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Contents<br/>Preface 8<br/>Acknowledgments 10<br/>Introduction: Thinking about Design 11<br/>PRODUCTS, TECHNOLOGY, AND PROGRESS 11<br/>DESIGNERS AND THE EXPANSION OF DESIGN 12<br/>DISCOURSE 13<br/>PART I<br/>Demand, Supply, and Design (1700-1800) 15<br/>Introduction to Part I 16<br/>1 Royal Demand and the Control of Production 17<br/>STATE-OWNED MANUFACTORIES 17<br/>ARTISTS AND CRAFTSMEN 20<br/>PORCELAIN 22<br/>THE GUILDS 23<br/>THE PRINTER'S ART 28<br/>2 Entrepreneurial Efforts in Britain and Elsewhere 31<br/>DESIGN IN AN EXPANDING MARKET 31<br/>WEDGWOOD AND ANTIQUITY 33<br/>COMMODITIES AND FASHION 36<br/>THE UNITED STATES 38<br/>POPULAR LITERATURE AND THE FREEDOM OF THE PRESS 39<br/>PART II<br/>Expansion and Taste (1801-1865) 41<br/>Introduction to Part II 42<br/>3 Growing Pains: Expanding Industry in the Early Nineteenth Century 43<br/>A CULTURE OF INDUSTRY AND PROGRESS 43<br/>NEW MATERIALS AND PROCESSES 44<br/>BEYOND THE PRINTED PAGE 50<br/>WALLPAPER AND FABRIC PRINTING 52<br/>THE AMERICAN SYSTEM 54<br/>4 Design, Society, and Standards 57<br/>EARLY DESIGN REFORM 57<br/>INDUSTRY AND ITS DISCONTENTS 58<br/>REFORM AND THE GOTHIC REVIVAL 59<br/>HENRY COLE AND THE "COLE GROUP" 61<br/>THE GREAT EXHIBITION OF 1851 63<br/>IMAGES FOR ALL 70<br/>POPULAR GRAPHICS IN THE UNITED STATES 74<br/>A BALANCE SHEET OF REFORM 76<br/>CONCLUSION 77<br/>PART III<br/>Arts, Crafts, and Machines - Industrialization: Hopes and Fears (1866-1914) 79<br/>Introduction to Part III 80<br/>5 The Joy of Work 81<br/>RUSKIN, MORRIS, AND THE ARTS AND CRAFTS MOVEMENT IN BRITAIN 81<br/>MORRIS AND SOCIALISM 85<br/>MORRIS AS PUBLISHER 85<br/>THE INFLUENCE OF WILLIAM MORRIS IN BRITAIN 88<br/>THE ARTS AND CRAFTS MOVEMENT IN THE UNITED STATES 91<br/>PRINTING IN THE UNITED STATES 98<br/>CHICAGO AND FRANK LLOYD WRIGHT 99<br/>6 The Equality of the Arts 103<br/>DESIGN REFORM AND THE AESTHETIC MOVEMENT 103<br/>BOOKS, ILLUSTRATION, AND TYPE 110<br/>THE AESTHETIC MOVEMENT IN THE UNITED STATES 113<br/>DRESS 118<br/>DESIGN REFORM IN FRANCE: L'ART NOUVEAU 120<br/>ART NOUVEAU IN PRINT AND IN PUBLIC 125<br/>GLASGOW: CHARLES RENNIE MACKINTOSH 130<br/>AUSTRIA 131<br/>BELGIUM 136<br/>MUNICH 138<br/>SCANDINAVIA, EASTERN EUROPE, AND THE VERNACULAR 140<br/>ITALY AND SPAIN 143<br/>7 Mechanization and Industry 147<br/>DESIGN AND THE WORKPLACE 147<br/>GERMANY 148<br/>THE AMERICAN SYSTEM OF MANUFACTURE AND FORDISM 151<br/>DEVELOPMENTS IN MERCHANDISING, PRINTING, ANDADVERTISING 154<br/>CONCLUSION 155<br/>PART IV<br/>After World War I: Art, Industry, and Utopias (1918-1944) 157<br/>Introduction to Part IV 158<br/>8 Paris and Art Moderne (Art Deco) Before and After World War I 161<br/>FURNITURE AND MODERN ART 162<br/>GLASS AND METAL 166<br/>THE PARIS EXPOSITION OF 1925 172<br/>9 "Modernism": Design, Utopia, and Technology 181<br/>FUTURISM 181<br/>DE STIJL 184<br/>CONSTRUCTIVISM 189<br/>THE BAUHAUS 196<br/>BEYOND THE BAUHAUS 204<br/>THE PRINTING INDUSTRY AND THE "NEW TYPOGRAPHY" 206<br/>JAN TSCHICHOLD AND THE NEW TYPOGRAPHY 208<br/>BRITAIN AND MODERN DESIGN 214<br/>SCANDINAVIA AND MODERN DESIGN 219<br/>10 Design, Industry, and Advertising in the United States 223<br/>INDUSTRIAL DESIGN AND FORDISM 228<br/>ADVERTISING, ART, AND THE SELLING OF MODERN DESIGN IN THE UNITED STATES 229<br/>THE UNITED STATES AND INTERNATIONAL MODERNISM 237<br/>STREAMLINING 240<br/>THE 1939 NEW YORK WORLD'S FAIR 242<br/>PHOTOGRAPHY AND GRAPHIC DESIGN 244<br/>INDUSTRIAL DESIGN AND AUSTERITY 248<br/>GRAPHIC DESIGN DURING WORLD WAR II 251<br/>CONCLUSION 252<br/>PART V <br/>Humanism and Luxury: lnternational Modernism and Mass Culture after World War II<br/>(1945-1960) 255<br/>Introduction to Part V 256<br/>11 Modernism After World War II: From Theory to Practice 260<br/>PROMOTING POSTWAR DESIGN : ART DIRECTION AND THE NEW ADVERTISING 267<br/>GRAPHIC DESIGN AND TECHNICAL INFORMATION 273<br/>SCANDINAVIA AND BRITAIN 275<br/>ITALY 283<br/>GERMANY 288<br/>THE INTERNATIONAL GRAPHIC STYLE (DIE NEUE GRAFIK) 291<br/>MEANS AND ENDS 296<br/>JAPAN 298<br/>DESIGN AND CORPORATE CULTURE 301 <br/>TRADEMARKS AND BEYOND 302<br/>12 Design and Mass Appeal: A Culture of Consumption 306<br/>DETROIT: TRANSPORTATION AS SYMBOL 308<br/>CRITICS OF STYLI NG 313<br/>RESORTS AND LUXURY 314<br/>HOUSING: SUBURBIA, DOMESTICITY, AND CONFORMITY 317<br/>BEYOND HIGH AND Low ART: REVISITING THE CRITIQUE OF MASS CULTURE 322<br/>CONCLUSION 325<br/>PART VI<br/>Progress, Protest, and Pluralism 1961-2010 327<br/>Introduction to Part VI 328<br/>13 New Materials, New Products 330<br/>PLASTICS AND TH El R PROGENY 331<br/>PRODUCT HOUSING 335<br/>SPORTS EQUIPMENT AND PROGRESS 338<br/>VISUAL IDENTITY, INFORMATION, AND ART DIRECTION 338<br/>LAMINATED MATERIALS 345<br/>NATURE AND CRAFT 346<br/>14 Dimensions of Mass Culture 349<br/>MASS DESIGN AND THE HOME 351<br/>MASS DESIGN: THE FRINGES 353<br/>POP, PROTEST, AND COUNTERCULTURE 355<br/>GRAPHICS AND THE UNDERGROUND 356<br/>ANTI-DESIGN IN ITALY 358<br/>RADICAL REFORM : TECHNOLOGY, SAFETY, AND THE ENVIRONMENT 362<br/>15 Politics, Pluralism, and Postmodernism 367<br/>DESIGN AND POSTMODERNISM 369<br/>POSTMODERN PRODUCTS 370<br/>PLURALISM AND RESISTANCE: PUNK 374<br/>HI-TECH 377<br/>THE EXPANDING DEFINITION AND ROLE OF DESIGN 378<br/>16 Design in Context: An Act of Balance 381<br/>CONSUMERS 381<br/>REFORM AND SOCIAL RESPONSIBILITY 387<br/>DESIGN, SAFETY, AND TERROR 391<br/>PRODUCTION TECHNOLOGY: MEANINGS OF MINIATURIZATION 393<br/>DESIGN AND SOFTNESS 396<br/>MATERIALS TECH NO LOGY AND SOFTNESS 396<br/>LIFESTYLE 400<br/>POLITICS, TECHNOLOGY, AND THE MEDIA 400<br/>GRAPHIC DESIGN IN A DIGITAL AGE 401<br/>CRAFT: THE PERSISTENCE OF PROCESS 406<br/>DESIGN AND CONTINUITY: CREATIVITY, RESPONSIBILITY, AND RESILIENCE 408<br/>Timeline 409<br/>Suggestions for Further Reading 413<br/>Select Bibliography 416<br/>Credits 421<br/>Index 425 |
