History of Modern Design

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).

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

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