Pub Date : 2019-05-04DOI: 10.1080/20419112.2019.1671652
P. Kirkham
This article focuses on The Moon is Blue (1953, Otto Preminger), a light-hearted romantic comedy starring Maggie McNamara as an aspiring young actor, Patty O’Neill, and William Holden as architect Donald Gresham. The first Hollywood movie largely set inside a high-end Mid-Century Modern domestic interior, it features some top-quality machine mass-produced furniture by leading US designers and manufacturers. After considering the design production team, I discuss the ways in which the film promotes the furniture and the performance of modern ways of living. I also discuss how the film uses the interiors in a neighbouring apartment as a counterpoint to that of Gresham.
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Pub Date : 2019-05-04DOI: 10.1080/20419112.2018.1670406
Ben Angwin
This essay examines a modern artistic interior created by The Omega Workshops Ltd. (1913–19), an artist-led coterie that focused on a particular type of “modern” artistic interior decoration, and the design of the individual items necessary to it, for the little-known play The Wynmartens, written by Richard Henry Powell (1884–1915) and opened on the British stage in May 1914. Newly “discovered” photographs are analyzed to reveal how The Omega Workshops helped stage an interior which brought the first “advanced” and Post-Impressionist-inspired interior to British theatergoers. The Omega Workshops’ motivations for diversifying and taking up such a project are considered, as is the capacity of the dramatic stage as a potentially lucrative platform for modern artists and interior designers. It concludes by considering the possible reasons for the disappearance of this project from histories of The Omega Workshops.
{"title":"The Omega Workshops and the modern artistic interior on the British stage, 1914–1918, with special reference to The Wynmartens (1914)","authors":"Ben Angwin","doi":"10.1080/20419112.2018.1670406","DOIUrl":"https://doi.org/10.1080/20419112.2018.1670406","url":null,"abstract":"This essay examines a modern artistic interior created by The Omega Workshops Ltd. (1913–19), an artist-led coterie that focused on a particular type of “modern” artistic interior decoration, and the design of the individual items necessary to it, for the little-known play The Wynmartens, written by Richard Henry Powell (1884–1915) and opened on the British stage in May 1914. Newly “discovered” photographs are analyzed to reveal how The Omega Workshops helped stage an interior which brought the first “advanced” and Post-Impressionist-inspired interior to British theatergoers. The Omega Workshops’ motivations for diversifying and taking up such a project are considered, as is the capacity of the dramatic stage as a potentially lucrative platform for modern artists and interior designers. It concludes by considering the possible reasons for the disappearance of this project from histories of The Omega Workshops.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20419112.2018.1670406","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42616637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-21DOI: 10.5040/9781474289856.0008
Ben Highmore
This chapter is a speculative attempt to position ‘design culture’ at the centre of our descriptions and understandings of the world. In it I argue that ‘design culture’ allows us to see the world as particular sets of qualities, feelings, and meanings as well as a purposefully fashioned material environment. But rather than claiming that design is at the centre of the world (a claim that, to my mind, would be no less spurious than any other claim for the centrality of one particular phenomenon) I want to more modestly explore what it would mean to position design at the centre. In other words, my interest is in the generative affordance of forms of inquiry that treat design as somehow foundational to how the world seems to us (the qualia of our being in the world). In some ways this centrality is already assumed by the actual term ‘design culture’, which orients the ambition of investigation about design towards considering the world-forming activity of design. ‘Culture’, as a qualification for the word ‘design’, offers significantly different capacities than the word ‘history’ or ‘social’, for instance. At its most limited ‘design culture’ might suggest a form of attention aimed at investigating the practices and values enacted, say, by a particular design studio, in the same way that anthropologists might want to look at practices and values of a group of Trobriand Islanders. At its most extensive, though, ‘design culture’ might well try to attend to any and every aspect of society where tools, technology, clothing and the fashioning of an environment is central.
{"title":"Taste and attunement: Design culture as world making","authors":"Ben Highmore","doi":"10.5040/9781474289856.0008","DOIUrl":"https://doi.org/10.5040/9781474289856.0008","url":null,"abstract":"This chapter is a speculative attempt to position ‘design culture’ at the centre of our descriptions and understandings of the world. In it I argue that ‘design culture’ allows us to see the world as particular sets of qualities, feelings, and meanings as well as a purposefully fashioned material environment. But rather than claiming that design is at the centre of the world (a claim that, to my mind, would be no less spurious than any other claim for the centrality of one particular phenomenon) I want to more modestly explore what it would mean to position design at the centre. In other words, my interest is in the generative affordance of forms of inquiry that treat design as somehow foundational to how the world seems to us (the qualia of our being in the world). In some ways this centrality is already assumed by the actual term ‘design culture’, which orients the ambition of investigation about design towards considering the world-forming activity of design. ‘Culture’, as a qualification for the word ‘design’, offers significantly different capacities than the word ‘history’ or ‘social’, for instance. At its most limited ‘design culture’ might suggest a form of attention aimed at investigating the practices and values enacted, say, by a particular design studio, in the same way that anthropologists might want to look at practices and values of a group of Trobriand Islanders. At its most extensive, though, ‘design culture’ might well try to attend to any and every aspect of society where tools, technology, clothing and the fashioning of an environment is central.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80310836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-21DOI: 10.5040/9781474289856.0014
Mads Nygaard Folkmann
{"title":"The Glowing Black of fritz-kola: Aestheticization in design culture","authors":"Mads Nygaard Folkmann","doi":"10.5040/9781474289856.0014","DOIUrl":"https://doi.org/10.5040/9781474289856.0014","url":null,"abstract":"","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72367586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-21DOI: 10.5040/9781474289856.0024
D. Abdulla
Design Culture may be an area of study that is establishing itself in institutions across Europe, but the Arab region has yet to introduce this field in design education. As designers have become concerned with notions of community and social practice -under names such as social design, "good" design, design activism, humanitarian design and others (referred to as social design moving forward) -the need for integrating Design Culture in design ed ucation becomes more important, particularly as discourse continues to be Eurocentric in scope. The Global South remains non-existent and invisible within this discourse, and designers lack any professional representation for their field.
{"title":"The challenges and opportunities of introducing Design Culture in Jordan","authors":"D. Abdulla","doi":"10.5040/9781474289856.0024","DOIUrl":"https://doi.org/10.5040/9781474289856.0024","url":null,"abstract":"Design Culture may be an area of study that is establishing itself in institutions across Europe, but the Arab region has yet to introduce this field in design education. As designers have become concerned with notions of community and social practice -under names such as social design, \"good\" design, design activism, humanitarian design and others (referred to as social design moving forward) -the need for integrating Design Culture in design ed ucation becomes more important, particularly as discourse continues to be Eurocentric in scope. The Global South remains non-existent and invisible within this discourse, and designers lack any professional representation for their field.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84020729","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-01DOI: 10.5040/9781474289856.0023
J. Meroz, K. Serulus
{"title":"A theoretical straddle: Locating design cultures between national structures and transnational networks","authors":"J. Meroz, K. Serulus","doi":"10.5040/9781474289856.0023","DOIUrl":"https://doi.org/10.5040/9781474289856.0023","url":null,"abstract":"","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76020895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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