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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.
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.
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.
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 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.
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.
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.
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.
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.
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.
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.
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.
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 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.
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.
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