History of Modern Design
2nd Edition
Published on 15. July 2010
Book
Hardback
432 pages
978-0-205-72850-3 (ISBN)
Description
Filling the gap for an extensively illustrated history of modern design, this introduction provides a balanced, chronological survey of the decorative arts, industrial design and graphic design from the eighteenth through the twentieth centuries. Focusing on the appreciation of design as a creative activity, as well as an enterprise conditioned by economic, technological and social history, Raizman includes the study of products and furnishing designed for mass consumption, and examines the social context for the democratization of culture. KEY TOPICS: The author examines supply, demand, and design from 1700-1850, arts, crafts, and machines from 1850-1914, design after the Great War, 1918-1944and international modernism and mass culture after World War II. MARKET: For design professionals.
Reviews / Votes
"David Raizman's History of Modern Design has assumed landmark status within design studies. Synthesizing design, technology, art history and social history, Raizman builds a cogent argument for studying design as both a production-based discipline and an intellectually-driven profession."- Elizabeth Guffey, Professor of Art History, School of Humanities, Purchase College, State University of New York, and Editor, Design and Culture
"With a reworking of the book's narrative structure and inclusion of ways in which the concept and power of design have mutated in the seven years since its first publication, this book remains an essential addition to the bookshelves of designers, design students and those for whom design-thinking is important."
- Jamie Brassett, MA Course Director and Subject Leader, Central St Martin's
"Functioning as a superb overview of the ways in which design issues affected the modern world (from the 18th century until now) Raizman has successfully created...the foremost text for those well versed in design history while also presenting the general public with a comprehensive, informed, extremely well illustrated volume that will stand the test of time."
- Gabriel P. Weisberg, Professor of Art History, Design and Graphic Art History, University of Minnesota
"This book offers a fascinating and authoritative cross-disciplinary description of the past 250 years of design history. The text moves effortlessly between typography, graphic design, fashion, furniture design, architecture, and many other disciplines. It is exemplary because of its balanced prioritisation of historical events and factors and its rich contextualisation. It is an excellent textbook for teachers and students in universities, academies and design schools and a fine introduction for readers with an interest in design, with whom it has already, deservedly, found an audience."
- Ida Engholm, Associate Professor, Danish Centre for Design Research, The Royal Academy of Fine Arts, School of Architecture, Copenhagen
"Incorporating architecture, graphic design, product design, typography, studio craft, furniture design and fashion design, seamlessly contextualized through both the "fine arts" canon and popular culture of their respective era, Raizman's History of Modern Design is an invaluable resource for not only understanding design history, but its relevance to cultural history. The host of new illustrations and up-to-the-minute writing on contemporary issues in design only improve upon Raizman's winning approach."
- Maria Elena Buszek, Assistant Professor of Art History, School of Liberal Arts, Kansas City Art Institute
More details
Other editions
Previous edition
David Raizman
History of Modern Design
Book
11/2003
Pearson
€38.43
Article exhausted; check for reprint
Person
David Raizman is a professor in the Department of Visual Studies at Drexel University in Philadelphia. He has published several studies in journals and books focusing on the art and architecture of Spain in the later twelfth and early thirteenth centuries for the journal Gesta. Professor Raizman is also the author of Objects, Audiences, and Literatures: Alternative Narratives in the History of Design, co-edited with Carma Gorman published by Cambridge Scholars Publishing (UK).
Content
Preface 8
Acknowledgments 10
Introduction: Thinking about Design 11
Products, Technology, and Progress 11
Designers and the Expansion of Design 12
Discourse 13
PART I
Demand, Supply, and Design (1700-1800) 15
Introduction to Part I 16
1 Royal Demand and the Control of Production 17
State-owned Manufactories 17
Artists and Craftsmen 20
Porcelain 22
The Guilds 23
The Printer's Art 28
2 Entrepreneurial Efforts in Britain and Elsewhere 31
Design in an Expanding Market 31
Wedgwood and Antiquity 33
Commodities and Fashion 36
The United States 38
Popular Literature and the Freedom of the Press 39
PART II
Expansion and Taste (1801-1865) 40
Introduction to Part II 42
3 Growing Pains: Expanding Industry in the Early Nineteenth Century 43
A Culture of Industry and Progress 43
New Materials and Processes 44
Beyond the Printed Page 50
Wallpaper and Fabric Printing 52
The American System 54
4 Design, Society, and Standards 57
Early Design Reform 57
Industry and its Discontents 58
Reform and the Gothic Revival 59
Henry Cole and the "Cole Group" 61
The Great Exhibition of 1851 63
Images for All 70
Popular Graphics in the United States 74
A Balance Sheet of Reform 76
Conclusion 77
PART III
Arts, Crafts, and Machines - Industrialization: Hopes and Fears (1866-1914) 79
Introduction to Part III 80
5 The Joy of Work 81
Ruskin, Morris, and the Arts and Crafts Movement in Britain 81
Morris and Socialism 85
Morris as Publisher 85
The Influence of William Morris in Britain 88
The Arts and Crafts Movement in the United States 91
Printing in the United States 98
Chicago and Frank Lloyd Wright 99
6 The Equality of the Arts 103
Design Reform and the Aesthetic Movement 103
Books, Illustration, and Type 110
The Aesthetic Movement in the United States 113
Dress 118
Design Reform in France: L'Art Nouveau 120
Art Nouveau in Print and in Public 125
Glasgow: Charles Rennie Mackintosh 130
Austria 131
Belgium 136
Munich 138
Scandinavia, Eastern Europe, and the Vernacular 140
Italy and Spain 143
7 Mechanization and Industry 147
Design and the Workplace 147
Germany 148
The American System of Manufacture and Fordism 151
Developments in Merchandising, Printing, and Advertising 154
Conclusion 155
PART IV
After World War I: Art, Industry, and Utopias (1918-1944) 157
Introduction to Part IV 158
8 Paris and Art Moderne (Art Deco) Before and After World War I 161
Furniture and Modern Art 162
Glass and Metal 166
The Paris Exposition of 1925 172
9 "Modernism": Design, Utopia, and Technology 181
Futurism 181
De Stijl 184
Constructivism 189
The Bauhaus 196
Beyond the Bauhaus 204
The Printing Industry and the "New Typography" 206
Jan Tschichold and the New Typography 208
Britain and Modern Design 214
Scandinavia and Modern Design 219
10 Design, Industry, and Advertising in the United States 223
Industrial Design and Fordism 228
Advertising, Art, and the Selling of Modern Design in the United States 229
The United States and International Modernism 237
Streamlining 240
The 1939 New York World's Fair 242
Photography and Graphic Design 244
Industrial Design and Austerity 248
Graphic Design During World War II 251
Conclusion 252
PART V
Humanism and Luxury: International Modernism and Mass Culture after World War II (1945-1960) 255
Introduction to Part V 256
11 Modernism After World War II: From Theory to Practice 260
Promoting Postwar Design: Art Direction and the New Advertising 267
Graphic Design and Technical Information 273
Scandinavia and Britain 275
Italy 283
Germany 288
The International Graphic Style (Die Neue Grafik) 291
Means and Ends 296
Japan 298
Design and Corporate Culture 301
Trademarks and Beyond 302
12 Design and Mass Appeal: A Culture of Consumption 306
Detroit: Transportation as Symbol 308
Critics of Styling 313
Resorts and Luxury 314
Housing: Suburbia, Domesticity, and Conformity 317
Beyond High and Low Art: Revisiting the Critique of Mass Culture 322
Conclusion 325
PART VI
Progress, Protest, and Pluralism 1961-2010 326
Introduction to Part VI 328
13 New Materials, New Products 330
Plastics and their Progeny 331
Product Housing 335
Sports: Equipment and Progress 338
Visual Identity, Information, and Art Direction 338
Laminated Materials 345
Nature and Craft 346
14 Dimensions of Mass Culture 349
Mass Design and the Home 351
Mass Design: The Fringes 353
Pop, Protest, and Counterculture 355
Graphics and the Underground 356
Anti-Design in Italy 358
Radical Reform: Technology, Safety, and the Environment 362
15 Politics, Pluralism, and Postmodernism 367
Design and Postmodernism 369
Postmodern Products 370
Pluralism and Resistance 374
Hi-Tech 377
The Expanding Definition and Role of Design 378
16 Design in Context: An Act of Balance 381
Consumers 381
Reform and Social Responsibility 387
Design, Safety, and Terror 391
Production Technology: Meanings of Miniaturization 393
Design and Softness 396
Materials Technology and Softness 396
Lifestyle 400
Politics, Technology, and the Media 400
Graphic Design in a Digital Age 401
Craft: The Persistence of Process 406
Design and Continuity: Creativity, Responsibility, and Resilience 408
Timeline 409
Further Reading 412
Bibliography 417
Credits 422
Index 424
Acknowledgments 10
Introduction: Thinking about Design 11
Products, Technology, and Progress 11
Designers and the Expansion of Design 12
Discourse 13
PART I
Demand, Supply, and Design (1700-1800) 15
Introduction to Part I 16
1 Royal Demand and the Control of Production 17
State-owned Manufactories 17
Artists and Craftsmen 20
Porcelain 22
The Guilds 23
The Printer's Art 28
2 Entrepreneurial Efforts in Britain and Elsewhere 31
Design in an Expanding Market 31
Wedgwood and Antiquity 33
Commodities and Fashion 36
The United States 38
Popular Literature and the Freedom of the Press 39
PART II
Expansion and Taste (1801-1865) 40
Introduction to Part II 42
3 Growing Pains: Expanding Industry in the Early Nineteenth Century 43
A Culture of Industry and Progress 43
New Materials and Processes 44
Beyond the Printed Page 50
Wallpaper and Fabric Printing 52
The American System 54
4 Design, Society, and Standards 57
Early Design Reform 57
Industry and its Discontents 58
Reform and the Gothic Revival 59
Henry Cole and the "Cole Group" 61
The Great Exhibition of 1851 63
Images for All 70
Popular Graphics in the United States 74
A Balance Sheet of Reform 76
Conclusion 77
PART III
Arts, Crafts, and Machines - Industrialization: Hopes and Fears (1866-1914) 79
Introduction to Part III 80
5 The Joy of Work 81
Ruskin, Morris, and the Arts and Crafts Movement in Britain 81
Morris and Socialism 85
Morris as Publisher 85
The Influence of William Morris in Britain 88
The Arts and Crafts Movement in the United States 91
Printing in the United States 98
Chicago and Frank Lloyd Wright 99
6 The Equality of the Arts 103
Design Reform and the Aesthetic Movement 103
Books, Illustration, and Type 110
The Aesthetic Movement in the United States 113
Dress 118
Design Reform in France: L'Art Nouveau 120
Art Nouveau in Print and in Public 125
Glasgow: Charles Rennie Mackintosh 130
Austria 131
Belgium 136
Munich 138
Scandinavia, Eastern Europe, and the Vernacular 140
Italy and Spain 143
7 Mechanization and Industry 147
Design and the Workplace 147
Germany 148
The American System of Manufacture and Fordism 151
Developments in Merchandising, Printing, and Advertising 154
Conclusion 155
PART IV
After World War I: Art, Industry, and Utopias (1918-1944) 157
Introduction to Part IV 158
8 Paris and Art Moderne (Art Deco) Before and After World War I 161
Furniture and Modern Art 162
Glass and Metal 166
The Paris Exposition of 1925 172
9 "Modernism": Design, Utopia, and Technology 181
Futurism 181
De Stijl 184
Constructivism 189
The Bauhaus 196
Beyond the Bauhaus 204
The Printing Industry and the "New Typography" 206
Jan Tschichold and the New Typography 208
Britain and Modern Design 214
Scandinavia and Modern Design 219
10 Design, Industry, and Advertising in the United States 223
Industrial Design and Fordism 228
Advertising, Art, and the Selling of Modern Design in the United States 229
The United States and International Modernism 237
Streamlining 240
The 1939 New York World's Fair 242
Photography and Graphic Design 244
Industrial Design and Austerity 248
Graphic Design During World War II 251
Conclusion 252
PART V
Humanism and Luxury: International Modernism and Mass Culture after World War II (1945-1960) 255
Introduction to Part V 256
11 Modernism After World War II: From Theory to Practice 260
Promoting Postwar Design: Art Direction and the New Advertising 267
Graphic Design and Technical Information 273
Scandinavia and Britain 275
Italy 283
Germany 288
The International Graphic Style (Die Neue Grafik) 291
Means and Ends 296
Japan 298
Design and Corporate Culture 301
Trademarks and Beyond 302
12 Design and Mass Appeal: A Culture of Consumption 306
Detroit: Transportation as Symbol 308
Critics of Styling 313
Resorts and Luxury 314
Housing: Suburbia, Domesticity, and Conformity 317
Beyond High and Low Art: Revisiting the Critique of Mass Culture 322
Conclusion 325
PART VI
Progress, Protest, and Pluralism 1961-2010 326
Introduction to Part VI 328
13 New Materials, New Products 330
Plastics and their Progeny 331
Product Housing 335
Sports: Equipment and Progress 338
Visual Identity, Information, and Art Direction 338
Laminated Materials 345
Nature and Craft 346
14 Dimensions of Mass Culture 349
Mass Design and the Home 351
Mass Design: The Fringes 353
Pop, Protest, and Counterculture 355
Graphics and the Underground 356
Anti-Design in Italy 358
Radical Reform: Technology, Safety, and the Environment 362
15 Politics, Pluralism, and Postmodernism 367
Design and Postmodernism 369
Postmodern Products 370
Pluralism and Resistance 374
Hi-Tech 377
The Expanding Definition and Role of Design 378
16 Design in Context: An Act of Balance 381
Consumers 381
Reform and Social Responsibility 387
Design, Safety, and Terror 391
Production Technology: Meanings of Miniaturization 393
Design and Softness 396
Materials Technology and Softness 396
Lifestyle 400
Politics, Technology, and the Media 400
Graphic Design in a Digital Age 401
Craft: The Persistence of Process 406
Design and Continuity: Creativity, Responsibility, and Resilience 408
Timeline 409
Further Reading 412
Bibliography 417
Credits 422
Index 424