, 10:30 a.m. Opening Tuesday, 15 December 2015, 7 p.m. Exhibition Venue MAK Exhibition Hall MAK, Stubenring 5, 1010 Vienna Exhibition Dates 16 December 2015 – 12 June 2016 Opening Hours Tue 10 a.m.–10 p.m., Wed–Sun 10 a.m.–6 p.m. Free admission on Tuesdays from 6–10 p.m. “One can use everything that can be used,” proclaimed Josef Frank, one of the most important Austrian architects and designers of modernity, who, with this undogmatic, anti-formalist design approach, was far ahead of his time. More and more, Frank’s architectural sensibility, which placed serviceability and comfort above form and rules of form, counts as trend-setting. The exhibition JOSEF FRANK: Against Design gives a comprehensive overview of the multi-layered oeuvre of this extraordinary architect and designer, while being much more than a survey of his work. This MAK solo exhibition delves into Frank’s complex intellectual and creative strategies, which today are once again highly topical. The exhibition title Against Design encapsulates this undogmatic stance. Frank, who as an architect grappled with all of the themes having to do with architecture and living environments, was also highly productive as a “designer” and developed a plethora of furniture and textiles. Within the international avant-garde, however, he adopted a very critical position. He expressly declared himself opposed to the idea of the Gesamtkunstwerk, standardized furnishings, and innovative forms for their own sake. He could not really warm up to either the individual-artistic paradigms of the Wiener Werkstätte or to functional, mechanized production deriving from the Bauhaus.
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Estrid Ericson Biography
Estrid Ericson (1884-1981) was a Swedish artist, designer and accomplished entrepreneur responsible for both the establishment and longevity of Svenskt Tenn (Swedish Pewter), a Swedish interior design company for which she served as managing director for 56 years. Together with Nils Fougstedt, Ericson developed Svenskt Tenn into a most influential enterprise involved in manufacturing and design, imports, exports, retail sales and consulting services. Ericson was born in 1894 and raised in Hjo in Vastergotland. In the early 1920s, she trained as a drawing teacher at the Technical School in Stockholm. Thereafter she worked for several years as an art teacher, a pewter artist and interior design consultant at Svenskt Hemslöjd and Willman and Wiklund. In 1924, together with fellow pewter artist Nils Fougstedt, Ericson opened a small pewter workshop, and later in the same year they founded Svenskt Tenn in Stockholm. Initially, Svengst Tenn produced and sold creative modern designs in pewter, which were recognized for their wonderful quality of craftsmanship. In the 1930s, the focus of Svenskt Tenn shifted away from pewter and onto interior design and architect-designed furniture. In 1934, Ericson offered the Austrian architect Josef Frank a position within the firm, which proved to be an important driving collaboration for Svenskt Tenn. Ericson and Frank developed an iconic style that while adopting some of the tenets of functionalism, maintained a warmth, 51 E 10th ST • NEW YORK, NY 10003 phone 212 343 0471 • fax 212 343 0472 51 E 10th ST • NEW YORK, NY 10003 [email protected] • hostlerburrows.com phone 212 343 0471 • fax 212 343 0472 [email protected] • hostlerburrows.com sophistication and elegance particular to the Svenskt Tenn brand.
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International Symposium “Designing Transformation: Jews and Cultural Identity in Central European Modernism”
INTERNATIONAL SYMPOSIUM “DESIGNING TRANSFORMATION: JEWS AND CULTURAL IDENTITY IN CENTRAL EUROPEAN MODERNISM” UNIVERSITY OF APPLIED ARTS VIENNA, MAY 16–17, 2019 INTERNATIONAL SYMPOSIUM “DESIGNING TRANSFORMATION: JEWS AND CULTURAL IDENTITY IN CENTRAL EUROPEAN MODERNISM” UNIVERSITY OF APPLIED ARTS VIENNA, MAY 16–17, 2019 The International Symposium, “Designing Transforma- CONCEPT AND ORGANIZATION: Dr. Elana Shapira tion: Jews and Cultural Identity in Central European DATES: May 16–17, 2019 Modernism,” offers a contemporary scholarly perspec- VENUE: University of Applied Arts Vienna, tive on the role of Jews in shaping and coproducing Vordere Zollamtsstraße 7, 1030 Vienna, Auditorium public and private, as well as commercial and social- COOPERATION PARTNERS: University of Brighton ly-oriented, architecture and design in Central Europe Design Archives, The Hebrew University of Jerusalem from the 1920s to the 1940s, and in the respective coun- and MAK – Austrian Museum of Applied Arts / tries in which they settled after their forced emigration Contemporary Art starting in the 1930s. It examines how modern identities evolved in the context of cultural transfers and migra- Organized as part of the FWF (Austrian Science Fund) tions, commercial and professional networks, and in research project “Visionary Vienna: relation to conﬂ icts between nationalist ideologies and Design and Society 1918–1934” international aspirations in Central Europe and beyond. This symposium sheds new light on the importance of integrating Jews into Central European design and aesthetic history by asking symposium participants, including architectural historians and art historians, curators, archivists, and architects, to use their analyses to “design” – in the sense of reconﬁ gure or reconstruct – the past and push forward a transformation in the historical consciousness of Central Europe.
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Christopher Long
Christopher Long ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ University Distinguished Teaching Professor School of Architecture 310 Inner Campus Drive, B7500 University of Texas at Austin Austin, TX 78712-1009 tel: (512) 232-4084 e-mail: [email protected] EDUCATION University of Texas at Austin Ph.D., History, 1993 Dissertation: “Josef Frank and the Crisis of Modern Architecture” M.A., History, 1982 Universität Wien, Vienna, Austria, 1985–87 Ludwig-Maximilians-Universität, Munich, Germany, 1980–81 Karl-Franzens-Universität, Institut für südosteuropäische Geschichte, Graz, Austria, 1977–78 University of Texas at San Antonio B.A., Summa cum laude, History, 1978 SELECTED 2016-2017 ACSA Distinguished Professor Award, Association of Collegiate School of FELLOWSHIPS Architecture, 2016 AND AWARDS Book Subvention Award, for The New Space: Movement and Experience in Viennese Architecture, Office of the Vice President for Research, University of Texas at Austin, 2015 Outstanding Scholarship Award, School of Architecture, University of Texas at Austin, 2015 Faculty Research Assignment, University of Texas at Austin, 2015 Fulbright Grant, Vienna, 2014-15 (declined) Kjell och Märta Beijers Stiftelse, Stockholm, publication grant for Josef Frank: Gesammelte Schriften/Complete Writings, 2012 Architectural Research Support Grant, School of Architecture, University of Texas at Austin, 2012 Texas Institute of Letters, Best Scholarly Book Award, 2011 (for The Looshaus) Harwell Hamilton
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International Symposium “Designing
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Sid 1 (24) SVEA HOVRÄTT Patent- Och Marknadsöverdomstolen Rotel
Sid 1 (24) SVEA HOVRÄTT DOM Mål nr Patent- och 2020-03-16 PMT 3491-16 marknadsöverdomstolen Stockholm Rotel 020107 ÖVERKLAGAT AVGÖRANDE Stockholms tingsrätts dom 2016-03-22 i mål nr T 14506-13, se bilaga A PARTER Klagande 1. Textilis Ltd 1 Highfield Drive, Fulwood Preston, Lancashire PR2 9SD Storbritannien 2. O.K. Motpart Svenskt Tenn Aktiebolag, 556032-0375 Box 5478 114 84 Stockholm Ombud Jur.kand. B.E. och jur.kand. M.J. Zacco Sweden AB Box 5581 114 85 Stockholm SAKEN Varumärkes- och upphovsrättsintrång ___________________ DOMSLUT Se nästa sida. Dok.Id 1354612 Postadress Besöksadress Telefon Telefax Expeditionstid Box 2290 Birger Jarls Torg 16 08-561 670 00 08-561 675 09 måndag – fredag 103 17 Stockholm 08-561 675 00 09:00–15:00 E-post: [email protected] www.patentochmarknadsoverdomstolen.se Sid 2 SVEA HOVRÄTT DOM PMT 3491-16 Patent- och marknadsöverdomstolen DOMSLUT 1. Patent- och marknadsöverdomstolen avvisar Textilis Ltd:s och O.K.s yrkande om hävning av registreringen av EU-varumärket JOSEF FRANK i figur (nr 011858313). 2. Patent- och marknadsöverdomstolen fastställer punkterna 2, 3, 6–8 i tingsrättens domslut och ändrar tingsrättens domslut på så sätt att förbudet i punkten 4 ska ha följande lydelse. Envar av Textilis Ltd och O.K. förbjuds a) att, vid vite om 200 000 kr för varje trettiodagarsperiod under vilken förbudet inte har följts, i Sverige bjuda ut till försäljning eller på annat sätt till allmän- heten sprida alster som framgår av bilaga 3 till tingsrättens dom, b) att, vid vite om 200 000 kr för varje trettiodagarsperiod under vilken förbudet inte har följts, i Sverige använda kännetecknet JOSEF FRANK (nr 000227355) för tyger, kuddar och möbler och c) att, vid vite om 200 000 kr för varje trettiodagarsperiod under vilken förbudet inte har följts, i Sverige använda kännetecknet MANHATTAN (nr 010540268) för tyger, kuddar och möbler.
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Josef Frank-Spaces - Case Studies of Six Single- Family Houses Pdf, Epub, Ebook
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WIENER WERKBUNDSIEDLUNG Vienna Housing Strategies After the Collapse of the Austrian Empire SOCIAL HOUSING in WIEN, 1920
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Download a Booklet to Read More About the Exhibition
DIVERSITY AND HARMONY I N OU R GLOBAL HOME text by Anders Wall MY RELATIONSHIP WITH Svenskt Tenn of my engagement and responsibility for it came about that in 1975, Estrid Ericson dates back to the beginning of the 1950s, her life’s work, Svenskt Tenn. sold her life’s work, Svenskt Tenn, to the when I was a student at the Stock- Our friendship deepened over time. Kjell and Märta Beijer Foundation, of holm School of Economics. On the During one of our lunches in her apart- which I was chairman. way to my rented room on Grevgatan, ment on Strandvägen, she confided I am among those who consider it I often passed the Svenskt Tenn shop on in me that she was thinking of selling a great privilege for individuals and Strandvägen with its attractive window Svenskt Tenn and that she had no short- organisations with financial resour- displays. I occasionally popped into the age of prospective buyers. However, she ces to be able to contribute to societal shop to admire the beautiful products was frightened at the thought of her crea- development. My old mentor Kjell Beijer and their detail. tion being bought by someone who would was of the same opinion and through On one such occasion, Estrid Ericson not take care of it and of her interior his donations he laid the cornerstone for came up to me and said that they had design concept becoming just one of a foundation supporting research within noticed that I often visited the shop but many in a large department store.
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Svenskt Tenn Celebrates the Furniture Designs of Josef Frank in New Exhibition
Aug 22, 2014 08:29 GMT Svenskt Tenn celebrates the furniture designs of Josef Frank in new exhibition The colorful prints on textiles, wallpaper and carpets are for many people what first comes to mind when they hear the name Josef Frank, but above all he was a prominent furniture designer. This part of his life’s achievements is highlighted in the tribute exhibit now on display at Svenskt Tenn. Josef Frank was born in Austria in 1885, and came to Sweden with his Swedish wife Anna in 1933. The threat from the rising Nazi menace was becoming too real, so upon an invitation from Svenskt Tenn founder Estrid Ericson, he chose to leave his native country for good. In Sweden he started his collaboration with Estrid Ericson, that was so mutually fruitful and came to last until Josef Frank passed away in 1967. Svenskt Tenn is now about to launch eight pieces of furniture by Josef Frank (see Appendix), some of which have never been manufactured before. They are displayed in an exhibition composed according to the designer’s interior philosophy – a representative Frank statement is that it does not matter if you mix styles, colors and prints; things that you like will still merge into one harmonious unit. The exhibition is titled A tribute to the furniture designer Josef Frank. The art in the exhibition comes from the art consultancy company Moderna Samlare. The exhibition runs August 23 through September 27 at the Svenskt Tenn store in Stockholm, Sweden. Svenskt Tenn was founded in 1924 by designer and drawing teacher Estrid Ericson (1894-1981).
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