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Aesthetics after commercial expediency?

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Ivo:
I would think the whole set of different plates & cups & whatnots was designed carefully - and somewhere at the last moment the factory decided they needed a plate with a divider, so they just matched the mould bottom with the mould top and gave it no thought at all.

Sklounion:
It surprises me that this happened, with this pattern, as the divider, (a shape characteristic of Inwald) is seen on other relatively plain patterns ie "Boule", where no ribs occur, "Argos" with six ribs, but its use for "Teplitz" looks quite incongruous.
I think this is probably factory improvisation as I cannot see Rudolf Schrötter actively having designed this.

Regards,

Marcus

Pinkspoons:

--- Quote from: "Frank" ---Perhaps this was why the glass industry was so often criticised for poor use of designers. But then I recently came across an academic remark 1950ish, that artists had no place in industry!
--- End quote ---


I remember reading in a book to do with the history of glass (the name of the book escapes me now, but it was probably The History Of Glass, or Glass: A History...  :lol: ) a similar remark from around the 1940s/50s by some chap who, if I recall correctly, was on a panel for some design award-giving board, decrying all the art-glass and glass designers as pointless frivolity and that the most important advancement in 20th century glass was Pyrex.

But within a decade or so the awards which were going to plain utilitarian glass from this design board were, the book noted, instead all going to decorative glass designers and manufacturers.

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