A history of women designers and consumers from 1900 to the present day. The work of women designers has not traditionally been the focus of mainstream histories of design. By revealing the untold story of female design pioneers, this comprehensive introduction celebrates their crucial role in the history of modern processes of making. Arranged chronologically, this guide considers the structural barriers to professional success and how women overcame these hurdles, charting the success of designers including Anni Albers at the Bauhaus, the architect Eileen Grey, interior decorator Elsie de Wolfe and fashion icon Mary Quant, focusing on the key subjects of architecture, craft, fashion, furniture, graphics, interior, product and textile design. The link between early twentieth-century revolutionary design and lifestyle is explored, as well the ideas of shopping and consumerism as a liberating activity. The important contribution of designers during and after the Second World War is also discussed, along with design activism, design collectives and the current success of women working transnationally in architecture and design.

Designing Liners: A History of Interior Design Afloat covers the interior design of these floating palaces from the mid-nineteenth century to the twenty-first century. In this new edition, the design heritage of the ocean liner is also explored in this age of a growing holiday cruise market. The book offers the first history and analysis of this highly significant aspect of the design of interiors, which mirrors and reinforces cultural assumptions about national identity, gender, class, and ethnicity. The interiors of ocean liners reflect the changing hierarchies of society and shifting patterns of globalization. The trajectory of the professionalization of interior design is the connecting narrative of the book, from the local decorating firm to the internationally renowned architect. It is an important addition to interior design research and takes this transitory building type as its subject. This book provides the first survey of the transient history of interior design in relation to the development of passenger shipping. The history of these great ship interiors is tracked, from their commissioning by the line owners; the materials, methods, and sources for the initial creation; their construction; their use; and their reception. The demise and re-purposing of the interiors is also covered in this new edition, with additional material on the South African Union Castle and P & O Lines. Drawing on a broad range of original research, Anne Massey's approach combines interior design studies, design history, architectural history, and maritime studies. The new edition has been carefully designed to include black and white and colour illustrations.

This series investigates the historical, theoretical and practical aspects of interiors. The volumes in the Interior Architecture series can be used as handbooks for the practitioner and as a critical introduction to the history of material culture and architecture. Hotels occupy a particular place in popular imagination. As a place of exclusive sociability and bohemian misery, a site of crime and murder and as a hiding place for illicit liaison, the hotel has embodied the dynamism of the metropolis since the eighteenth century. This book explores the architectural significance of hotels throughout history and how their material construction has reflected and facilitated the social and cultural practices for which they are renowned. Contemporary developments in the planning and design of hotels are addressed through a series of interviews and case studies. Illustrated throughout, this book is an innovative and important contribution to architectural and interior design theory literature.

Designing Liners: A History of Interior Design Afloat covers the interior design of these floating palaces from the mid-nineteenth century to the twenty-first century. In this new edition, the design heritage of the ocean liner is also explored in this age of a growing holiday cruise market. The book offers the first history and analysis of this highly significant aspect of the design of interiors, which mirrors and reinforces cultural assumptions about national identity, gender, class, and ethnicity. The interiors of ocean liners reflect the changing hierarchies of society and shifting patterns of globalization. The trajectory of the professionalization of interior design is the connecting narrative of the book, from the local decorating firm to the internationally renowned architect. It is an important addition to interior design research and takes this transitory building type as its subject. This book provides the first survey of the transient history of interior design in relation to the development of passenger shipping. The history of these great ship interiors is tracked, from their commissioning by the line owners; the materials, methods, and sources for the initial creation; their construction; their use; and their reception. The demise and re-purposing of the interiors is also covered in this new edition, with additional material on the South African Union Castle and P & O Lines. Drawing on a broad range of original research, Anne Massey's approach combines interior design studies, design history, architectural history, and maritime studies. The new edition has been carefully designed to include black and white and colour illustrations.

This is the first full-length biography of Dorothy Morland (1906-99), to date the only female director of the Institute of Contemporary Arts (ICA) in London. Based on unpublished letters and other archival sources, as well as interviews and personal recollections, this book traces her busy private and public life from the 1930s up until the 1990s. It tells the story of one of the unacknowledged contributors to the success of the ICA and to the understanding of the international avant garde in post-war Britain. As a female arts administrator, Dorothy Morland's work has been largely overlooked, and this book aims to highlight her significant contribution to the public understanding of modernism. She was part of a network which included the Surrealist Roland Penrose, art critic Herbert Read, architect Jane Drew and wealthy philanthropists, Peter Gregory and Peter Watson. She was also the protector and advocate for the Independent Group. Dorothy Morland always mixed business with pleasure (dancing with Picasso in Antibes while there on ICA business), and tirelessly oversaw the chaotic organisation that was the ICA in Dover Street from 1950 until 1968. After leaving the ICA she worked hard on assembly the organisation's archives and securing their safekeeping at Tate.

This is the first full-length biography of Dorothy Morland (1906-99), to date the only female director of the Institute of Contemporary Arts (ICA) in London. Based on unpublished letters and other archival sources, as well as interviews and personal recollections, this book traces her busy private and public life from the 1930s up until the 1990s. It tells the story of one of the unacknowledged contributors to the success of the ICA and to the understanding of the international avant garde in post-war Britain. As a female arts administrator, Dorothy Morland's work has been largely overlooked, and this book aims to highlight her significant contribution to the public understanding of modernism. She was part of a network which included the Surrealist Roland Penrose, art critic Herbert Read, architect Jane Drew and wealthy philanthropists, Peter Gregory and Peter Watson. She was also the protector and advocate for the Independent Group. Dorothy Morland always mixed business with pleasure (dancing with Picasso in Antibes while there on ICA business), and tirelessly oversaw the chaotic organisation that was the ICA in Dover Street from 1950 until 1968. After leaving the ICA she worked hard on assembly the organisation's archives and securing their safekeeping at Tate.

This series investigates the historical, theoretical and practical aspects of interiors. The volumes in the Interior Architecture series can be used as handbooks for the practitioner and as a critical introduction to the history of material culture and architecture. Hotels occupy a particular place in popular imagination. As a place of exclusive sociability and bohemian misery, a site of crime and murder and as a hiding place for illicit liaison, the hotel has embodied the dynamism of the metropolis since the eighteenth century. This book explores the architectural significance of hotels throughout history and how their material construction has reflected and facilitated the social and cultural practices for which they are renowned. Contemporary developments in the planning and design of hotels are addressed through a series of interviews and case studies. Illustrated throughout, this book is an innovative and important contribution to architectural and interior design theory literature.

From the 19th-century Arts and Crafts movement to the present day, and from Art Nouveau and Bauhaus to hi-tech and green design, every style of interior design since 1900 is charted in this wide-ranging survey. Design in the 20th century saw an extraordinary evolution, with the emergence of professional interior designers and the growing appetite to redesign homes at frequent intervals. In recent decades the focus has been on sustainable design in public spaces such as offices, factories and ships. Anne Massey explores these developments in social, political, economic and cultural contexts. More than 200 illustrations of interiors from around the world, from William Morris's drawing room to a 21st-century aircraft, reveal the fundamental changes in taste and style from Art Deco to Pop and from the Streamline Moderne to Post-Modernism. < This volume has been a classic introduction to the subject for almost thirty years. The new, fourth edition is brought up to date with a chapter on transnational design, encompassing mid-century modernist work in Singapore and Sri Lanka as well as very recent interiors for spaces as varied as luxury hotels in Dubai and a contemporary art museum in Cape Town. Anne Massey shows how a shared language of design and cutting-edge technology are reshaping interiors around the globe.

Design, History and Time reflects on the nature of time in relation to design, in both past and contemporary contexts. In contrast to a traditional design historical approach which emphasizes schools and movements, this volume addresses time as a continuum and considers the importance of temporality for design practice and history. Contributors address how designers, design historians and design thinkers might respond to the global challenges of time, the rhythms of work, and the increasing speed of life and communication between different communities. They consider how the past informs the present and the future in terms of design, the importance of time-based design practices such as rapid prototyping and slow design, time in relation to memory and forgetting, and artefacts such as the archive for which time is key, and they also ponder the design of time itself. Showcasing the work of 15 design scholars from a range of international contexts, this book provides an essential text for thinking about changing attitudes to the temporal.

In the busy world that schools inhabit, this book provides clear guidance on how to implement a simple and user-friendly system that will ensure all pupil progress is forensically examined and any inadequacies swiftly addressed. Provision Mapping and the SEND Code of Practice describes a tried and tested system that helps schools to successfully identify, implement and track provision for all pupils, irrespective of whether they have a special educational need or not. This new edition: demonstrates how schools can implement the requirements of the new SEND Code of Practice provides achievable solutions to the problems that schools face in trying to evidence the impact of the additional support they provide provides photocopiable templates of tables that can be used to track progress of all pupils contains easy to use tools that will allow a school to clearly evidence that additional funding is used efficiently. This second edition has been fully updated to reflect the recent changes to SEN legislation, the new SEND Code of Practice (2015), the new National Curriculum and new assessment requirements and the new Common Inspection Framework. Additional material has been added to provide a resource for secondary and special schools. Headteachers, senior managers, leadership teams, SENCOs and other educational professionals will find the guidance and support provided by this book invaluable.

This study looks at the artists, designers and writers who formed the Independent Group in the early 1950s including such influential figures as Richard Hamilton, Eduardo Paolozzi, Nigel Henderson, William Turnball, Rayner Banham and Alison and Peter Smithson. As a group they aimed to raise the status of popular objects and icons within modern visual culture. The development of the Independent Group is mapped out against the changing nature of modernism during the Cold War era, as well as the impact of mass consumption on post-war British society. In this book, Massey examines the cultural context of the formation of the Group, covering the founding of the Institute of Contemporary Arts in London, the meanings of modernism, and the creation of a national identity. Key exhibitions such as "Parallel of Life and Art" and "This Is Tomorrow" are also examined.

This book offers the first in-depth analysis of the relationship between art and design, which led to the creation of 'pop'. Challenging accepted boundaries and definitions, the authors seek out various commonalities and points of connection between these two exciting areas. Confronting the all-pervasive 'high art / low culture' divide, Pop Art and Design brings a fresh understanding of visual culture during the vibrant 1950s and 60s. This was an era when commercial art became graphic design, illustration was superseded by photography and high fashion became street fashion, all against the backdrop of a rapidly-evolving economic and political landscape, a glamorous youth scene and an effervescent popular culture. The book's central argument is that pop art relied on and drew inspiration from pop design, and vice versa. Massey and Seago assert that this relationship was articulated through the artwork, design, publications and exhibitions of a network of key practitioners. Pop Art and Design provides a case study in the broader inter-relationship between art and design, and constitutes the first interdisciplinary publication on the subject.

The Independent Group is now the subject of global scholarly interest, and this book, a sequel to The Independent Group: Modernism and mass culture in Britain, 1945-59, explores the Anglo-American phenomenon from a new perspective. The Group included fine artists Magda Cordell, Richard Hamilton, Nigel Henderson, Eduardo Paolozzi and William Turnbull; architects Alison and Peter Smithson, James Stirling and Colin St John Wilson; graphic designer Edward Wright; music producer Frank Cordell; and writers Lawrence Alloway, Reyner Banham, John McHale and Toni del Renzio. This radical collective met at the ICA in London during the early 1950s, and worked with and within the new world of both the avant-garde and popular culture. This sequel includes an in-depth discussion of the recent historiography of the Independent Group, and examines its history from an alternative perspective - that of popular culture. The themes of domestic space, Hollywood film, fashion, mass-circulation magazines, science-fiction and popular music are explored, broadening our general understanding. -- .

A Choice Outstanding Academic Title for 2010. Designing the Modern Interior reveals how the design of the inside spaces of our homes and public buildings is shaped by and shapes our modern culture. The modern interior has often been narrowly defined by the minimalist work of elite, reforming architects. But a shared modernising impulse, expressed in interior design, extends at least as far back as the Victorians and reaches to our own time. And this spirit of modernisation manifested itself in interiors, designed both by professionals and by amateurs, which did not necessarily look modern and often even aimed to imitate the past. Designing the Modern Interior presents a new history of the interior from the late 19th to the 21st century. Particular characteristics are consistent across this period: a progressive attitude towards technology; a hyper-consciousness of what it is to live in the present and the future; an overt relationship with the mass media, mass consumption and the marketplace; an emphasis on individualism, interiority and the 'self'; the construction of identities determined by gender, class, race, sexuality and nationhood; and the experiences of urban and suburban life.

From the nineteenth-century Arts and Crafts movement to the present day from Art Nouveau, Bauhaus, the Modern Movement, and Art Deco to High-Tech and green design every style of interior design since 1900 is charted in this wide-ranging survey. Design in the twentieth century saw many changes in direction, including the emergence of professional "interior decoration" and its evolution into interior design. Interiors, domestic and other, are explored and placed within their social, political, economic, and cultural context. This revised and expanded edition is brought into the twenty-first century with a new chapter on sustainable design that focuses on public spaces such as hotels, offices, factories, and shops."

Hollywood has exerted a profound influence on British style and design. From its earliest days, Hollywood glamour in the form of make-up, hairstyles, and fashion was mimicked by women throughout Britain. But the influence of Hollywood was more than skin-deep. Nearly every form of British material culture in the twentieth century has been influenced to some extent by American style, disseminated through the medium of film to a broad and receptive market.With the erection of the Chrysler Building in New York in the late 20s, representing the city and modern American urban life, the Manhattan skyline became an enduring icon in popular culture on both sides of the Atlantic. Not only Hollywood film, but jazz and American companies all combined to bring the new Moderne style to bear on Britain. The architecture of shops, cinemas, and factories all reflect this influence, as did various forms of transportation and the interiors of homes. Even as late as the consumer boom in the 80s, revivals celebrating the Moderne style were popular in Britain as well as abroad. This influence was naturally not without its critics. The very popularity of American design challenged the aesthetics and elitism of British high arts and remains controversial. Anyone interested in design, material culture, film or architecture will find this book to be a lucid and absorbing exploration of a popular aesthetic.

In the busy world that schools inhabit, this book provides clear guidance on how to implement a simple and user-friendly system that will ensure all pupil progress is forensically examined and any inadequacies swiftly addressed. Provision Mapping and the SEND Code of Practice describes a tried and tested system that helps schools to successfully identify, implement and track provision for all pupils, irrespective of whether they have a special educational need or not. This new edition: demonstrates how schools can implement the requirements of the new SEND Code of Practice provides achievable solutions to the problems that schools face in trying to evidence the impact of the additional support they provide provides photocopiable templates of tables that can be used to track progress of all pupils contains easy to use tools that will allow a school to clearly evidence that additional funding is used efficiently. This second edition has been fully updated to reflect the recent changes to SEN legislation, the new SEND Code of Practice (2015), the new National Curriculum and new assessment requirements and the new Common Inspection Framework. Additional material has been added to provide a resource for secondary and special schools. Headteachers, senior managers, leadership teams, SENCOs and other educational professionals will find the guidance and support provided by this book invaluable.

Design, History and Time reflects on the nature of time in relation to design, in both past and contemporary contexts. In contrast to a traditional design historical approach which emphasises schools and movements, this volume addresses time as a continuum and considers the importance of temporality for design practice and history. Contributors address how designers, design historians and design thinkers might respond to the global challenges of time, the rhythms of work, and the increasing speed of life and communication between different communities. They consider how the past informs the present and the future in terms of design; the importance of time-based design practices such as rapid prototyping and slow design, time in relation to memory and forgetting, and artefacts such as the archive for which time is key, and ponder the design of time itself. Showcasing the work of fifteen design scholars from a range of international contexts, the book provides an essential text for thinking about changing attitudes to the temporal.

Hollywood has exerted a profound influence on British style and design. From its earliest days, Hollywood glamour in the form of make-up, hairstyles, and fashion was mimicked by women throughout Britain. But the influence of Hollywood was more than skin-deep. Nearly every form of British material culture in the twentieth century has been influenced to some extent by American style, disseminated through the medium of film to a broad and receptive market.
With the erection of the Chrysler Building in New York in the late 20s, representing the city and modern American urban life, the Manhattan skyline became an enduring icon in popular culture on both sides of the Atlantic. Not only Hollywood film, but jazz and American companies all combined to bring the new Moderne style to bear on Britain. The architecture of shops, cinemas, and factories all reflect this influence, as did various forms of transportation and the interiors of homes. Even as late as the consumer boom in the 80s, revivals celebrating the Moderne style were popular in Britain as well as abroad. This influence was naturally not without its critics. The very popularity of American design challenged the aesthetics and elitism of British high arts and remains controversial.
Anyone interested in design, material culture, film or architecture will find this book to be a lucid and absorbing exploration of a popular aesthetic.