Peter Behrens (1868-1940)

Behrens was a pioneer of modern German architecture and industrial design. Behrens received art education at the Hamburg School of Arts and Crafts from 1886 to 1891, and later changed his profession to study architecture. He became a member of the Munich Secession in 1893. In 1900, he joined a seven-member group composed of artists, architects, and designers and began architectural design activities. In 1907, he became a promoter and leader of the Deutsche Werkbund. In the same year, he was hired as a director of General Electric of Germany. Art consultant for the company AEG, started his career as an industrial designer.

In 1909, Behrens designed the turbine manufacturing workshop and machinery workshop of the German General Electric Company AEG. The architectural form abandoned traditional additional decorations, and the shape was simple, spectacular and pleasing to the eye. It was known as The first truly modern building.

In addition to architectural design, Behrens also designed many products for AEG, such as electric kettles, electric clocks, electric fans, etc. There is nothing pretentious or far-fetched about these designs, allowing the machine to express itself in a home environment. Behrens played a huge role in AEG, a large company with centralized management. He was fully responsible for the company's architectural design, visual communication design and product design, allowing this large and complex company to establish a unified and complete image and create a distinctive image. The first of modern corporate identity programs. AEG's logo was revised and drafted several times by him and is still in use today, becoming one of the most famous logos in Europe.

Behrens was also an outstanding design educator. His students included Gropius, Mies and Corbusier, who later became the greatest modern architects and architects of the 20th century. designer.

Walter Gropius (1883-1969)

Gropius was born in Berlin to a family of architects. He studied architecture in Berlin and Munich in his youth. . He started working in Behrens's office in 1907. In 1910, he partnered with Meyer to open an architectural office in Berlin. In the following year, he collaborated to design the Fagus Factory with large glass curtain walls and corner windows.

In 1919, Gropius founded the National School of Architecture, referred to as Bauhaus, in Weimar, Germany, with the purpose of cultivating new design talents. The school attaches great importance to basic training and gradually forms a basic curriculum featuring two-dimensional composition, three-dimensional composition and color composition. The school advocates the unity of art and technology; pays equal attention to practical ability and theoretical literacy; emphasizes that the purpose of design is people rather than products; and advocates mastering handicrafts while understanding the characteristics of modern industry and designing in accordance with natural and objective laws. In 1925, due to persecution by the reactionary government, the Bauhaus moved to Dessau. Gropius promoted some outstanding teachers, improved the teaching plan and facilities, and designed a new Bauhaus school building.

In 1928, Gropius resigned as principal of the Bauhaus under various pressures. In 1937, Gropius went to the United States to serve as the chairman of the Department of Architecture at Harvard University and founded the Concorde Design Office.

Gropius is the most important designer, design theorist and founder of design education in the twentieth century. His influence on modern design in the twentieth century is inestimable.

Ludwig Mies van der Rohe (1886-1969)

Ludwig Mies van der Rohe was born in an ordinary stonemason family in Germany. In 1907, he worked in Behrens's office with Gropius and was greatly influenced by Behrens. In 1928, he put forward the famous saying "less is more" and advocated pure and simple architectural expression. In 1929, Mies designed the German Pavilion at the Barcelona International Exposition. Its spacious interior space and elegant and simple modern furniture made him the most watched modern designer in the world at that time.

In 1930, Mies served as the third principal of the Bauhaus and worked hard to transform the school into a pure design education center. He believes that only architectural design can enable the healthy development of design education, so this approach of using architecture as the core to unite other majors has been throughout Mies's tenure. But then the political atmosphere worsened day by day. When the Nazi government came to power in 1933, the first order issued by its Ministry of Culture was to close the Bauhaus, thus ending its 14-year history of running the school.

In 1938, Meese immigrated to the United States and served as professor of architecture at the Illinois Institute of Technology. Through his lifelong practice, he established a clear modernist architectural style and influenced several generations of modern architects and designers. Few people have as much influence on modern architecture as he did. American writer Tom Wolfe once mentioned in his book "From Bauhaus to the Present" that Mies's principles changed the skylines of one-third of the world's cities. This is not an exaggeration and reflects his important role and impact.

Laszlo Moholy-Nagy (1895-1946)

Laszlo Moholy-Nagy was born in Hungary and focused on painting and graphic design in his early years. Nagy came to the Bauhaus in 1921, took over from Eaton in 1923, and was responsible for teaching the basic courses of the Bauhaus.

Nagy emphasizes the rational understanding of form and color, focusing on the relationship between points, lines, and surfaces. Through practice, students understand how to objectively analyze the composition of two-dimensional space, and then extend it to the composition of three-dimensional space. This provides a basis for design Education laid the foundation for the three major components, and also meant that the Bauhaus began to shift from expressionism to rationalism. At the same time, Nagy also served as a tutor in the metal products workshop, committed to educating students to engage in internships using the method of combining metal and glass, and opened up a new way for lamp design. Many of the most influential works of the Bauhaus appeared here. . He strives to transform students from a personal artistic expression standpoint to a more rational one, scientifically understanding and mastering new technologies and new media. The metal products he guides students to produce have very simple geometric shapes and also have clear and appropriate functions. Features and Performance.

After the dissolution of the Bauhaus, Nagy established the New Bauhaus in Chicago in 1937. As a continuation of the original Bauhaus, it introduced a new method into American creative education, but Most graduates of this school are employed as artists, craftsmen, and teachers rather than as industrial designers. The New Bauhaus later merged with the Illinois Institute of Technology.

Marcel Breuer (1902-1981)

Breuer was born in Hungary. He studied at the Vienna Academy of Arts in 1920 and later became the first member of the Bauhaus student, after graduation, he worked as a teacher in the Bauhaus furniture department and presided over the furniture workshop. There, Breuer made full use of the properties of the material to create a series of steel tube chairs that were simple, lightweight, functional and suitable for mass production. They were light and elegant in shape and simple in structure, becoming his greatest contribution to modern design in the 20th century. .

From 1932 to 1934, he mainly worked in Switzerland, engaged in furniture design. In 1935, he began to devote himself to the research of plywood molded furniture, standardized modular unit furniture, interior design and standardized modular unit housing. Breuer taught at the Harvard School of Architecture from 1937 to 1946. Breuer designed his own home in Connecticut in 1947; the UNESCO headquarters in Paris from 1953 to 1958; and the Whitman House in New York from 1963 to 1966. Ni Museum. Breuer skillfully handles wood and stone materials in natural relationships to form a unique style.

Breuyer believed in industrial mass production and worked hard on the standardization and standardization of furniture and building components. He was a true functionalist and a pioneer of modern design.

Wilhelm Wagenfeld (1900-1990)

Wilhelm Wagenfeld was born in Bremen, Germany. He worked in a silverware factory in his early years and received art education. In 1923, he began Studied and taught at Bauhaus. In the metal workshop of the Bauhaus, Wagenfeld designed the famous chrome-plated steel tube table lamp, which is still in production today. Wagenfeld opposed the concept of egocentric design. He claimed that design in industry was a collaborative activity and had nothing in common with the work of artists. He denied that function was the decisive factor in form, believing that function was not the ultimate goal but a prerequisite for good design. This change of perspective and his ability to adapt to industrial production allowed him to continue working as a major designer during the Third Reich, something rare among his previous Bauhaus colleagues.

In 1929, he began to receive design commissions from the furniture, ceramics, glass and other industries. From 1931 to 1935, he was appointed as a professor at the State Academy of Fine Arts in Berlin. In 1935, he was hired as the art director of the Lausitz Glass Company. He gained an international reputation for his improved product quality and his designs of custom-made exquisite glassware. His main works are molded glassware, such as wine glasses for restaurants and restaurants, bottles and jars for commercial use, and modular kitchen containers and plates. All of these products are devoid of decoration, emphasizing clean lines and subtle body changes, exploring the malleable characteristics of glass with restraint.

After the war, Wagenfeld worked at the German Academy of Sciences and the National Academy of Fine Arts, continuing to engage in design education, while actively engaging in design activities. In 1954, Wagenfeld became an independent designer and designed many excellent lamps. In these designs, the rigid geometric form of the light bulb was alleviated by the more organic form of the plastic lampshade.

As one of the most famous German designers involved in mass production, Wagenfeld has further unleashed the potential of industrial design in a more specialized production system.

Marianne Brandt (1893-1983)

Brand entered the Royal Saxon Academy in 1911 to study painting and sculpture, and established a personal studio in 1917. In 1923, Brand entered the metalwork workshop of the Bauhaus to study. Influenced by Nagy, she combined emerging materials with traditional materials and designed a series of innovative and functional products, including the famous teapot she designed in 1924. Her designs adopt geometric forms and use simple and abstract combinations of elements to convey their practical functions.

Brand also paid great attention to the issue of mass production. In 1927, she designed the famous Condon table lamp, which has a bendable lamp neck and a stable base. It has a simple and beautiful shape, good functional effects, and is suitable for mass production. The classic design also marks the maturity of Bauhaus in industrial design.

After leaving the Bauhaus, Brand still designed metal products for a period of time, but later he mainly engaged in painting, sculpture, and taught in some colleges, and never resumed his work. The glory of the Bauhaus now.

Brand is an important figure in the history of modern design, not only because she created many of the most beautiful and durable metal products of the 20th century, but also because she held a place in the male-dominated field of metal product design. Brand later recalled that when she was studying at the Bauhaus, before she was widely recognized and accepted, she could only be assigned to do some boring and repetitive work. Brand eventually became one of the most famous designers produced by the Bauhaus and one of the only female designers not to come out of a fabric workshop, with some of her designs still being produced today.

Porsche (Ferdinand Alexander Porsche, 1875-1951)

Ferdinand Alexander Porsche, 1875-1951, was born in Bohemia and had been engaged in automobile design for many years. By 1910, he had He is accomplished in the study of the relationship between aerodynamics and automobile styling, and has become an expert in the theory and practice of streamlines.

In the 1930s, the emerging highways in Germany stimulated great enthusiasm for streamlined vehicles. Companies such as Messander and Bagoria produced excellent models suitable for highways, bringing streamlined vehicles to the forefront. Combined with the strict European body design tradition, the most representative one is a small cheap car designed by Porsche for Volkswagen. Its prototype was designed between 1936 and 1937, and it was also one of the earliest cars of Volkswagen. Because of its small size, simple streamlined style, and appearance similar to a Beetle, it was nicknamed the Beetle car. Compared with the rigid geometric form language of modernism, its organic form is more interesting, easier to understand and accept, and it was very popular as soon as it was launched. Hitler himself attended the opening ceremony of the production of the Volkswagen Beetle in 1937 and rode in the car to show his appreciation. However, when the war broke out in 1939, the mass production of the car was interrupted. More than 300,000 orders could not be fulfilled. The car factory could only produce military vehicles during the war. It was not until 1945 that the British occupying forces first resumed mass production of the car in Germany. , Volkswagen followed closely behind. By the 1950s, the Beetle became a symbol of Germany's renaissance as the vehicle of choice for the emerging middle class.

Luigi Colani (1926- )

Luigi Colani was born in Berlin, Germany. He studied sculpture in Berlin in his early years, and later studied aerodynamics in Paris. In 1953, he was born in California. Responsible for new material projects, this experience makes his designs have aerodynamic and bionic characteristics, showing a strong sense of shape. At that time, the German design community strived to promote rational design based on system theory and logical priority theory, while Colani tried to break out of the functionalist circle, hoping to increase interest through freer shapes. He designed a large number of extremely exaggerated shapes. His works are called design geeks.

As early as the 1950s, he designed sports cars and motorboats for many companies, including the BMW 700 (1959), the world's first monocoque sports car. In the 1960s, he achieved world-renowned success in the field of furniture design. Afterwards, Colani used his imaginative creative techniques to design a large number of transportation tools, daily necessities and household appliances. Although they are not 100% good designs, they do have extremely high modeling quality and are generally recognized by public opinion and the public. At the same time, they have also been fiercely criticized by design institutions that adhere to modernism. Colani said: The Earth is round, and all interstellar objects are round and move in circular or elliptical orbits... Even we ourselves are derived from round species cells. Yes, why should I join the ranks of people who make everything angular? I will follow Galileo's creed: my world is also round.

As one of the most famous and controversial designers of the 20th century, some people think he is deviant, while others worship him as a genius and a saint. However, Colani believes that his inspiration comes from nature: What I do is nothing more than imitating the realities revealed to us by nature.

Dieter Rams (1932- )

In his early years, Rams studied architectural design and interior design at the School of Practical Arts in Wiesbaden, Germany, and later became a professional industrial designer. Teachers engage in design activities. In the mid-1950s, a group of young designers such as Rams were employed by the then unknown Braun company, established a design department, and established a cooperative relationship with the Ulm School of Styling. Gugorot, the head of the product design department of the academy, developed a system design method, and Rams became an active practitioner of this theory. In 1956, Rams and Gugorot jointly designed a combination radio and record player. The product had a fully enclosed white metal shell with a plexiglass cover, which was called the White Princess. box.

In 1959, they applied system design theory into practice and designed a pocket record player and radio combination. Unlike previous audio combinations, the record player and radio were standard components that could be separated and combined, making them very easy to use. The building block design was the beginning of future high-fidelity audio equipment design. By the 1970s, almost all companies adopted this building block combination system.

Rahms gradually perfected the systematic design method in practice and extended it to furniture and even architectural design, making the entire space orderly, strict and simple, which became one of the German design characteristics.

The formal features formed by the system design without decoration at all are called reduction style, and the colors advocate the use of neutral colors: black, white, and gray. Rams believed that pure style is nothing more than the result of solving system problems, providing maximum efficiency and clearing up social chaos. He said: The best design is the least design, so he was called a neofunctionalist by the design theory circle.

Hartmut Esslinger (1944- )

Esslinger studied electronic engineering at the Polytechnic in Stuttgart in his early years, and later studied industrial design at a design school. His experience enables him to perfectly combine technology and aesthetics. In 1969, Esslinger founded his own design office in Hesse, Germany. In 1982, he designed a bright green TV set named Frog for Vega Company, which was a huge success, so Esslinger adopted Frog as the logo and name of his design company.

The design of Frog Company not only maintains the rigor and conciseness of the Ulm School of Design and the Braun Company, but also contains the novelty, weirdness and gorgeousness of postmodernism. Its design philosophy is that form follows passion, sometimes even With playful characteristics, it is unique in the design world and greatly changed the design trend at the end of the 20th century. Esslinger once said: The purpose of design is to create a more humane environment. My goal has always been to design mainstream products as art. The outstanding performance of Frog Design Company has greatly enhanced the status of the industrial design profession, showing the world that industrial designers are basic members of the industry and one of the creators of contemporary cultural life. Esslinger appeared on the cover of Business Week in 1990, the only honor for a designer since Loewy in 1947.

Esslinger is undoubtedly one of the most famous and successful industrial designers in the world today. He has redefined the concept of modern consumer aesthetics with his groundbreaking designs. In 1992, he received the Lowe Lifetime Achievement Award, and many of his designs were collected as classics by the Museum of Modern Art in New York. The Frog Design Company he leads continues to create novel, unique, and interesting products with its avant-garde, even futuristic style, and is especially influential in high-tech products.

Gerrit Rietveld (1888-1964)

Gerrit Rietveld was born in Utrecht. He is a famous Dutch architectural and industrial design master and Dutch style master. An important representative of the faction. He was very fond of simple lines and colors for mass production. This simple design concept profoundly influenced the future design world.

Rietveld designed the Red/Blue Chair, an important classic work of the modernist design movement in 1917, which vividly explained the abstract art theory of De Stijl in the form of a practical product. He designed the Zigzag Chair in 1934. The legs, seat part and backrest of the chair all got rid of the shape of traditional chairs, which was very space-saving. This chair is one of the master's most iconic works. In 1925, Rietveld designed the Schroeder House in Utrecht and the interior design and furniture design of the house. The style of this building is completely a three-dimensional embodiment of De Stijl.

De Stijl had a great influence on the formation of the style of world modernism. Its simple geometric forms, color scheme dominated by neutral colors (white, black, gray), and three-dimensional Artistic styling and rationalist structural features became standard symbols of the Internationalist style between the two world wars.

Walter Darwin Teaque (1883-1960)

Teaque was one of the earliest professional industrial designers in the United States and a very successful graphic designer. His design career has a very close relationship with Kodak, the world's largest photographic equipment company. In 1927, he designed camera packaging for Kodak Company. In 1936, he designed Kodak's Banten camera, which was the earliest portable camera. The basic components of the camera were compressed to the basic level, providing a prototype and development basis for modern 35mm cameras. He works closely with technical staff and is good at using aesthetic methods of exterior design to solve functional and technical difficulties. This is an important characteristic of American industrial designers. Teague developed a design system to develop entire product lines for companies, an approach that made him one of the most successful industrial designers in early America.

In 1955, Teague's design company cooperated with the Boeing Company's design team to jointly complete the design of the Boeing 707 large jet airliner, making the Boeing aircraft not only very simple and extremely modern. appearance, but also creates a classic interior design of modern airliners.

Raymond Loeway (1889-1986)

Loeway was born in Paris, France, and later immigrated to the United States. He is one of the important founders of American industrial design. He has been engaged in industrial product design, packaging design and graphic design (especially corporate image design) throughout his life. He has participated in thousands of projects, from Coca-Cola bottles to NASA aerial experiments. From cigarette boxes to the inner cabin of the Concorde, the design contents are extremely wide-ranging, representing the omnipotent characteristics of the first generation of American industrial designers and achieving astonishing commercial benefits. Rowe began designing locomotives, cars, ships and other means of transportation in the 1930s, introducing streamlined features, thus giving rise to the streamlined style. He highly professionalized and commercialized design, making his design company one of the largest design companies in the world in the 20th century. He is not only interested in industrial technology, but also has a deep understanding and pursuit of human visual sensitivity. His designs have both industrial characteristics and human touch. His life is a microcosm and portrayal of the entire process from the beginning, development, peak and gradual decline of industrial design in the United States.

Lowe has received numerous honors throughout his life. He was the first designer to be featured on the cover of Time magazine. Rowe played a very important role in promoting the development of American industrial design. His long working career, his professionalism, and his persistent promotion of the image of the design world, especially the image of his own company and his personal image, are all recognized. had a very important impact.

Henry Dreyfess (1903-1972)

Dreyfess’ professional background was in stage design. In 1929, he changed his major and established his own industrial design office. . Dreyfus was closely associated with the Bell Telephone Company throughout his life and was the most important designer who influenced the modern telephone form. Graves began designing telephones for Bell in 1930, and in 1937 he proposed a design that integrated the receiver and microphone. During his long collaboration with Bell, he designed more than one hundred telephones. As a result, Dreyfus' telephone has entered thousands of households in the United States and around the world, becoming a basic facility for modern families.

One of Graves’ strong beliefs is that design must meet the basic requirements of the human body. He believes that machines that adapt to humans are the most efficient machines. He devoted many years to studying data about the human body, as well as the proportions and functions of the human body. These research works were summarized in his book "Human Measurements" published in 1961, thus helping the design world to establish the discipline of ergonomics. The results of his research are reflected in the series of agricultural machinery he has developed for John Deere Company since 1955. These designs have created a world centered on establishing comfortable, ergonomically based driving working conditions. A kind and efficient image.

Eero Saarinen (1910-1961)

Eero Saarinen is a famous American architectural designer and industrial designer. He was born in Kekorumi, Finland. He showed his talent in his early years. A design genius, he won the first prize in Swedish matchbox design in 1922. He immigrated to the United States with his father in April 1923 and settled in Detroit. He graduated from the Department of Architecture at Yale University. In 1940, the chair designed by He Eames won the Grand Prize in the International Modern Furniture Design Competition held by the Museum of Modern Art in New York.

In the 1940s, Saarinen collaborated with the Knoll Company in furniture design. His representative works include the No. 71 glass fiber reinforced plastic molded chair, the Fetus Chair, the Yejinxiang Chair, etc. These works all reflect the organic free form. , instead of rigid and cold geometric shapes, it is known as a masterpiece of organic modernism and has become a model in the history of industrial design and is still widely circulated and used today.

Saarinen’s architectural masterpieces include the Jefferson Memorial, the Yale University Ice Rink, Moss and Steyer College, the U.S. Embassy in Britain, the U.S. Embassy in Norway, the Milwaukee War Memorial, and Columbia. Broadcasting Corporation Building, TWA Terminal, etc.

Michael Graves (1934 - )

American architect Graves is one of the important figures who laid the foundation for postmodern architectural design. Graves was born in Indianapolis, the capital of Indiana, USA. He graduated from the University of Cincinnati in Ohio with a bachelor's degree in architecture in 1958 and received a master's degree from the famous Harvard University Graduate School of Design in 1959. He then entered the American College in Rome, Italy, for further studies and won the Prix de Rome and the Bruno Scholarship. His designs emphasize rich decoration, rich colors, and eclectic expressions of historical styles. Many of his designs are regarded as representative works of postmodernism, integrating the dual skills of painters and architects.

His most important and influential design is the Portland Public Service Center designed from 1980 to 1982. The surface of this square building is decorated with simple and colorful materials of different materials. Postmodern architect Philippe. Johnson highly praised the design's bold use of various classical decorative motives, especially the extensive use of the basic design vocabulary of classicism, which enabled the design to break away from the unilateral restrictions of internationalism and move towards a new development of pluralism and decorativeism.

Graves designed a series of buildings in the late 1980s and 1990s, such as the Humanities Building in Louisville, Kentucky, and the San Juan Tower in San Juan, California. Capistrano's Public Library, etc., are all outstanding representatives of postmodernism. Graves also designed a series of post-modern metal tableware for the Italian company Alessi, which became famous for a while.

Charles Eames (1907-1978)

Eames is one of the most outstanding and influential furniture and interior design masters in the United States. He studied architecture at Washington University in St. Louis and taught at Queen Creek College, one of the most famous design schools in the United States, since 1936. In 1940, the plywood chair he designed together with Saarinen won the grand prize in a design competition held by the Museum of Modern Art.

Eames's designs have structure, function and appearance that conform to scientific and industrial design principles. This feature has become the design feature of Miller Company, which he collaborated with, allowing Miller Company to Invincible in the market. In 1946, he designed a popular and cheap chair using multi-layer plywood hot-pressing molding process, which was a big turning point for Miller Company in modern design, moving toward lightweight and popularization, and paying attention to new materials and their production processes. He is an all-rounder in design. In addition to product design, he is also engaged in graphic design, display design and photography. In his design, he manages to connect these disciplines together to form a kind of edge-discipline industrial design. The interiors and seats designed by Eames have had considerable influence throughout the world, and many of his works are still produced and popular today. The recliner he designed in 1956 is the most outstanding representative of recliner design. The public chairs he designed for airport departure halls are simple and sturdy, with a strong sense of the times. They are still used in most American airports and are outstanding representatives of American design in the 1970s.

Robert Venturi (1925- )

American architectural designer Venturi was the first person to lay the foundation of postmodernism in architectural design. Venturi studied architecture at Princeton from 1943 to 1950, and later studied under Saarinen and Louis. Worked in Kang's office. In 1969, he proposed the principle that less is boring, challenging the modernism of less is more. Venturi did not oppose the core content of modernism. His efforts were to change the monotonous formal characteristics of modernism. His design contains a large number of clear classical architectural features, such as arches, triangular lintels, etc., but from the overall treatment, his design is still functional, pragmatic, simple and clear.

Venturi attaches great importance to theoretical research and is one of the more important theorists among postmodern designers. He published "Complexity and Contradiction in Architecture" in 1966 and "Learning from Las Vegas" in 1972, proposing his own principles of postmodernism. He believes that designers should not ignore various cultural characteristics in contemporary society, but should fully absorb various current cultural phenomena and characteristics into their own designs.

Venturi’s representative works include the Delaware House designed in 1978, the Saintsbury Hall of the National Museum of Art in London, and the Gorton Hall of Princeton University. Wu Building et al. Venturi's greatest achievements in the field of product design are a series of chairs he designed for the Knoll company, a set of silver-plated coffee sets with ebony handles designed for the Italian company Alesi in 1983, and a set of silver-plated coffee sets with ebony handles for the Italian company Alessi from 1984 to 1986. ． A set of porcelain designed by Powell Company, a cuckoo clock designed for Alesi Company in 1986, and a set of porcelain pieces designed for Clayto. Some interesting jewelry designed by Munari and so on. These designs all have strong post-modern characteristics.

Frank Lioyd Wright, 1869-1959)

Wright studied civil engineering at the University of Wisconsin from 1885 to 1887, and studied under the famous architect Sullivan from 1887 to 1893. Wright is one of the most important American architects of the 20th century and enjoys a high reputation around the world. Many of the buildings he designed are universally praised and are valuable treasures of modern architecture. Wright had a great influence on modern architecture, but his architectural thoughts were obviously different from those of representatives of the European New Architecture Movement. He took a unique path.

In the 10 years after 1893, Wright designed many small houses and villas in the Midwestern United States, forming the style of prairie houses. His representative works include the Willitz House in 1902 and the Roberts House in 1908. Robbie House et al. These houses not only have the tradition of American folk architecture, but also break through the closed nature. They are suitable for the climate and the sparsely populated characteristics of the prairie zone in the midwestern United States. He gained international fame by designing the Larkin Company Building in 1904 and the Imperial Hotel in Tokyo, Japan, in 1915. In 1936, Wright designed Fallingwater, creating an unprecedented and moving architectural scene and becoming a model of his organic architectural ideas.

Encyclopedia of American Architectural Review: It must be acknowledged that Wright was one of the most creative architects of his time and perhaps of any time.

His highly unusual life and philosophy illustrate him as a poetic visionary and artist, a pragmatic engineer, a free-thinking individualist, a reformer and an evangelist. Running through all his tendencies was a positive return to life and nature. Such attitudes and beliefs have manifested themselves time and time again in his architecture. But above all this, of course, he is an artist, and his preferred tool of expression is architecture.

Harley Earl (1893-1969)

A representative figure of American commercial design and the world's first full-time automobile designer. Study industrial technology and design at university. In 1926, he was spotted by GM Chairman Sloan and became GM's styling designer. In 1940, he served as Vice President of General Motors and Director of the Art and Color Department of General Motors. He was responsible for automobile exterior design. His design style was unrestrained and innovative, and he created the high tail fin style in post-war automobile design. His influence on automobile design reached an unparalleled level, and General Motors' design department became the largest design center in the world at that time.

One of his important contributions at General Motors was to create a new model of automobile design with President Sloan; the planned obsolescence system, according to their proposition, must take into account the future in a planned manner when designing new automobile styles. For several years