Design plays an integral part in our lives, surrounding us at home and in the office. The products of design - whether in the form of household products, packaging, fashion, software,and industrial equipment, or promotional images in the mass media - can be seen both as objects of beauty and as the result of creative human endeavour. This insightful, wide-ranging book surveys applied arts and industrial design from the eighteenth century to the present day, exploring the dynamic relationship between design and manufacturing, and the technological, social, and commercialcontext in which this relationship developed. The effects of a vastly enlarged audience for the products of modern design and the complex dynamic of mass consumption are also discussed. Part of this dynamic reveals that products serve as signs for desires that have little to do with need or function. Wide-ranging examples of product and graphic design are shown - and their significance within the history of design explained - including vessels and other objects made from glass, ceramics, plastic, or metal, as well as tableware,furniture, textiles, lighting, housings for electric appliances,machines and equipment, cars, tools, books, posters,magazines, illustrations, advertisements, and digital information. The book also explores the impact of a wealth of new manmade industrial materials on the course of modern design - from steel to titanium, plywood to plastic, cotton to nylon, wire to transistors, and from microprocessors to nanotubes. The research, development, and applications of these technologies are shown as depending upon far-reaching lines of communication stretching across geographical and linguistic boundaries. In this way, David Raizman reveals the history of modern design as a global history.
Preface
Acknowledgments
Introduction
What is Design?
What Makes Design "Modern"?
Modern Design and Consumption
Design, Values, and Meaning
Continuity and Change: A Longer View
Part Ⅰ
SUPPLY, DEMAND, AND DESIGN (1700-1865)
Introduction
1 Demand and Production
State-owned Manufactories
Porcelain
The Guilds
The Printer's Art
2 Entrepreneurial Efforts in Britain andElsewhere
Wedgwood, Design, and Antiquity
Commodities and the "Fashionable"
The United States
Growing Pains: Expanding Industry in
the Early Nineteenth Century
New Materials and Processes
Beyond the Printed Page
Wallpaper and Fabric Printing
4 Design, Society, and Standards
Early Design Reform
Reform and the Gothic Revival
Henry Cole and the "Cole Group"
The Great Exhibition of 1851
Images for All
Popular Graphics in the United States
A Balance Sheet of Reform
Conclusion
Part II
ARTS, CRAFTS, AND MACHINES (1866-1914)
Introduction
5 The Equality of the Arts
Design Reform and the Aesthetic Movement
The Aesthetic Movement in the United States
Dress
Design Reform in France: L'Art Nouveau
Art Nouveau in Print and in Public
Glasgow: Charles Rennie Mackintosh
Austria
Belgium
Munich
Scandinavia, Eastern Europe, and the Vernacular
Italy
6 The Joy of Work
Ruskin, Morris, and the Arts and Crafts
Movement in Britain
Morris and Socialism
Morris as Publisher
The Influence of William Morris in Britain
Craft and Efficiency
Books, Illustration, and Type
The Arts and Crafts Movement in the US
Printing in the United States
Chicago and Frank Lloyd Wright
7 Mechanization and Industry
Germany
The American System of Manufacture and Fordism
Developments in Merchandising, Printing,and Advertising
Conclusion
Part Ⅲ
AFTER THE WORLD WAR I (1918-1944):
MODERNE, INDUSTRY, AND UTOPIAS
Introduction
8 Paris and Art Moderne Before and After
World War I
Furniture and Modern Art
Glass and Metal
The Paris Exposition of 1925
Mechanical Beauty I: Dynamism
Mechanical Beauty II: Classicism
9 The "First Machine Age" in Europe
De Stijl
Constructivism
The Bauhaus
Beyond the Bauhaus
The Printing Industry and the "New Typography"
Britain and Graphic Design: A Synthesis 198
Scandinavi
10 Art, Design, and Industry in the United States
Industrial Design and Fordism
Case Studies in American Industrial Design
The 1939 New York World's Fair
The United States and International Modernism
Advertising Art and the Selling of Modern
Design in the United States
Photography and Graphic Design
Industrial Design and Austerity
Graphic Design During World War II
Conclusion
Part Ⅳ
HUMANISM AND LUXURY: INTERNATIONAL
MODERNISM AND MASS CULTURE AFTER WORLD WAR II, 1945-1960
Introduction
11 International Modernism: From Theory
to Practice
Promoting Postwar Design: Art Direction and the New Advertising
Graphic Design and Technical Information
Scandinavia and Britain
Italy
Germany
The International Graphic Style
Means and Ends
Japan
Nakashima and Nature
Japan: A Summary
Design and Corporate Culture
Trademarks and Beyond
12 Design and Mass Appeal: A Culture of Consumption
Detroit: Transportation as Symbol
Critics of Styling
Resorts and Luxury
Housing: Suburbia, Domesticity, and Conformity
The Elusive Promise of Mass Culture 31o
Beyond High and Low Art: Revisiting the Critique of Mass Culture
Conclusion
Part Ⅴ
PROGRESS, PROTEST, AND PLURALISM 1960-2000
Introduction
13 New Materials, New Products
Plastics and their Progeny
Product Housing
Sports: Equipment and Progress
Visual Identity, Information, and Art Direction
Laminated Materials
Nature and Craft
14 Dimensions of Mass Culture
Mass Design and the Home
Mass Design: The Fringes
Pop and Protest
Graphics and the Underground
Anti-Design in Italy
Radical Reform: Technology, Safety, and the Environment
15 Politics, Pluralism, and Postmodernism
Design and Postmodernism
Postmodern Products
Postmodernism and Resistance
16 Design in Context: An Act of Balance
Consumption
Reform and Social Responsibility
Production Technology: Meanings of Miniaturization
Design and Softness
Graphic Design in a Digital Age
Materials Technology
Craft: The Persistence of Process
Conclusion: Creativity, Responsibility, and Resilience
Timeline
Bibliography
Index