(hardbound edition cover from Pearson Prentice-Hall)
David Raizman, The History of Modern Design 2e
London, Laurence King Ltd. and Upper Saddle River (NJ),Pearson, 2010
Description
Filling the gap for an extensively illustrated history of modern design, this introduction provides a balanced chronological survey of 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.
New to this Edition
The second edition of the History of Modern Design includes several new illustrations, an expanded bibliography and timeline, and a larger section on contemporary design. In addition, the text has been organized into six rather than five parts in order to separate the early nineteenth from the eighteenth century and to present concepts relating to that material more clearly. A number of illustrations replaced existing ones to better communicate particular qualities of design in terms of techniques, or to relate with material presented elsewhere. New sections, such as Barcelona in the later nineteenth century, have also been added. Other new features include the placement of the American System of Manufacture in Chapter 3, the inclusion of additional examples of fashion and textiles into each part of the text, and placing the discussion of the Arts and Crafts Movement first in Part II rather than after the Aesthetic Movement and Art Nouveau. An effort has been made to both illustrate as well as to discuss objects in interiors rather than in isolation, so that their relation to lifestyles and lived experience becomes a more relevant and important part of their context. Also, a significant amount of new material has been added to reflect recent trends and perspectives in design, including digital technology, information, and interactivity.
Features
* Comprehensive coverage of history of design—Including the eighteenth century to present day.
--- Enables students to appreciate the continuity as well as innovation in the study of modern design, so that they can recognize the persistence of craft and the direct manipulation of materials by artists and designers.
* Decorative arts, graphic design and industrial design.
--- Enables students to appreciate design and to examine the relationship of both unique and everyday objects and allows them to see broader connections among them.
* Products and furnishings for mass consumption.
--- Enables students to examine the social context for the democratization of culture involving both the mechanisms for stimulating mass appeal, as well as the meanings that consumers give to products.
* Economic, social and political considerations.
--- Provides students with an analysis of design, its value and its meaning within society.
* Continuity vs. change
--- Provides a view of the legacy of craft production, the creative use of natural materials and new materials, the discourse revolving around the duality between artist and artisan and attempts to regulate and inform the market.
* Perspectives
--- Provides students with a thoughtful consideration of multiple perspectives, as well as an expanded view of the boundaries of art historical investigation.
* Age of Exploration—Addressing the economic and cultural interaction between east and west.
--- Familiarizes students with the basis of cross-cultural fertilization.
Instructor Manual
An Instructor Manual is available for faculty teaching from History of Modern Design 2e. The Manual is being prepared by Linda Shanahan, PhD, at the Columbus College of Art & Design in Columbus, Ohio. It contains chapter outlines, examination and essay questions, and an overview of online resources in addition to the bibliography and 'suggested readings' sections of the 2nd edition. The online resources are also ideal for generating in-class discussions and video presentations to supplement powerpoints.
Endorsements
Jamie Brassett, MA Course Director and Subject Leader, Central St Martin's:
"With a recontextualization
of the subject, reworking of the book’s narrative structure and the inclusion of
ways in which the concept and power of design has 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
now an important part of their work."
Elizabeth Guffey, Professor of Art History, School of Humanities, Purchase College, State University of New York, and Editor, Design and Culture
“Since its publication in 2003, David Raizman's A History of Modern Design has assumed landmark status within design studies. Synthesizing design, technology, art history and social history from the mid-eighteent through early twenty-first centuries, Raizman builds a cogent argument for studying design as both a production-based discipline and an intellectually-driven profession.”
Maria Buszek, Assistant Professor of Art History, School of Liberal Arts, Kansas City Institute of Art
“David Raizman's -History
of Modern Design- is a truly unique textbook in the field. 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, this book 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.”
Gabriel P. Weisberg, Professor of Art History, Design and Graphic Art History, University of Minnesota
"The new edition of David Raizman’s History of Modern Design continues to build on the excellence of the earlier publication. Functioning as a superb overview of the ways in which design issues affected the modern world (from the eighteenth century until now) Raizman has successfully created a book that can stand as 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. It is the type of work that is often needed but few authors ever achieve as well-balanced and as insightful a text as found in this beautifully produced volume."
Ida Engholm, Associate Professor, Danish Centre for Design Research, The Royal Academy of Fine Arts, School of Architecture, Copenhagen.
"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. Throughout the book, Raizman offers insightful perspectives based on contemporary art movements and works. 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.
This is a reference work that reads like a novel. It offers a comprehensive, exciting, authoritative, thorough and richly illustrated review of the past 250 years of design history. This book offers fascinating and insightful descriptions of the historical and cultural contexts of design and marks a refreshing change from the traditional art history chronicles of changing styles. On several levels, the book contributes to a broader understanding of the meaning of design practice in relation to technological, economic, and social dimensions and of all the aspects concerning industrialisation, production, reforms, industrial capitalism, mechanised mass-production, user-adaptation, popular culture and mass culture that influence our understanding of design today. The book has already, deservedly, become a foundation and keystone of todays studies in design history."
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