The Design History Reader - Essay Example

Section/# The Design History Reader: A Literature Review and Analysis One of the unique elements of design, design history, and design education is the overall level of evolution that has been indicated over the past several decades and centuries. As such, The Design History Reader effectively discusses many of these nuanced changes as a function of human history and development. Accordingly, the following analysis will serve as something of a literature review in terms of many of the most notable arguments and articles represented within this particular text. Through such a literature review, highlighting major design evolutions and changes with respect to design interpretation and education, it is the hope of this analyst that the reader will be able to create a more informed interpretation of how design has been understood and represented throughout the years. A further level of tangential focus will be placed upon the way that design evolution and change is represented between a developed country, such as the United Kingdom, and a developing nation, such as Pakistan. The first section of the text, Section 1, illustrates the history of design between 1676-1820. As can realistically be understood by an observant reader, this was a period of intense social and political change throughout the world. Ultimately, hundreds of years of social norms were done away with during this time and a renewed focus on the individual rights of citizens and their power to self determination was affected. This of course occurred in much of the developed and developing world. As such Laurel Thatcher Ulrich’s “An Indian Basket, Providence Rhode Island, 1676” illustrates the utilitarian purpose that design was directed towards during these years (Houze & Maffei, 2010). The struggle for survival in harsh conditions was evocative of an approach in which the poorer classes were most interested in functionality as compared to artistic merit and beauty. This is evident in the way that developed and developing societies have existed since the dawn of time. Ultimately, without a secure grip on resources, the degree and extent to which a people group can exhibit artistic development and beauty within their living space is inherently diminished; much as the author indicates. Naturally, this should not be understood to mean that there was no focus on artistic representation within early design between the late 1600s and the early 1800s; instead, the article focuses the reader’s attention on the inherent difficulties of the era and the changing survival and political needs that were represented within it (Houze & Maffei, 2010). As a middle class began to develop, in Europe as well as many parts of the developing world between 1820 and 1910, a new and altered approach to design was replicated. As such, in Section 2 of the text, this is discussed in great detail. As the era of science and technology, steam power, and mass production began to be felt across Europe and the remainder of the developing world, the means by which design was engaged and the ultimate purpose for it came to be re-imagined. As new markets were opened, readily available raw material leveraged, and a burgeoning market for the supply of design related goods spawned, the emphasis on economies of scale was clearly felt. For instance, whereas individual masters of design and art had previously trained apprentices one by one, the growth of the global economy and the changes that have thus far been denoted created a dynamic by which demand and education in design was provided in an entirely different way. The text illustrates how “design houses” sprung up across Europe; with an emphasis on providing higher levels of education to an entire generation of young designers and would-be scholars. As with much of the modern era, developments in media sources as well as the way in which marketing and advertisement take place have helped to craft a new identity for individuals living within the 20th century and beyond. The 19th century represented yet another dynamic with respect to the growth, evolution, and development of design. As technology continued to expand, this particular period can be analyzed under the rubric of mediatization. Sections 3-5 discuss in detail how this aspect of design impacted upon the way in which individuals worked and understood the evolving role that design theory and education had for the modern designer. By the 1930’s radio had come to be exhibited within society to very much the same level and extent to which television is exhibited within the society of today. However, although able to integrate a degree of advertising, radio was ultimately incapable of presenting any form of image to the listener (Houze & Maffei, 2010). This is where mass marketing of stores such as Woolworth’s, Sears, and a number of other mail order or local outlet stores began to take shape. As a direct result of chain stores that were able to open offices within a given area and even send out advertisements and catalogues, a sense of uniformity was able to be developed and instituted within the minds of those who thought themselves to be conscious concerning design. Another aspect of media growth that impacted upon the way in which individuals viewed themselves and view the remainder of society has to do with the level and extent to which internationalism and an increased sense an understanding of globalization came to be evidenced in society after the first and second world wars. Subsequently, the First World War was enough to integrate world culture. Countless tens of thousands of traveled from one place to another in order to fight the Axis powers. Upon returning, a more metropolitan understanding of the world and the means through which design transcended culture was brought back. Although this is specifically with regards to man, these men with the ones who would go off to found and direct many of the firms and marketing agencies that would in turn seek to market specifically towards design. Similarly, the second world war further exists international scope and understanding; incorporating a litany of different cultures that would otherwise have taken many more decades to become globalized at their own speed and/or at their own pace (Houze & Maffei, 2010). Thus far, the analysis has been concentric upon listing some of the cataclysmic and life altering situations that forced a further level of integration to the current world model. However, Sections 6-9 argue the fact that a level of inherent globalization came to impact upon design within the post war period. Accordingly, this should not be understood as an issue divorced from the impacts of radio and/or the impact of mass marketing through print media represented. Instead, these were only indicative of the nascent impacts that media could have upon seeking to integrate a broader and more international approach to design (Houze & Maffei, 2010). It was the invention and widespread use of the television that was what ultimately provided a mechanism and means of marketing for design that accelerated the industry far beyond its wildest expectations. This was a unique dynamic for a number of reasons. The first reason has to do with the fact that television media was ultimately supported through sponsorship. Sponsorship took the form of advertisements which in turn allowed design to directly be marketed to a massive audience around the globe. As a direct function of the particular media in question, a visual media, television was able to market to individuals, and by extension command, concerning design without specifically advertising a design product (Daniels, 1951). By the same token, television programming itself sought to represent individuals living within the middle class and specifically targeted the self image and approach to which the viewers understood design (Houze & Maffei, 2010). Even a cursory review of television programming in any of the decades since TV has become widespread and accepted around the globe, illustrates the differentials between seasons in which the main cast dress and understand/integrate with evolving design of the particular era in question. Naturally, one would be remiss not to discuss the way in which the Internet impacted upon an understanding and/or and appreciation for design. Whereas television allowed individuals to be presented with images and understand that a particular look or a particular design could be purchased from a specific retailer, with the exception of certain types of television advertising, a link between a particular design and/or the means of purchasing it was elusive (Houze & Maffei, 2010). The Internet has close this gap and has allowed for individuals to view and purchase design within the same medium and within the comfort of their own homes. In much the same way as mass marketing and the creation and proliferation of mail order catalogs fundamentally shifted the way in which design was understood throughout the world, the same can be said with regards to the way in which the Internet has transformed the era of fashion by providing a new means of stakeholder participation in the review and purchase of design in an online and web enabled format (Houze & Maffei, 2010). Within sections 10-12 the book references issues relating to the post-modern elements reflected within the design establishment and the means by which the study of design is taught. Within these sections, there is a great deal of emphasis placed on the way that design, and design education, has evolved as a function of the impact of a consumer culture and the mediation and conflicts between a global economy. As has been expressly exhibited in the prior sections analyzed, the emphasis on a global consumer culture was not a relevant impact on the way that the history of design had previously evolved. However, with the end of the Second World War and the increased extent of interaction between peoples and places, the overall size of the world, inclusive of the overall size of the design world, began to figuratively shrink. Designers from faraway places began to understand the unique approaches that their fellow tradesmen had been utilizing for generations within far off reaches of the globe. Upon seeing this, design education experienced a miniature renaissance; as designers sought to leverage these best practices in the way that they created their individual pieces. Another unique change that developed during this particular period of time was the way in which global, national, regional, and local influences the Kent impact one another. Whereas issues regarding globalization have already discussed within the preceding section of this analysis, it is worthy to note that developing nations began to face this particular dynamic somewhat in reverse. As compared to developed nations such as the United Kingdom, nations such as Pakistan were taken by surprise at the overall speed to which economic development and design techniques began to change within only a brief period of time (Houze & Maffei, 2010). Essentially, whereas the majority of the analysis thus far has been concentric upon technological developments and sociological developments, as well as educational changes, that impact upon design, these were most directly felt within nations of Europe; only permeating to other regions of the world once further levels of trade and globalization were experienced. However, with a relatively young nation, such as Pakistan, the degree and extent to which this slow permeated process was engaged is quite different as compared to the way in which it was engaged within the nations of Western Europe. Essentially, long after the nation of Pakistan itself is established, the design culture, economy, and elements of demand that were exhibited the rest of the nation had long directly into a level of the global economy. Whereas it is not the purpose of this particular analysis to make a value judgment whether or not this is negative or positive, it can definitively be understood that this is a significantly different approach to design and design education as compared to the approach that Western Europe, and specifically the United Kingdom, was able to take. In something of a reversal from the way that Pakistan had previously taught and experience design, the nation was immediately faced with a situation in which design was linked directly to the economy; no longer two elements of beauty and/or cultural tradition. Likewise, as the economy dictated certain extent needs and desires, both within the local population as compared to those that were responsible for ordering designs throughout the world, fulfillment of needs and a redirection of the economy within Pakistan was effected. In a direct level of comparison and contrast to the way in which design was expected within the United Kingdom, the ability to synthesize elements of culture and represent these within Pakistani exports and design fulfillment was inherently limited (Houze & Maffei, 2010). This is of course in direct contrast to the way in which the United Kingdom was able to set design precedent and lead the way with regard to which designs the world demanded and the manner by which they were ultimately produced, distributed, taught, and sold. From the information that has thus far been presented, it is clear and apparent that the history of design, as illustrated within the discussion of readings represented within the text in question, is not uniform and has not been effected or involved in a manner that has benefited or impacted different regions of the world in the same manner. Essentially, design, like almost any aspect of society, culture, and economics, has been intrinsically linked towards a somewhat racial interpretation; one in which the United Kingdom, Western Europe, and the United States has set the precedent upon the way in which design will be affected, taught, and evidenced throughout consumer markets. Bibliography Houze, R Maffei, GL 2010, The Design History Reader. Edition. Bloomsbury Academic. Read More