Lake Shore Drive Apartments

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Design in Context, Part A

Design in a way is an act of balance. Designers have to maintain a “balance between the permanent and the ephemeral, between nature and the consumer dominated culture” that we live in today(Raizman 363). This whole seesaw of balance believe it or not relies on us as designers to keep in check. One major thing that is throwing it off kilter is the over consumption of our society.
Our society has thrived on consumption throughout the past fifty years. We are a use and throw away society. It is mainly seen and studied in environmental awareness and the heath food industry. This is even seen through furniture sales. IKEA for example has had huge international success with its modern furniture designs. With consumption comes obsolescence, and with obsolescence also comes consumerism. In fact, “obsolescence remains the cornerstone of consumer-led design, involving the stimulation of desire through novelty on one hand and the effective management of production costs on the other”(Raizman 366).
Another driving force behind modern design is the means of miniaturizing technology. This is seen in all sorts of ways like cell phones and laptops. This can be a challenging aspect of design because so many constraints are placed on the designer which leads to a certain amount of conformity when it comes to miniaturization in electronic products(Raizman 372). In addition to this, graphic design has a huge impact on the modern designs of today. The fact that designs can be “soft” or easily changed in a digital format really makes it easy for designs to change with little effort. Finally some other influences are materials technology and craft.
If universal design is defined as “the design of products and environments to be usable by all people, to the greatest extent possible…”(Raizman 371) do you think that we are achieving this in our society as a whole? Also do you feel that this new technical society is straying too far away from the previous handmade society we used to live in? And what in your own life do you think as the largest effect on modern design today?

Postmodernity, Late Modernism, B

During this time we labeled as Post Modernism there were many political and economic changes as well as changes and advancements in design. "In present context of inclusiveness and relativity, notinos of reform, alienation, resistance and subversion have relinquished a measure of their power to define what has been a vital aspect of the history of modern design." (Raizman 354). Postmodernism is sometimes called post-industrialism or late capitalism, but all of these names refer to a culture where consumption is known as the 'common subtext, emerging first in the early years of postwar affluencein the United States and spreading to Europe and other developed nations." (Raizman 355). Some of the big names during this time that you might recognize are Frank Gehry, Robert Venturi ( who had a series of chairs manufactured by Knoll)and Neville Brody.



This time period was a time for expression and experimentation with shapes as well as materials and color. With these new ideas in mind new organizations started to emerge, creating companies that did more than your average designs. One of the major organizations that emereged was a company called Memphis. Memphis was made up of "industrial designers said to be "liberated" from their contracts with particular companies with freedom to pursue directions beyond the parameters of good design." (Raizman 355). They did everything from organizing group exhibitons in Milan to manufacturing furniture. The table in the picture above was designed by Ettore Sottsass Jr. produced by Memphis.
In this time of expression furniture design was not the only challenging aspect in postmodern culture. Behavior, dress and accessories associated with the punk movement were said to be aggressive, destructive, and uninhibited. This is were 'graffiti' began to become a real problem.

The postmoderism era had a huge affect on our culutre from political and economical issues as well as design and individual style. How do you feel about the push toward looking past average 'good' design? Do you think this was a step in the right direction? Also how do you feel about the epression of individualism with the newly found 'punk' style, changing not only they way people look at design but they way they express their own 'designs' through their dress and behavior?

Lake Shore Drive Apartments

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Union Station Power Point

Auditorium Building Power Point

Old Chicago Water Tower

The Charnley House Presentation

http://docs.google.com/Presentation?id=dhg4t37z_8jpfcsxdk

Museum of Science and Industry

Postmodernity, Late Modernism, A

Post-Modernity is a mixture of many styles, thoughts, and concepts a time during the late 70’s through the 90’s.  As Raizman summarized it, “The term postmodernism is also often found in conjunction with others such as post-industrialism and late capitalism, all referring to a culture in which consumption is the common subtext, emerging first in the early years of postwar affluence in the United States and spreading to Europe and other developed nations.” One might wonder where modernism ends and postmodernism begins.  Well, there is a fine line between the two and with the mixture of so many concepts during this time it makes it hard to pin point the start.  According to Raizman, one group during this time had been very influential. The Memphis group comprised of Italian designers and architects who created a series of highly influential products in the 1980's. They disagreed with the conformist approach at the time and challenged the idea that products had to follow conventional shapes, colors, textures and patterns. The Memphis group was founded in 1981. One of the leading members of this group was Ettore Sottsass, Jr.  His furniture designs are very significant during this time.  The Memphis group also worked with the Formica Corporation to design furniture with their new material called ColorCore.  Other designers during this time also experimented with new materials and shapes. Some of those designers are, Robert Venturi, Michael Graves, and Frank Gehry.   According to the Heilbrunn Timeline of Art History: From the late 1970s through the '80s, many architects and designers, reacting against the dictates of modernism, looked to neoclassical forms and materials for inspiration. Visual references derived from art and architecture superseded functionalism. Overt historical references and decoration transformed architecture, furniture, tabletop accessories, and jewelry into objects of fantasy. Well-known architects Robert Venturi, Michael Graves, and others accepted commissions to design products for such diverse international companies as Knoll, Alessi, and Formica. Over a period of more than five years, beginning in the late 1970s, Robert Venturi designed his first furniture line. Knoll International initially asked for three seating types, to which Venturi added six more chairs, three tables, and a sofa. The collection included a variety of major historical furniture styles—Chippendale, Queen Anne, Empire, Hepplewhite, Sheraton, Biedermeier, Gothic Revival, Art Nouveau, and Art Deco. Frank Gehry is also well known for his work in deconstructivism that is also a connected concept to postmodernism.  Sparke also defines postmodernism as, “that single vision of modernity had been replaced by a notion of ‘postmodernity’, which was multivalent and complex, in a state of continual flux, and represented by a diverse and pluralistic material culture." 

What are some other forms that you recognize around campus and the state that were designed during this style? Do you feel that we were ready for a new style even though modernism was still a strong style? What to you is the biggest difference between the modernism style and post-modernism?  Also, Do you feel that post-modernism was a step in the right direction? 

Uptown Theater Powerpoint

NORTHWEST ATRIUM CENTER/ CITI GROUP CENTER

http://docs.google.com/Presentation?id=d99ftbh_0d5mvxxhs

Navy Pier Power Point

Sears Tower Power Point

John Hancock Center PowerPoint

John Hancock Center PowerPoint

http://docs.google.com/Presentation?id=d3snspw_0gtx6svgm

Contemporary Design & Mass Culture, B

Ever since the war ended, different aspects of life, such as the economy, technology, as well as architecture and design had gone through numerous transformation. Shapes, forms, materials, color-palettes, ornamentation, and methods of construction of objects became simpler, more mass-produced, and highly advertised in order to accommodate the modern society who experienced the loss after the war and demanded a much more efficient lifestyle. In the 1960s, the division between "good design" and mass-production began to somewhat blurry as home furniture and accessories stores, such as Habitat marketed their goods on interior displays (Raizman, p. 318). In addition, synthetic plastic became the new and popular material for the production of furniture. For instance, British industrial designer, Robin Day designed the Polyprop Chair in 1963, from which the name of the seating corresponded to polypropylene, a synthetic plastic used as the main material (Raizman, p. 317). Since people were looking for more ease and efficiency in furniture, these chairs were designed to be stackable; hence, they became easy to store, and people were able to save some space in their homes. Although there was a connection between home furnishing and fine arts, these mass-produced goods were more sleek and simplified in general as designers and the overall society opted for standardization because of its easy assembly and lower production cost. Furniture, kitchen appliances, home accessories, and even automobile were more streamlined and rectilinear in form and subdued in color.

Later, the demand of mass-production had apparently influenced the development of mass culture and mass design. Formica, the new plastic material was introduced in 1964 at the New York World's Fair (Raizman, p. 338). This plastic material was usually attached to plywood and used on kitchen furniture. As Formica became more widely advertised, people were able to use the material as prefabricated goods and adjust the design according to individual's personal taste. Later, this influenced the modern society, especially the younger generation to express their individuality and freedom in every aspect of life, such as fashion, arts, design, music, and so on. Fringes or sub-cultures were also created as diversity among groups, such as women, homosexuals, and racial minorities became more visible. These groups were determined to make a statement and get their voices recognized, which was identified by their choices in bold clothing and rock 'n roll music. The emergence of the Beatles was one of the highlights of this new philosophy (Raizman, p. 341). In addition, the search for self-expression led to a number of protests and the emergence of rebellions. The Pop Art style, led by Andy Warhol, was also the product of this new movement (Raizman, p. 342). From the use of mass media, the rebels expressed their protests against discrimination and conformity through graphic design. Posters and album covers were artistically designed as tools for speaking on behalf of freedom. Wall graffiti was also popular among the youth groups as a way of getting their political and social opinion across. This had affected interior design to move towards a more free and contemporary approach. Influenced by the Pop Art movement, design became more abstract, whimsical, and somewhat experimental, which reflected the identity of the young and more liberal minds. The Donna chair, designed by Gaetano Pesce was one of the examples from the Pop Art movement that represented the freedom of women. The curvilinear form and feminine features suggested women figures, whereas the attached, sphere ottoman reflected how women became prisoners in their own society (Raizman, p.348). 

 

In conclusion, the 1960s was the era of experimentation as people began to search for their identity, develop new attitude, and use design to communicate their minds and ideas in order to be accepted in the society. How do you think Pop Art has affected design today? Was the movement crucial in the development of contemporary design or do you think the whole idea of speaking against conformity was a mess and unorganized? Explain. How was the new materials, such as plastic and Formica, been applied today in design? Give examples.

Contemporary Design and Mass Culture, A

The 60's and 70's were a time of great innovation all around the world.  New materials, new products, new processes, and new ways of advertising were all introduced during this time period.  While many are impressed with the discovery of new ways of making things with new materials they often overlook a very important aspect: Advertising.  Without a way of advertising for their products companies would find it harder to get their product on the market and sell it with great success.  While televisions and radios were being invented around this time actual paper advertisement remained extremely important.  As a result graphic design became very prevalent.  Artists were commissioned to create logos for large companies.  Creating these logos entailed creating a graphic as well as a unified text style to be associated with a particular brand.  For example, Paul Rand was hired to design the logos for IBM, the Westinghouse Corporation, and ABC (Raizman, p. 328).  When developing logos and advertisements it was important for the designer to be sure that it pertained to the audience he or she was trying to reach for instance in terms of age and nationality.  It was also important for graphic designers to create universal symbols so that someone of a different nationality could still understand what was trying to be said.  For example, symbols for men's and women's restrooms, telephones, airports, trains, smoking or non-smoking, etc.  (Raizman, p. 330).  Graphics can also be used for the power of suggestion.  Artists may use a particular font, texture, or graphic in order to imply a certain feeling that he or she may want the viewer to acquire when viewing the ad.  As you can see graphic design has more of an impact than one might consider.  In what ways will you incorporate graphic design into your career as an interior designer.  Do you think it will have an effect on your success as a designer and your ability to acquire clients?  Why or why not?

Design and Mass Appeal/New Materials A

While the first post-war decade of the 1950’s initially brought about a much greater focus on mass media and consumption of goods, the 1960’s expanded on the use of new technologies and materials to create false obsolescence of goods. However, instead of merely focusing on better economic value and functionality to categorize a product as “new,” manufacturers and designers began to focus more on esthetics, combining art and functionality. The wealth of new materials and processes developed in the 1960’s and later began to obscure “the distinction between design and fashion, between needs and wants.” (Raizman, pg 318) This meant that functional design went hand-in-hand with current trends of the time and, as a result, wants became necessities. A few of the main materials used during this time were plastics and metals. Various new processes were used to make strides in areas such as furniture design, product housing, and sports equipment. Changes in furniture design were made possible by the process of injection-molding stronger plastic polymers, molding lighter weight aluminum, and using foam as a construction material instead of merely filler for upholstery. Seating design came to resemble many tendencies in the fine arts, such as abstraction and precision. A few great examples of this include Joe Columbo’s injection-mold plastic side chair and Pierre Paulin’s foam “ribbon chair.” Next, new materials and processes were used to make product housing much more compact, often allowing for more portable products. Called miniaturization, a few examples of this include a portable typewriter developed by Ettore Sottsass and Perry King, a portable television developed by Sony, and the Walkman portable cassette player, also developed by Sony. Finally, the use of metals instead of wood in sports equipment lead to many performance-enhancing changes to more simple designs. The professionals who advertised them endorsed the idea that the newer, lighter, more contoured designs were better for the athletes that used them. One primary example of this was how tennis rackets began to be made from aluminum. All of these new products and processes were supported by the development of brand recognition through graphic design of easily recognizable symbols. These symbols developed corporate identity systems based on the characteristics of those most likely to buy the products, which helped to advertise the products and make them more well known.


Do you think that these advancements demonstrate positive or negative changes to production of goods? How have these products and processes paved the way for products we see in stores today? How has the use of these new materials affected the economy and the styles of today? Are they supportive of the "green design" emphasized in today's society?

Design & Mass Appeal/New Materials B

In the 1950’s the expansion of both the middle and industrial class brought mass media into focus. Mass media, mass culture and mass market are all inter-related. The traditional standards of “Good Design” were influence by false obsolescence. Obsolescence is used to convince consumers that they need the next “new” thing. A critic, Reyner Banham aptly described this phenomenon as a “throwaway culture” (Raizman, pg. 295)
Many industries used obsolescence to market their products. During the 50’s the biggest example of this is the automotive industry. General Motors president Alfred Sloan used annual stylizing changes to “create a vehicle “for every purse”, defining a series of gradations from efficiency to luxury in terms of visible difference…”. (Raizman, pg. 296) The number of car makers began to decrease because of the competition to promote their annual changes. Brand identification was also very important.
Advertising for cars came in many forms. Hollywood helped to show the freedom and individual expression in movies like American Graffiti. Ads in magazines and newspapers showed attractive couples either coming in from a night out or at some fabulous restaurant. These ads helped to equate luxury with cars.
Obsolescence can also be found in the model home market. Instead of different models every year, it was used to show individuality. “And like car makers, they used styling to give buyers an illusion of choice”; this pretty much sums up the model housing in the 1950’s. (Votolato, pg. 227) Consumers were offered choices to make the model homes not so cookie-cutter. Practical considerations also drew consumers. Kitchens with picture windows, attached garages and appliances tried to tip the scale of conformity.
The 1950’s was about convenience. Time saving appliances, model homes, cheap products were all the rage. How has this affected today’s culture? Do you think design in this period had a large impact on design today? Give some examples of obsolescence today. Do you think false obsolescence is a good marketing tool?

Design and Mass Appeal/New Materials, C

At the end of WWII, the United States, Europe and Japan, the countries most affected by the outcomes of the conflict, experienced a phenomenal growth in all fields, starting mainly from economical.
Thanks to the long period of peace and political stability, the United States was particularly able to accumulate a large amount of money and rebuild its economical and political powers.
It is during this time that the development of new materials, such as Bakelite, Lucite, Vynilite, Rayon and Nylon, new techniques and the electrification of the assembly line brought new possibilities in all fields of design and architecture. Also, the time of peace allowed people to enjoy their leisure time and really look forward to achieve their desires. New luxurious beach resorts came to play an important role in Americans new vacation times because they offered services that were not available in the domestic sphere and because they opened a new market for travelling.
From the 1950s, we rapidly saw the development of a mass culture that appreciated money, beauty and luxury.
Thanks to magazines and catalogues, people were now able to choose from a wide variety of products, from houses to home appliances, cars and fashion products, sport goods and toys.
William Levitt, considered the Henry Ford of housing, introduced the mass production of houses. As people moved away from the city into the suburbia, they wanted new, cheap houses, and Levitt gave them what they needed. Thanks to the use of inexpensive materials, like concrete, wood studs, dry walls, etc., and the fast methods of construction, these prefabricated houses could be put up in a very short time and efficient manner at a very low cost, starting from $ 7900 (Raizman, page 305). Even though it created conformity and peripheral areas look almost entirely the same, everyone could customize their house the way the wanted to. Also, with the availability of new products (television, radio, home appliances, kitchens, chairs, home décor, etc.), people started to fill these places with as much stuff as possible, and, likewise the Victorian Era, they could show off their status by displaying all that they had. On top of that, if they could afford one of the new models of automobiles, they could park this one in their new garage, attached to the house – one of the new features of the prefabricated residence.
Because of the abundance of products and the possibility of customization, the new concept of obsolescence came to be of great importance in post war society. As new objects were produced and advertised, old ones became out of fashion. Everything, from fashion to interior design products, home appliances and sports goods, was affected by seasonal changes, even if minimal. The late 19th century society became known as a throwaway society deeply affected by advertising and vogue.

After the war, Europe started to rebuild what was left, trying to keep a balance between their historical past and the modernist influence coming from the United States and Japan. Because money was a problem and there was not much of it left after the war, obsolescence and mass culture less affected Europe, and did not allow the mass production of goods and especially houses. In fact, if you get a chance to travel to Europe, you will see that conformity and standardization are not as common as they are in the United States. Why do you think the United States opted for standardization instead of diversity? Even in clothing today, such as Abercrombie or Hollister, seasonal changes are very minimal. In the design of houses, we still see prefabricated houses and residences that look very similar. Do you believe that conformity is an advantage or disadvantage to American traditions and culture? How do you think the United States is seen from the outside because of this globalization within its own borders?

International Modernism C

Following the time after Word War II, nations around the world, like the United States and Germany, sought to create their own identity and style. In order to reach this goal countries would study their own material cultures using “designed artefacts and images as a means of expressing themselves and of attempting to persuade others of what they believed to be, or wanted to be” (Sparke, 95). From their material cultures, nations set goals for their economy, like better trade with neighboring nations (Sparke, 97). Overall, a since of nationality and unity was needed across the world.
When creating these national identities there were two major design ideas that countries would adopt into their design style. The first was a national style based off of the Craft time period, a movement focused on natural materials and manual labor. The second idea found in this time period was the idea that the world was moving into an industrial way of life. This idea was considered to be a “leap of faith” in the design world (Sparke, 95).
During this time of national growth and identification, a strong sense of competition was also present. This competition was best shown within the numerous exhibitions of the time. One of the first exhibitions included the exhibition in Hyde Park, London. The great sense of competition is also shown through the amount of countries participating in these exhibitions, like France, Germany and the United States (Sparke, 97)
Furthermore, there was a very large interest in the popular exhibitions of the time period. For example, Paul Greenhalgh, author of Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World’s Fairs, studied the various exhibitions and found a series of common themes in each (Sparke, 97). Some of these themes included “new technologies, raw materials and manufactured goods” (Sparke, 97).
Overall, each exhibition provided an opportunity to show off one’s national strength. Also, national achievements and products were displayed openly and proudly.

How is this different from our present day world?
Is our economic and national strength put out there for others to see, like in the various exhibitions of the time period?
Today, are different countries so eager to share their materials and products?
Furthermore, do you think nations today have met their goals in establishing their own national identities and design styles?

International Modernism

International Modernism was a major design style lasting from around 1945 to the 1960’s brought about by the “shortages” and “rationing” after World War II (Raizman, 244). However due to new exhibitions as well as the example of the United States, economic recovery, optimism, and consumer confidence were once again motivated (Raizman, 244). In the United States, architects maintained “eclectic historicism based on the concepts of the Paris Ecole des Beaux Arts,” (Pile, 373). Many new “modern design initiatives” began to appear after the war, which used new “materials and technologies to domesticate consumption and efficiency” (Raizman, 244). Modern Industrial materials, such as plastic, Poly-T, fiberglass, aluminum, steel wires, and concrete were utilized for individuality and comfort in a way they had never been used before. Technologies used in the war efforts began to surface for domesticate uses, like Ploy-T or pliable plastic manufactured in 1942 used in the new production of “Tupperware,” a household item which continues to be used today. Because there were products on the market which were more specialized to specific needs, companies began to market themselves to “differentiate the company’s product…from their competitors” (Raizman, 245) often favoring the use of photography (Raizman, 251). During Industrial Modernism, industrial technology was thought of as “the agent of improved efficiency” and allowed for a sense of “individual fulfillment” (Raizman, 247). Charles Eames took his knowledge from working in the US Navy and experimented with new technologies creating low cost furniture in more “organic sculptural” forms, for example the “lounge chair“ designed in 1956 (Raizman, 247).
International designers sought to design products in a way which would express individuality and new public appreciation for original designs and the production of new technologies allowed for sculptural flexibility. In the United States, designers like Frank Lloyd Wright, which was influenced by Japanese geometry (Pile, 373). International Modernists designers, like Paul Rand and Gene Federico, used the element of surprise and contrast in their works to communicate “bold innovation” (Raizman, 252). Designers like Alvin Lustig believed they must remain “free” in order to “experiment, play, change, and alter forms” (Raizman, 253-254). Magazines began to have more striking compositions which would experiment with typography using a broad array of techniques (Raizman, 254-256). Will Burtain, a German graphic designer, began to “cover a wide range of activities,” in which he would often juxtapose images freely (Raizman, 257). International Modernism took many varying directions, while having a large impact on the public, and designs of today.

How has International Modernism influenced design of all fields today? How has International Modernism changed from and developed over the past 60 years? Do you think that new materials (like the development of Tupperware) had positive or negative effect on society? How do you believe International Modernism has shaped todays society?

International Modernism (B)

Following WWII every country in its own way focused on marrying economy and efficiency, joining good design with practicality, or as Raizman summarized it, they all ‘dealt with the humanization of science’ 267. Along the way each of them explored the relationships between inspiration from the organic and experimentation with new technologies. In Scandinavia the lava-lamp curves of Anne Jacobsen’s Egg chair and the straight-from-nature radial forms of Poul Henningson’s lamps are an expression of the organic, while Gertrude Vasegaard’s porcelain tea service explored the more utilitarian side of new materials.
In England the war meant a severe depletion of resources, so their designs erred more on the side of the industrial- as is seen in George Carwardine’s Anglepoise lamp. But there was still room for whimsical creativity in the textile design of Marianne Mahler’s Bird and Bowl pattern.
Italy was highly concerned with establishing a name for itself- being such a little country competing in a global export market. They took a route harkening back to the director/artist system of the royal manufactories by employing a consultant designer to create a unified design approach. From there they could mass produce to their heart’s content. The curvaceous Lady armchair by Marco Zanuso references natural forms, simultaneously experimenting with the new materials of foam rubber while Italian light design (much like the simplistic English lighting) took the minimalist/industrial form of Achille and Pier Giacomo Castiglioni’s Tubino desk lamp.
Germany pioneered the automobile field, using streamlined curves for its bodywork in the BMW while still maintaining straightforward rectilinear lines for much of its design such as Max Bill’s granite statues.
Japan had to work a little harder than everyone else to get back in the world’s favor, ‘With government support a number of Japanese manufacturers began a conscious pragmatic effort to enter the export market for the more sophisticated products of good design. (Raizman 286)’ They did so with the nature-derived curves of Sori Yanagi’s butterfly stool but more popularly with the orthogonal boxes of Nikon cameras and Sony radios.
Has America developed any tendencies in our own wartime world, whether they be in design or in lifestyle? Where do you see tension between organic design (not sustainable design, but specifically nature-inspired design) and industrial design in our contemporary world? List examples of products from the same time period that express themselves in these two different ways.

Industrial Design and Art Deco

It was primarily during the interwar period of history that the position of “industrial designer” saw great development and in turn, industry saw great development from this wide-spreading position. The industrial designer was first solely concerned with creating products that were efficient and functional. The industrial designer wished to create a product that could quickly and easily be created with the machine, was affordable to the general public, and served all of the user’s basic needs. Thus, they created products that were simple, cheap, and functional. Henry Ford and his production of the Model T automobile is a great example of this take on industrial design. Ford produced over 15 million Model T’s over a ten year period with the same “black lacquer finish and carriage-based body form” (Raizman 210). Due to the invention of the assembly line within the Ford Motor Company factory, Model T’s could be produced easily, quickly, and because there was a lack of competition to such speed in the manufacturing process, cheaply. However, Ford was not seeking to create unique automobiles that appealed to his individual customers, instead he was simply creating a single product for mass-production. Thus, his costumers were at a loss for individualized products as were all consumers during this period of industrial design. Consumers could easily obtain functional, inexpensive products, but they were not unique in any way.

It was during this time that industrial designers moved away from the blandness of mass-producing function and function only and began “styling” products to increase consumer appeal, while still retaining a design that was highly functional and efficient. Increasing consumer appeal was very important at this time due to the severe economic downfall of the Great Depression. Styled products were those that had a modern design approach and were “streamlined.” Many products had a unified body which housed all necessary components in one unit and was without interruptions from “ugly seams,” and had rounded edges that helped to achieve the streamlined design approach (Sparke, 99). Raymond Loewy’s Coca-Cola Fountain Dispenser was a styled design that had both a unified body and an attractive streamlined design through the implementation of curves on the product’s edges. Loewy, like many industrial designers, was successful in creating a branded product for the Coca-Cola Company and elevated the company’s sale’s success and familiarity among consumers through his design. Thus, industrial designers had now become branding agents for varying companies and were just as in tune with creating functional products as they were with creating appealing products consistent with the particular company’s theme.

Consider a specific company from today and determine whether or not an industrial designer had created a specific brand through their designs that speaks for the company altogether. This was the effect of the first industrial designers, is it still a relevant concept for today’s industrial designers?

Art Deco and Industrial Design B

The message portrayed in the 1939 New York World’s Fair was one of efficiency, improvement and an overall optimism for the future quality of life. The vision of the Exposition was “Building the World of Tomorrow,” and featured developments in transportation and comfort of living. In the Futurama exhibit, “traffic flow in the modern metropolis was managed by multi lane highways and banked exit ramps, as well as by a radio-controlled system that monitored speed and distance between vehicles”(Raizman 221). This exhibit stressed the importance of highways as well as helped stimulate the purchase of new cars. In addition to improvements in transportation, the fair took advantage of the efficiency and logic of modern technology to “erase differences contradictions, conflicts and irritants” (Raizman 222). Overall, the products of the exhibition provided the economy with “tangible ‘proof’ of improvement and sufficient cause for optimism” – a key aspect in recovering from the Great Depression. The exhibition allowed people to see that the economy was running again, and things were in fact returning to normal.
Today, the economy is in rough shape once again. Jobs are being lost, companies are becoming bankrupt, and the average American is scared of spending whatever money they might have. We live in fear of the return of the Great Depression. The recent radical drop in the economy causes industry leaders to critique the current performance of our products. These revisions will yet again lead to improvements in daily life and means of survival. Parallel to the improvements in transportation of the late 1930’s, motor companies are developing new means of transportation and fuel use. We are researching more cost-efficient and eco-friendly ways of transportation, to ignite the new era of industrial technology. Just as the exposition of 1939 revolved around making life more enjoyable and leisurely than years past, researchers are finding new ways of giving back to society.
It is obvious that our current economic standing reflects the situation of the 1930’s. Can the arrival of 2009 jump start the reformation of the economy the way the World’s Fair of 1939 did? Or will we have to go through much worse conditions before serious restructuring can occur? What will it take for our society to pull together in a patriotic movement to dig ourselves out of this rut and return to the prosperous nation we have always been?

Art Deco and Industrial Design A

After the war, the United States’ history of modern design could not be discussed without mentioning the importance of advertising. That time after the war was considered a “culture of consumption.” (Raizman 223) Everyone was excited about the new technological advances and how the mass production of products was helping their economy; but word of the mouth wasn’t enough. There’s where the world of advertisements came into play. Tools that were used to help “spread the word” were things such as photography, layout and typography on things such as posters to visually communicate their products efficiently and effectively. These advertisements were to build and strengthen the companies and their key products. The advertisements themselves were depicted in terms of the product being used in a more upscale setting, like a nice Model T car being driven to go watch a polo match or a golf tournament. They were to show the products being used in everyday leisurely activities and how they could be used while living the “good life.” Such advertisements could be seen in mass-circulated magazines such as The Ladies Home Journal.

Advertisers believed that the purpose of such advertisements was to sell the company’s products and that reference to the individual artists or to the works of art focused attention upon the ad as an “object” rather than as a promotion product (Raizman 225). Here, we saw a switch from photography used as a form of advertisement device to a form of journalism; capturing the use of the product as everyday people used it on a regular basis. Art directors turned to photographic reproduction for it “objective” truth and its visual impact.

Did all these new advertisement ploys seem to create a new visual culture in the US? If so, can this still be seen in today’s society? Do you think that the advertisers originally used the portrayal of the “good life” to show how they wanted their products to be used? Do you think that advertisements today tend to show products used in a more everyday sense or used in a more upscale, exclusive manner?

Modernism

After World War I the design community did seem to have the same connection with everyday people as they had before. “Manufactures considered design, as during the nineteenth century, as endless variations on traditional decorative patterns applied to furniture, lighting fixtures, silverware, ceramics, wallpaper, and fabrics” (pile 94). With the change in design taste in 1925 at the world’s fair the style Art Deco was introduced. The style was both praised and criticized by its viewers at the fair. The United States didn’t have the same take on the style as Europe did, in that instead of incorporating the new modern style in homes the US designed skyscrapers with it’s ideals. Including the interior furniture. With the new Zoning law in New York City’s the need for skyscraper technology advancements was at it’s high (pile 100). Because of the expense of the modern design everyday Americans weren’t able to afford it thus leaving the style to be seen in large expensive skyscrapers and hotels in the cities.

It wasn’t until the Great Depression would the new modern designs become more affordable for everyday people, only because they would be forced to. During this time it was so important that designers find an alternative way to make design more affordable because in national crisis such as the depression design is not seen as a necessity but more as a luxury. The automobile is a prime example of the changed made to make the product more affordable. Originally the building of a car was very labor intensive using “composite bodies of sheet metal on wooden frames,” then moving towards innovations of  “all steel bodies stamped in huge presses” (Pile 104). With the Great Depression Industrial Design was introduced and with it industrial designers. These designers were the ones that could make a product affordable for the consumers as well as keeping the product equally attractive.

How does this situation relate to today? Are we going to have to become industrial designers ourselves? Is our current economy today equally as bad? What about green design that seems to becoming more popular today, how will it have to change?

Modernism

Modernism II

The Bauhaus was a school of design located in Weimar, Germany which began in 1919. The German word “bauen” means “to build”. The school supported artistic freedom and individuality. It showed little interest in design standards and industrial movements in technology. Their main objective was a concern for the equality and collaboration between the artist and the craftsman. They were attempting to overcome any opposition between the fine and applied arts and to achieve a spiritual association with the creative process. It was all about “the craft” . The school believed that there was no such thing as “professional art”. They believed that “An artist is nothing more than an exalted artist.” According to their philosophy, the buildings of the future were to be a combination of architecture, sculpture, and painting. All three would be used to create a singular form. (Raizman 181) Professors, or “masters” taught all first year students under a common set of classes called the “Vorkurs” These classes taught students to draw connections between artistic activity and the discovery of unconscious reality. After this, students split up into areas of expertise. An example of the student’s work is the Sommerfield House in Berlin. Though it no longer exists, the house was an example of the early Bauhaus emphasis upon the integration between construction and ornamentation.
The school struggled for adequate resources because they were suffering criticism from both the government and other designers associated with the Constructivism movement. This movement was very different from that of the Bauhaus. They were structured around the practice of mechanized industrial production. The school responded to this negativity by shifting the focus of their mission and curriculum. This “shift of focus” turned into a complete 180 degree change in philosophy. This turn of events came about when Constructivist Laszlo Moholy-Nagy was appointed as the new director of the Vorkurs program. No as you remember, I mentioned the constructivists earlier on. The constructivists were the designers with a completely different philosophy who had been criticizing the Bauhaus. So as you can imagine the impact he played on the school. Naturally, when taking over the Vorkurs classes he brought in his industrial focus. He also brought in his strong commitment to mechanized mass production. He also reduced the importance of craft specialization and traditional workshop training. The spiritual association with the creative process was no longer considered important. The new philosophy was focused on an appreciation of the aesthetic potential of new industrial materials. Moholy-Nagy stated, “Constructivism is not confined to the picture frame and the pedestal. IT expands into industrial design, into house, objects, forms. It is the socialism of vision - the common property of all men (Raizman 184) .” He believed that this new theory would broaden the professional horizons for the students. And he believed that this philosophy compensated for the sacrifice of individuality. A structural example of the new curriculum is the student built Haus-Am Horn. It consisted of a large living room surrounded by smaller rectangular rooms, each intended for a specific domestic function. It was constructed of prefabricated material and was intended to be the prototype of future, cheap, quick, public housing.
Even after all of these changes, even after the original philosophy completely changed to that of the critics, the government was still not pleased and the philosophy of the Bauhaus was again repainted with new faculty and curriculum again and again. Reading this blog, what opinion have you formed regarding the philosophy of the original Bauhaus vs. the revised? Do you feel Moholy-Nagy’s ideas were beneficial, even called for. Do you believe that the Bauhaus started of with the right idea but was then corrupted?

Modernism, part 1, A

 

            Variable elements stemming from the aftermath of World War I, such as economical, social, and political conditions, helped shape and develop the concept and practice of modernism, which was a reaction to the tension of the aforementioned war. This style encompassed industrialism by using new methods (cubism, futurism, dynamism) and materials (glass and metal) and the designer’s role that was more thoroughly coming into understanding. Even though it is thought to have emerged by French artists and designers, the beginnings of Art Moderne can be traced to years before the war, when French organizers wanted to have and international exhibition of modern decorative arts, planned in 1915 but eventually taking place in 1925 (The Paris Exposition of 1925).

            A veteran of World War I, Walter Gropius, became director of Bauhaus, an influential advocate of ambivalence towards mass production and industrialization. (Raizman, pg. 140) A new theme of Art and Technology was launched from this institution. Mass media and the printing industry flourished during this time. New typefaces were developed, such as the one being used to type this post, Times New Roman. World War I was very influential in the time as well by the use of the government enlisting help from artists and illustrators to produce mass media of posters and billboards. Thus, trying to recruit soldiers, create a sense of national solidarity, and so forth. Another service of this mass media was for advertisement, which was being more commonly seen.

Contrasting recent previous styles, Modernism focused more on a machine-made environment (Raizman, pg 158) as a source of inspiration instead of the world of nature. Thus, creating new forms and techniques that would strive to liberate emotion and action by being dynamic. How was the reaction of current events evident in Modernism? And with that without those events, do you think design would have ever evolved into the industrialist ways it did? How has this style influence future designs and designs of our time?

Modernism, part 1, B

Following the demise of Art Nouveau and the years right before World War I, a new style called Modernism slowly developed. Although French designers were not ready to give up the reputation for individuality and originality they had acquired through the years they were able to find new sources of inspiration. By looking to influences from contemporary paintings and sculptures, original adaptations of late eighteenth-century Neo-classical furniture design and fashion, as well as sensational entertainments in Paris such as the Ballets Russes, these designers were able to create a more bolder style than ever seen before. According to art historian Nancy Troy, “designers during this time seem to have consciously pursued a less ‘coordinated’ esthetic in which variety of color, texture, and shape mirror the disjointed character and hectic pace associated with the experience of modern urban life” (Raizman 146).
Along with finding new inspirations and influences Modernism is also credited for challenging designers in using new materials and techniques, such as interior furnishings and working with glass and metal (Raizman 147). An example of this can be seen in Armand Albert Rateau’s chaise lounge made of patinated bronze. This piece of furniture exemplifies characteristics that differ from the meandering curves of Art Nouveau.
With the examination of glass design on the rise designers were very interested in experimenting with a variety of techniques to permit individual and original expression in the medium (Raizman 148). A few of these techniques include “verre soufflé” of “bubble glass”, the idea of etching with acid to achieve contrast and textured effects, and an enameling technique called “pate de verre”. Early French glassmakers drew their inspiration from Emile Galle by examining the imperfections and techniques previously used. An important early twentieth century glassmaker is Rene Lalique who was originally trained as a jeweler and is recognized as creating some of the most celebrated examples of Art Nouveau jewelry design. He later gave up his precious gems and began experimenting with glass, transforming the ordinary and inexpensive material into a highly original work. Lalique’s glass designs are now recognized and admired for their purity and brilliance (Raizman 149).
With experimentation playing a huge role in Modernism design, how do you think this style has impacted our current designs? Do you think that evidence of this style is still visible today? If so, where?

Eclecticism, Part A

Eclecticism can be defined as the enthusiasm for the imitation of work of the past through historicism, revivalism, and traditionalism (Pile, 301). The overall idea of Eclecticism was that originality was forbidden and only an imitation of the past was acceptable (Pile, 302). This was a movement in which designers looked to the past for stylistic influences of periods such as Victorian, French-Renaissance, and Gothic and included monumental figures such as Richard Morris Hunt, McKim, Mead, & White, and George Herbert Wyman. Many of these important people came from a very influential school of architecture: The Ecole des Beaux-Arts, Paris. This particular school paved the way for future design school curriculum's, including our very own University of Kentucky.

Under this method, students were given a written "program" of requirements for a building desired by some imagined client. Each student then prepared designs under the direction of a "critic" who operated an atlier or studio. On a given date, all of the designs by the many students in a class were presented in the form of elaborate drawings to be criticized and judged by a "jury" of established professionals. High marks in many such judgements could earn a diploma that certified a high level of achievement and skill. The Beaux-Arts method was so successful it attracted students from all over the world, and the kind of design encouraged at the Ecole came to be called Beaux-Arts style. (Pile, 302)

The program at Ecole can also be defined as a "rigorous and organized program, which included classroom lectures on history, construction, and other specialized topics" (Pile, 302). Richard Morris Hunt studied at Ecole and brought back his Parisian training to New York. His eclectic viewpoint made it possible for him to work in any style that suited a particular project or taste of a particular client (Pile, 302).

When examining UK's design program, how do you relate the teaching method of Ecole to our curriculum? What would design be like in today's world if there was no individualism? How would this affect our learning method at UK? Why is it important to have knowledge of past styles just to move on with the present/future? Here's a thought: Without past styles, how would we ever know what "modern" is?

Eclecticism, Part B

The height of the Eclecticism Movement came towards the end of the 19th century until the middle of the 20th century. During this time, instead of producing completely new design, designers were looking to the past to get inspiration. “In design, it (eclecticism) has come to mean the practice of selecting from historical precedents whatever seems suitable or attractive for a particular project” (Pile, 301). Although Eclecticism thrived in both Europe and America, it seemed to expand more in America. Americans viewed the idea of incorporating history into their designs as producing culture and status. In Europe, the major incorporation of Eclecticism was in the Paris Ecole, the first true professional school of architecture. Students produced drawings of historical buildings as part of their schoolwork. This way of designing at Ecole became known as the Beaux-Arts style. One key difference between European and American Eclecticism is that in Europe, students and designers studied historic buildings in order to understand their attributes, not to imitate them. During this time in America, the idea was that “originality was forbidden; only imitation of the past was tolerable” (Pile, 303). This led to cities and towns being developed with various styles and unrelated buildings. Styles that were used in America included French Renaissance, Late Victorian, and Roman Classicism. A style known as American Renaissance was introduced and included buildings such as The New York Public Library and New York’s Grand Central Station. Interior designers also had to take historical precedents and incorporate those interior designs into the buildings or homes they were decorating. Should designers of this time have looked to past precedents for inspiration? This was a time of new ideas and new ways of thinking. Does referring to the past seem counterproductive? How do you come up with a new idea if you are always looking back in time? Or was that their goal?

Art Nouveau & Vienna Secession C

During the Art Nouveau Movement, the skyscraper became a more important aspect of architecture. It was a relatively new arrival in America, dating to 1874 with the New York Tribune Building; however this was only considered a high building. The first actual skyscraper was the Wainwright Building by Adler& Sullivan (Morrison 111). Sullivan became one of the most influential designers of the time. He was the first to attempt to solve the problems of the new architecture of the skyscraper. His solutions and answers to these problems are evident in the Wainwright Building and the Union Trust Building. He believed that this problem of skyscrapers contained and suggested its own solution (Morrison 122). As seen in these two buildings, Sullivan believed that the main entrance should attract the eye and from there each level should have a more simple design yet have an esthetically appealing façade. He also believed in finding ways to ornament even the tallest of buildings (Morrison 135). Sullivan believed in finding the practical use out of the height and volume of a tall building. This is seen again in both the Wainwright Building and the Union Trust Building with the open court formed by a U shaped design. His designs’, as seen in these two buildings were coherent, direct, and suitable (Morrison 137). Do you feel that today with such advancements in sustainable design, that we are more focused on the practicality of design rather than the ornamentation? Do you feel that some designers have the ability to meet both the sustainable design and still develop ornamentation as Sullivan did? If yes how are these designs developed, and if no why is it so hard to accomplish?

Art Nouveau & Vienna Secession, A

Secession Design proved to be the most influential aspect of Art Nouveau. While florid curves of Belgian and French Art Nouveau came to be regarded as unconventional and willfully decorative, the more geometric forms of the Vienna work were more easily related to modernism. The movements of honesty through materials, and emphasis on puristic simplicity definitely carried into the modern world.
Two individuals were highly influential in the confining of the role of Art Nouveau in America. These two people were Sullivan and Tiffany. Neither were opposed to ornament as they both used much of it in their designs. Sullivan was known as the pioneer of modernism, and was the advocate of “form follows function”. (Pile, 295) Sullivan’s actual personal term of Art Nouveau was related to detail. Interiors and details continued to use nature based, florid ornament. He based his design around Curving art nouveau forms, which was later changed by one of his most significant students, Frank Lloyd Wright. Wright took his ideas and began to incorporate a more geometric design of his own. (Pile ,298) Tiffany used ornament through stained glass design. His designs were used in “residences, clubs, and similar locations his landscapes, floral, and semi abstract themes showed increasing similarity to French Nouveau work in glass.” (Pile, 296)
American Art Nouveau was looked at by many as a “style that failed”, or to dismissing it as “frivolous, tasteless, and even overly decorative.” (Pile, 299) But it wasn’t until World War II when the style was rediscovered and new studies brought it back into it’s rightful place. Do you think that Art Nouveau was a crucial step in the development of modernism and design today? Do you think that the ideas of these men of ornament and aesthetics are overshadowed by function in any cases today? How has recent interest in the Art Nouveau era established these designers as major figures in the movement?

Art Nouveau & Vienna Secession B

The Industrial Revolution brought about many technological advancements that ultimately lead to the development of the skyscraper. The use of iron and later steel as well as the elevator were key factors. During the 1870's, skyscrapers were starting to be built in America; prior to that time, a six story structure was the limit (Morrison, 111). The skyscrapers of the late 19th century were seen as architectural challenges as their height and volume were considered artistic liabilities versus assets (Morrison, 113). Architects at this time, tried to diminish the height of the building and reduce the effect of volume. Louis Sullivan was a pioneer in modern American architecture who was willing to use ornamentation in his work. His architecture and interior design were reflective of the Art Nouveau movement that was popular from 1890 to 1905. Art Nouveau can be characterized by organic forms and curved design especially stylized floral and other plant inspired motifs (Wikipedia, 1). This movement was a rejection of the past and considered a bridge between historicism of Neoclassicism and Modernism (Wikipedia, 1). As Sullivan had a key interest in the "tall" building as a design problem, he devised a unique solution. His theory was to accept the practical conditions of the building, it's height and volume, and make beauty a part of the practicality (Morrison, 122). Sullivan gave visual unity to the skyscraper; he treated the building like a classic column articulating the base, shaft and capital (Morrison, 125). Sullivan's buildings "all have a simple vertical emphasis externally, rich but appropriate decorative detail, and public-space interiors filled with fine ornament" ( Pile, 298). His Wainwright building in St. Louis was thought to be the first successful solution to the skyscraper. The decorative details of predominantly organic shapes created a rich texture on a plane surface. This use of detail on the exterior of buildings to develop a unified as well as an aesthetically pleasing look exhibits creativity. Do you feel that the same can be said about modern, current day skyscrapers? Have the architectural details and interest of the late 19th century been lost to purely functional buildings? Was the invention of the skyscraper a positive force in the urban development of cities as well as the later development of commercial architecture?

Aesthetic Movement B

The idea of the Aesthetic Movement was to encourage people to turn away from machines and remember the days when the designer played every role in the design process. It is important to appreciate the work and effort put into a specific design. That value is lost when mass produced with machinery. Writers and designers of this time wanted the public to support the work of the artists opposed to the factories. Designers wrote books and published catalogues to simply inspire readers to use their imaginations and support hand craftsmanship. English writer and art critic, John Ruskin, heavily admired the crafts of the Middle Ages, and wanted to help bring that handiwork back through social change (Raizman 107). He encouraged designers to produce designs that reflected pride and craftsmanship (Raizman 108).
In this period in time, the public began to dislike the way their economy was running. Factories mass produced furniture in hopes to lower the cost so the middle class could afford to furnish their homes with the new fashion trends. “The development of the Modern movement can be seen as the battle for and against the machine (Tate 257).” Some people enjoyed the cost efficient pieces of furniture being mass produced because they were abundant. However, others believed machines took the designer out of the design process. The buyer may have to pay slightly more in cost, but they receive a high quality handcrafted product in return. Did the Aesthetic movement have an impact on design throughout history? These people rejected the thought of bettering our technology with machines because they thought it took away from the craftsmanship of the current designers. Do you think our advanced technology today sometimes takes away from the craftsmanship? The goal of this movement was to return value to the complex design process, and appreciate designers of the age. Do we sometimes take for granted the thought process and amount of effort it takes to design a single piece of furniture?

Aesthetic Movement

While the creation of the machine and the fine tuning of the production line were considered by most a positive development during the Industrial Revolution, others saw this as a movement away from craftsmanship and personalization. After the rise of the Victorian Era in design, where individuals could go as far as to order a new home from a catalogue, intellectuals like John Ruskin wanted to return to simpler ways of creating great art and design. Ruskin was an English writer and art critic who held a high regard for the Middle Ages and the older Gothic style (Raizman, 107). He held to the theory that the boom of industrialization lead to a growth in materialism and eventually resulted in poverty, inequality, and misery. Ruskin believed that one should take extreme pride in their work and although it does take longer to finish, the work is more valuable because of the imperfections and the interaction with the human hand. He believed machine created objects were too uniform and drone-like, lacking in individuality. John Ruskin hated Paxton’s Crystal Palace because it embodied everything he disliked about the Industrial Revolution. Although he was a critic he had no specified style or set of rules for designers other than the work be a “unique creation reflecting the skill, pride, and effort of the craftsman” (Raizman, 108). We have discussed many times whether the Industrial Revolution had a harmful or helpful effect of the population. Now consider whether machines ruined the art itself. Do you think a move toward the old way of doing things and the appreciation of skill and workmanship of the craftsman was necessary after the standardization of design? After all, design follows a path of lows to highs. Do you think it was time to come back down to the roots of craftsmanship again?

Aesthetic Movement C

The Victorian era made way to mass production; to increase efficiency but leading to the decrease of true designs. Much of the designs love was lost in the level of skill and heart put into the making of each designs. Most of the furniture and work being created was hot off the industrial belt which wasn’t of the best quality. The expanding consumer oriented middle class was losing sight of the care put into the designs looking just to increase their status by accumulating as much “stuff” as possible like furniture dripping in detail and ornamentation. Although the factories made way for many job opportunities, and new way of supplying demand it led to some conflicting attitudes. John Ruskin placed his concerns in his writings and William Morris put his in activities like, the Pre-Raphaelite Brotherhood. The pair placed the issues of design and production within a new ethical framework based upon an almost religious attitude linking craft, art, and social reform. They criticized the dehumanizing aspects of mechanization and increasing division of labor in factories which were dedicated to the social benefits of handicraft (Raizman 66). Ruskin’s main emphasis was on the moral and spiritual benefits of craft rather than upon accommodating the technology of production of the contemplation of beauty. Morris started a firm which designed furniture and stained glass windows by Philip Webb and Dante Gabriel Rossetti and had an embroidery workshop run by his wife. Such furnishings established a link with craft traditions only minimally affected either by contemporary commercial considerations or by the use of machine tools and techniques (Raizman 109). This proved to be a successful means of production through affordable labor costs of production methods and vision for a society based upon meaningful satisfying work. Would you be a fan of Ruskin and Morris or would you push for the efforts that the Victorian Era created? The Victorian Era created a huge new class to gain importance but Ruskin and Morris soon learned that status came at a high cost in losing the connection between the designs and the designer. Would you put value in the work of the artist or in the status the piece of furniture gave to you? Would you settle for less (bad quality, one of thousand produced) because it was more (easier to obtain, gave you status because you could have lots “stuff” since it was affordable)?

Victorian Era, A

As we previously learned, the Industrial Revolution was a time of exploration, discovery, new inventions, and new building materials. However, the Industrial Revolution also served as a starting block for the Victorian Style.

In the nineteenth century, the middle class was beginning to grow and gain power; the people learned how to turn the Industrial Revolution into a source of wealth (Pile). By 1851, goods that were once rare and only affordable to the wealthy upper class had become easy to make and were inexpensive. This made it easy for the middle class to decorate their homes with materials and accessories to show off their rank on the social ladder, much like the upper class had.

However, this need or demand for more goods did not come without a price. Factory and mill owners, like the middle class, began to gain more wealth and even more power. Explain the extent of the factory owner’s power. What are some pros and cons of the factory owners holding so much power? And how did their power influence the nineteenth century and the Victorian Style?