JoELs HouSe

The term green became common place in the 1970s and was closely associated with debates relating to environmentalism and ecology. Many achievements of technology and sciences, symbolic representatives of modernism and fordism, had been under challenge for some time. There has been and is now more than ever strong moves toward creating a more ‘green’ world. And it is focused heavily on the design world as the designers( among others) have the ability to influence these changes dramatically. even when it first became a topic of grave concern there was big name supporters.

1) In the decades following the end of the second world war, the architect, inventor, designer, writer, and thinker Richard Buckminster Fuller was a strident critic of the industrial design profession. Writing and lecturing to audiences around the world he highlighted the shortcomings of industrial design, particularly in relation  to its squandering of finite  resources and encouragement of obsolescence.

The 1980s saw many publications relating to green design as well as a green design exhibition at the design centre in London in 1986. there was a considerable amount publications and establishments. For example texts such as Dorothy Mackenzies ‘green design: design for the environment’(1991) and Brenda and Robert Vales ‘green architecture: design for a sustainable future’(1991)

Green de4sign is becoming more and more the dominant factor within the consumer and design world. Tho driven in some cases by the opportunity to capitalize on the popularity of “sustainability” the consumer is increasingly becoming more aware and conscious of the need for such “movements’. Sustainability or green design is more popular than ever and is needed more than ever. The more the industrial producers of the worlds dominant and most heavily consumed products and main stream company’s, fashions and designers,  make the conscious and aware move toward sustainable materials, The more the world will see the creative world changing alternatives to the mass environmentally damaging monster that is or needless consumption driven by our selfish ambition.

References

1) Jonathan M. Woodham Dictionary of modern design  Oxford books

Leading up to the first world war Russian designers were exploring new aesthetics vocabularies. New abstract forms were evolved as seen in a series of suprematist paintings of Kasmir Malevich and sculptural corner constructions by Vladimir Tatin. Suprematist painting comprised abstract colored shapes set against light backgrounds in order to convey feelings of ascending, floating and falling.

The October revolution of 1917 provide Russian constructivists, designers, architects and artist with an opportunity to play a major part in the construction of the social, economical and political changes sought by the Bolshevik revolutionaries, harnessing the creative talents to educate the masses.

Constructivism also played a huge part in the development of modernism across Europe, including Bauhaus in Germany and the activities of the De Stijl in Holland.

Although constructivism fell out of favor and was replaced by social realism by Stalin in the later 1920s and 1930s, the term has been applied to later artistic developments characterized by there sense of structure, rationality and geometric elements.

 

The exhibition of art and industries held in London at Hyde park in 1851 served as a showcase for design mid century. Never before had decretive and industrial arts been made the focus of such wide spread attention, crossing boundaries of class and presenting a kind of visual excitement that stirred the imagination.

“the expedition of the arts and industries” as it was called was originally thought up as a national fair, but during the planning process became international. Attracting 14,000 producers, half of which were from outside of Britain. The exhibition was held in a temporary structure designed by Gardner turned architect Joseph Paxton. The structure itself attracted huge interest for its bold use of both cast and forged iron, its breath taking expanse of glass, and the complete absence of traditional building material such as stone. Relying upon prefabricated parts the exhibition hall was built in a short span of six months.

At the great exhibition could admire many works that could be seen to embrace the interlinked fields of art, science and manufacturer. The great expedition is considered one of the greatest contributing advancements in design as an expanding industry. The exhibition was  highly profitable venture with a profit of 186,437pounds.

From furniture to teapots the great exhibition really was a foundation in opening up the world to a new movement in collaborative designers and designs.

References

Jonathan M. Woodham Dictionary of modern design  Oxford books

Postmodernism grew out of such groups as Memphis, these groups consisted of industrial designers free from contracts to  particular companies. Giving them the ability to pursue directions beyond what was considered good design.

The term postmodernism is often found in conjunction with others like post-industrialism and late capitalism. All of them referring to a culture in which consumption is the common subtext. Post industrialism is another broad and useful contemporary term which signifies that the age of industrial mass production has been superceded by an increase in focus on research, service and communications rather than the more traditional “form making” associated with industrial design.

Postmodernism was tied up with notions of fashion and change associated with graphics, clothing and  retail design. It flourished most vigorously during the 1980s when new markets for consumption of iconic products flourished and designers emerged as artistic celebrities. 

References

Jonathan M. Woodham Dictionary of modern design  Oxford books

David Raizman History of modern design  Laurence king publishing

Memphis group was launched in Milan in 1981 and was gathered together by Ettore Sottass. the  name Memphis is believed to have come from the bob Dylan song stuck inside the mobile with the Memphis blues again. the stylistic characteristics of Memphis group included bright colors, combinations of patterns and textures derived from popular cultural sources. Memphis’s decorative and brightly colored designs were in direct opposition with bare minimalism  of many later modern designs, Memphis offered a positive alternative to  the contemporary manufacturing norms. The groups whole aim was to reinvigorate  the radical design movement, and the design outlook of many countries. The group wound up in 1988 but as continued to be highly influential in graphic design, textiles, furnishing fabrics, carpets, product design and interiors.

Refrences

Jonathan M. Woodham  Dictionary of modern design  Oxford publishing

Superlamp

Super lamp by Martine Bedine. It is made of metal, which has been painted and lacquered

Carltonbookcase

Carlton bookcase designed by Ettore Sottsass  

The Volkswagen known as the peoples car through all economical odds in the time of its creation has become one of the worlds most successful cars. It was birthed from Hitler’s demand for a “peoples car” and It was designed by Dr Ferdinand Porsche. It sold throughout the world and even out sold the model T ford.

Perhaps the most unique feature of the cars design( apart from its shape of coarse) was its rare mounted, horizontally opposed, air cooled four cylinder engine. This was in a time when the public was most used to and comfortable with rear mounted water cooled engines.

Though extremely successful few beetles were built pre world war 2. it wasn’t till after the war that the car went into large volume production at the Wolfs burg factory in Germany, by this time Dr Ferdinand Porsches design was already 10 years old. The spark in production was largely due to British occupying forces seeking to fulfill there own transport needs.

Up until the Volkswagen ceased production in Germany in 1978, it was modified continuously so by the end very few original components were left. Though production ceased in Germany it continued for a further 20 years in Mexico.  The peoples car was indeed a design statement of its time, and remains a highly recognized and loved car to this day.

Interesting facts:

-         In 1949 production really got going with the introduction of the de lux export version.

-         In 1955 Volkswagen produced its one millionth car

-         Up until 1961 the car had no fuel gage.

-         The Volkswagen beetle remained in production 60 years after it was first built.

Reference

William Hobbs Classic cars, power and passion  Craig Potton Publishing.

Volkswagen_lemon

The second world war caused a fundamental shift within the international design community. Before hand western Europe was the undisputed center of influence in the 1920s to 193os, with France dominating the field of decorative art and in Germany in  modernist architecture and design lead by the Bauhaus, until it was closed in 1937. notably neighboring central European states such as Holland, Austria and Czechoslovakia where important contributors to the development of modern design.

The second world war outbreak put and end to all development within Europe. The devastation of the war had a disruptive impact on traditional centers of manufacturing. because of this there was no established mainstream anymore, new patterns of trading could be developed and new forms of design marketed.

Scandinavian nations Sweden, Denmark and Finland were first to take advantage of the gap that had been created. They worked quickly and effectively during the 1940s to develop and promote what became to be known as Scandinavian modern style. There early success came at the Milan Triennales and from 1951 onward this continued to boost there popularity.

Up until the second world war although the America started making major contributions to development in modern architecture through the school of Frank Lloyd Wright, And had success in efficient merchandised methods of production in factories, USA remained a net importer of European culture. However in the 1930s Americas enthusiastic adoption of art deco, and its application to everything ornamental from skyscrapers to cinemas to office equipment. Gave Americas design fraternity a significant boost, this combined with Americas increasing political and economical prosperity after the second world war. Meant that by the end of the 1940s Americans had begun to export there own visual culture back to Europe.

“Already by the 1930s the Americans had begun to exert a considerable influence abroad in the field of cinema. After the war they moved up a gear and set their sights even higher. By the1950s the cultural package the USA was offering had been expanded to include all aspects of visual and popular culture, from abstract expressionism to youth fashion, advertising, car styling, soft drinks and domestic accessories. The war enabled the Americans to gain vital political and commercial foot holds abroad, notably in Europe and Japan. First came the military forces; then the economic investment and the growth of political influence; and finally the most important and widespread development of all, the exploitation of new markets for American products and ideas” (1

other countries like Britain were worried about a culture invasion from America. It was in a sense inevitable due to the massive public response and pressure. Resistance was useless , Europe was left vulnerable and this made the American invasion unstoppable. The invasion of coarse being one of culture exchange. America was in ascendant after the war and remained that way till the early 1960s

(1 Lesley Jackson The sixties, decade of design revolution Phaidon press limited.

Streamline design was developed in the 1920s. The word streamline refers to aerodynamics(air) and hydrodynamics(water). It was a design that was applied to static objects to make them appear as though they were moving objects.

Due to the 1929 market crash there was a push to develop new materials and techniques , so as to keep the style alluring and looking in expensive while still being able to be mass produced at low cost.

The inspiration for streamlining of static objects came from objects that did move e.g. planes, cars, boats. The discovery of aerodynamics in the teardrop shape by engineers in the 1920s began a wave of designers adapting the style to various car designs. All though  they were unsuccessful in being mass produced.  Streamline cars first appeared in the U.S motor shows in 1934 though development began earlier.

Outside of the United States a less superficial approach’s to streamlining where taking place. In Germany for example, the “peoples car” or Volkswagen had begun to be manufactured, beginning in 1937. The design included a range of new and unique features.

“Designed by Ferdinand Porsche, the Volkswagen featured an air-cooled rear engine found in earlier streamlined prototypes and a simple, unified sloping body form. The design provided economical fuel consumption, adequate passenger and storage space, and was influenced by the results of wind tunnel testing”.1)

Despite the popularity of the Volkswagen it wasn’t till after World war 2 that it was mass produced. It did however remain in production well into the 1970s.

1)      David Raizman History of design Laurence King Publishing Ltd

love these usless mighty muggs. great pakaging and designs. star wars to marvel and transformers. generic shape to all with minor differences e.g guns, hats etc.....