FORM
Svenska Slöjdforeningens Tidskrift: Organ För
Konstindustri, Handtverk Och Hemslöjd
Volume XLVIII, nos. 1 – 10, 1952
Arthur Hald [Editor]
Arthur Hald [Editor]: FORM: Svenska Slöjdforeningens Tidskrift: Organ För Konstindustri, Handtverk Och Hemslöjd. [Form: Swedish Crafts Association Journal for Arts, Crafts and Home Improvement] Stockholm: Svenska Slöjdföreningens Förlag, Volume XLVIII, nos. 1 – 10, 1952. Quartos. Text in Swedish. Volume 48 complete in 10 issues bound in decorated Publishers cloth with index. Wrappers not retained. 496 pp. Illustrated articles and advertisements. A fine, unmarked set of this important Scandinavian Design journal.
[10] 7.75 x 10.25 journals bound in decorated Publishers cloth with a total of 496 pages devoted to contemporary Swedish Crafts, circa 1952. This volume includes indexed sections devoted to General, Storybook, Design Generally, Photo, Ceramics, Glass, Arts And Crafts And Art Industry In General, Literature, Metal, Environment In General, Furniture And Furnishings, Advertising, Textiles, Exhibitions, and Current Events.
Includes articles by Erik Berglund, Arthur Hald, Bernt Heiberg, Åke H. Huldt, Stig Johansson, Alf Liedholm, Torsten Palmér, Sigurd Persson, Nancy Reeves, Gösta Selling, and others.
Includes work by Louise C. Tiffany, Charles Rennie Macintosh, Alexandre Charpentier, Hans Asplund, Bernard Leach, Spanjoren Artigas, Fransmannen Jouve, Olle Eksell, Erik Lindegrens, Karl-Erik Forsberg, Tom & Grete Möller, Ulla & Gunnar Eklöf, Karin & Nisse Strinning, Martin & Kerstin Gavler, Kerstin Falk, Henrik Park, Kaj Bojensen, Johnny Mattson, Lena Larsson, Gunnar Olsson, Carl Malmsten, Astrid Sampe, Lars Olof Gynning, Bengt Johan Gulberg, Monica Bratt, Luis Arenal, Greta Magnusson Grossman, Grete Korsmo, Carl-Axel Acking, Ingeborg Lundin, Greta Runeborg-Tell, Hans Bergström, Students Of The Institute Of Design Chicago, Konrad Wachsmann, Arne Korsmos, Poul Kjaerholm, Kjell Wennerholm, Arne Nilsson, Rolf Karlsson, Karl Ake Nyström, Anders Beckman, Tord Kempe, Kerstin Hörlin-Holmqvist, Nisse Strinning, Alf Svensson, Gunnar Eklöf, Jack Ränge, Kurt Nordström, AB Andersson, Bengt Jonsson, Eyjolfur K. Agustsson, Ingrid Bolander, Sven Engström, Gunnar Myrstrand, John Kandell, Stig Henrik Sörensen, Folke Sundberg, Eyvind Beckman, Thea Leonhard, Carl Malmsten, Signe Persson, Gunnar Nylund, Ilmari Tapiovaara, Folke Brundin, Erik Ulrich, Owe Dahlstrand, Estrid Ericson, Hugo Strömdahl, Ake Nordin, Grethe Korsmo, Torum Bülow-Häbe, Bengt Wettersjo, Aune Siimes-Kapra, Kay Bojesen, Finn Juhl, Magnus Stephensen, Georg Jensen, Johan Rohde, Axel Salto, Thorvald Bindesböll, Ben Shahn, Abram Games, FHK Henrion, Alvin Lustig, Carl Harry Stalhane, Hugo Gehlin, Arthur Percy, William Stenberg, Anders Beckman, Anders Liljefors, Kvartett Fran Rörstrand, Maria Hackamn-Dahlén, Hertha Bengtsson, Sylvia Leuchovius, Marianne Westman, Charles Eames, Hans J. Wegner, Tapio Wirkkala, Bruno Mathsson, Harry Seidler, Florence Knoll, Carlo Pagani, Willy & Emil Guhl, Wilhelm Kage, Gull Lillicona, Erik Herlow,Arne Jacobsen, Nils Wedels, Gerda Strömberg, Edward Hald, Bertil Brisborg, Nytt Fran Adelborg, Bjerke-Petersen, and many others.
Advertisments from Venini, Kosta, Orrefors, Nordiska Kompaniet, Triva, Dux, Gense, Karl Mathsson and others.
Svensk Form (the Swedish Society of Crafts and Design) is a not-for-profit membership association mandated by the Swedish government to promote Swedish design at home and abroad. The association Svensk Form, originally Svenska Slöjdföreningen (The Swedish Society of Crafts and Design), was founded in 1845 to safeguard the quality of the Swedish crafts industry. At the time one of the main threats posed to the industry was the increase in mass production and the poor quality of the resulting goods, often made by non-guild-trained craftsmen.
This was an important year in the Swedish design landscape as Konstfack University College of Arts, Crafts and Design also came into existence. As a result, a new approach to design began to emerge – forward thinking and consistent with industrial production methods rather than seeking to poorly imitate old forms of luxury. The working classes of Sweden became design-empowered with access to well-designed, beautiful and affordable goods.
“Beautiful Everyday Goods” was born as a slogan in 1919, forming the basis for Svensk Form’s mission during the first half of the 1900’s. The association’s members numbered mostly professionals involved in design and crafts but also featured academics, businessmen, industrialists and history experts.
From the outset Svensk Form was an active lobbyist; arranging exhibitions, initiating debate and publishing Form, now the world’s oldest design magazine.
Svensk Form’s goal is to demonstrate the benefits of good design to social development, to stimulate the development of design in Sweden, to increase respect for the value of design work and to expand and deepen attitudes towards issues of form and design.
Svensk Form functions as a knowledge platform, intermediary, and advocate for the design field in Sweden. We work with a broad definition of design that includes the design of products, services and environments, and ranges from crafts to industrial design. Lobbying decision makers is yet another means of strengthening the role of design in society.
Increasing knowledge about the benefits of good design to the development of society has been the key theme throughout the history of Svensk Form. Today, the goal of achieving a long-term sustainable society and improved quality of life is more urgent than ever. Designers are a natural link between manufacturers and consumers and can influence how social, environmental and economic aspects are integrated into a product’s design, manufacture, marketing and market communications. Good design solutions can contribute to sustainable development. Svensk Form participates in a number of projects on the theme of good design. [Svensk Form]