Journal Article Unmaking Waste: New Histories of Old Things Get access Unmaking Waste: New Histories of Old Things Sarah Newman, University of Chicago Press, 2023. 296pp., 30 col. and 18 b&w illus., paper, $30.00. ISBN: 9780226826394. Harvey Molotch Harvey Molotch Emeritus Professor New York University (NYU) and University of California, Santa Barbara (UCSB)New York City and California, USA E-mail: hm30@nyu.edu Search for other works by this author on: Oxford Academic Google Scholar Journal of Design History, epad041, https://doi.org/10.1093/jdh/epad041 Published: 25 September 2023
{"title":"Unmaking Waste: New Histories of Old Things","authors":"Harvey Molotch","doi":"10.1093/jdh/epad041","DOIUrl":"https://doi.org/10.1093/jdh/epad041","url":null,"abstract":"Journal Article Unmaking Waste: New Histories of Old Things Get access Unmaking Waste: New Histories of Old Things Sarah Newman, University of Chicago Press, 2023. 296pp., 30 col. and 18 b&w illus., paper, $30.00. ISBN: 9780226826394. Harvey Molotch Harvey Molotch Emeritus Professor New York University (NYU) and University of California, Santa Barbara (UCSB)New York City and California, USA E-mail: hm30@nyu.edu Search for other works by this author on: Oxford Academic Google Scholar Journal of Design History, epad041, https://doi.org/10.1093/jdh/epad041 Published: 25 September 2023","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135814398","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}
The study of collaborative work by architects and designers can present difficulties. The principal biographers of Eileen Gray asserted that she played the key role in the design of the houses that her friend Jean Badovici (1893–1956) acquired and transformed in Vézelay between 1926 and 1934 and that this work contributed to the design of her other buildings. This claim is worth investigating because the Vézelay houses present innovative and distinctive features, and because Jean Badovici’s qualities as architect have been insufficiently studied. A method is presented here for distinguishing between different hands based on the forensic analysis of individual words and letters. This approach could be of use in many contexts but particularly in the case of close collaboration between architects and designers. Applied initially to drawings for Badovici’s houses at Vézelay, the method can be applied to the many other drawings in the archives of the V&A, the Pompidou Centre, the Eileen Gray archive in the National Museum of Ireland, and the Badovici archive in the Getty Research Institute. The evidence from this analysis is set alongside other arguments for evaluating Gray’s involvement in the design of the Badovici houses at Vézelay. The aim of this essay is not to challenge Gray’s collaboration in the design process but to test claims of her sole or principal role in the design of these houses.
{"title":"Eileen Gray and Jean Badovici at Vézelay","authors":"T. Benton","doi":"10.1093/jdh/epad029","DOIUrl":"https://doi.org/10.1093/jdh/epad029","url":null,"abstract":"\u0000 The study of collaborative work by architects and designers can present difficulties. The principal biographers of Eileen Gray asserted that she played the key role in the design of the houses that her friend Jean Badovici (1893–1956) acquired and transformed in Vézelay between 1926 and 1934 and that this work contributed to the design of her other buildings. This claim is worth investigating because the Vézelay houses present innovative and distinctive features, and because Jean Badovici’s qualities as architect have been insufficiently studied. A method is presented here for distinguishing between different hands based on the forensic analysis of individual words and letters. This approach could be of use in many contexts but particularly in the case of close collaboration between architects and designers. Applied initially to drawings for Badovici’s houses at Vézelay, the method can be applied to the many other drawings in the archives of the V&A, the Pompidou Centre, the Eileen Gray archive in the National Museum of Ireland, and the Badovici archive in the Getty Research Institute. The evidence from this analysis is set alongside other arguments for evaluating Gray’s involvement in the design of the Badovici houses at Vézelay. The aim of this essay is not to challenge Gray’s collaboration in the design process but to test claims of her sole or principal role in the design of these houses.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49544838","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}
{"title":"Deviant Design: the Ad Hoc, the Illicit, the Controversial","authors":"Damon Taylor","doi":"10.1093/jdh/epad038","DOIUrl":"https://doi.org/10.1093/jdh/epad038","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46157630","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}
{"title":"Il design e l’invenzione del Made in ItalyA New History of “Made in Italy”: Fashion and Textiles in Post-War Italy","authors":"Donatella Cacciola","doi":"10.1093/jdh/epad037","DOIUrl":"https://doi.org/10.1093/jdh/epad037","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42610618","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}
{"title":"Richard Riemerschmid’s Extraordinary Living Things","authors":"Sabine Wieber","doi":"10.1093/jdh/epad035","DOIUrl":"https://doi.org/10.1093/jdh/epad035","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44837748","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}
{"title":"Performing Modernism: A Jewish Avant-Garde in Bucharest","authors":"Vanessa Vanden Berghe","doi":"10.1093/jdh/epad036","DOIUrl":"https://doi.org/10.1093/jdh/epad036","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45919692","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}
{"title":"Domestic Space in France and Belgium: Art, Literature and Design (1850–1920)","authors":"Esra Bici Nasır","doi":"10.1093/jdh/epad034","DOIUrl":"https://doi.org/10.1093/jdh/epad034","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46089503","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}
This article offers new insights into the national market for utilitarian garments worn by British upper-class Munitionettes in the pursuit of essential First World War munition manufacture. There has been a resurgence in recent years in the interest of women’s workwear, but little dress historical research has been undertaken into the manufacture and consumption of these garments by upper-class women, which this article seeks to address. The numbers of women involved in munition production peaked in 1917 at almost 1,000,000 meaning the circulation of workwear in this industry alone, was in the millions. Workwear worn by upper-class women represents discourses of wealth, femininity, respectability, and patriotism. That such expensive and high-quality garments exist speaks to the cultural significance the women themselves recognized in these utilitarian garments. This workwear symbolized their contribution to the war effort, the political ambitions for suffrage and personal achievement. These garments were not worn outside the workplace as the fabric would have been contaminated with chemicals, thus would not have been pleasant to preserve. Crucially, it is through the material cultural analysis of rare extant high-end garments worn by upper-class women, that the extent of the market for workwear has been revealed.
{"title":"The Lady in the Overall: First World War Patriotism, Respectability, and Workwear of Upper-Class Munitionettes","authors":"J. Richardson","doi":"10.1093/jdh/epad025","DOIUrl":"https://doi.org/10.1093/jdh/epad025","url":null,"abstract":"\u0000 This article offers new insights into the national market for utilitarian garments worn by British upper-class Munitionettes in the pursuit of essential First World War munition manufacture. There has been a resurgence in recent years in the interest of women’s workwear, but little dress historical research has been undertaken into the manufacture and consumption of these garments by upper-class women, which this article seeks to address. The numbers of women involved in munition production peaked in 1917 at almost 1,000,000 meaning the circulation of workwear in this industry alone, was in the millions. Workwear worn by upper-class women represents discourses of wealth, femininity, respectability, and patriotism. That such expensive and high-quality garments exist speaks to the cultural significance the women themselves recognized in these utilitarian garments. This workwear symbolized their contribution to the war effort, the political ambitions for suffrage and personal achievement. These garments were not worn outside the workplace as the fabric would have been contaminated with chemicals, thus would not have been pleasant to preserve. Crucially, it is through the material cultural analysis of rare extant high-end garments worn by upper-class women, that the extent of the market for workwear has been revealed.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42961214","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}
The signs and pictograms designed by Otl Aicher and his team for the Munich Olympics in 1972 are regarded as a milestone in design history. With this work, Aicher responded to what he thought were the most important challenges for signs and pictograms during the 1960s: the lack of grammar and visual clarity. He had specific ideas about this which he expressed in his designs as well as in his writings. So far, these ideas have hardly been explored. This study critically reconstructs the origins, development, and presentation of Aicher’s ideas about signs and pictograms for the Munich Olympics. In these designs, he tried to resolve his love for geometry with his desire to develop a functional sign language. His work in this area represents a pivotal moment in modern design during the 1960s, in which modernist designers switched their preference from abstract sign systems to pictogram systems.
{"title":"The Future Sign Language: A Critical History of Aicher’s Ideas About Signs and Pictograms for the 1972 Munich Olympics","authors":"W. Bakker","doi":"10.1093/jdh/epac058","DOIUrl":"https://doi.org/10.1093/jdh/epac058","url":null,"abstract":"\u0000 The signs and pictograms designed by Otl Aicher and his team for the Munich Olympics in 1972 are regarded as a milestone in design history. With this work, Aicher responded to what he thought were the most important challenges for signs and pictograms during the 1960s: the lack of grammar and visual clarity. He had specific ideas about this which he expressed in his designs as well as in his writings. So far, these ideas have hardly been explored. This study critically reconstructs the origins, development, and presentation of Aicher’s ideas about signs and pictograms for the Munich Olympics. In these designs, he tried to resolve his love for geometry with his desire to develop a functional sign language. His work in this area represents a pivotal moment in modern design during the 1960s, in which modernist designers switched their preference from abstract sign systems to pictogram systems.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44022889","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}
This article investigates the design of two comparable microcomputers that were built under state socialism in neighboring countries: Poland (Elwro Junior) and Czechoslovakia (Didaktik Gama). Both computers were “clones” of the highly popular British ZX Spectrum computer. In our article, we discuss the decisions that informed the design of the local “clones” of the British computer, and how both endeavors were supposed to solve specific problems identified by the communities involved in their design. We argue that different configurations of power—in which the actors that took part in the design of both computers were embedded—were the primary reason why these similar products, the ZX Spectrum clones, were “scripted” in a substantially different manner. The Junior was designed as an “educational computer” envisaged as an aid to schooling, while the Gama was a more flexible “home computer.” Our investigation focuses on how their designers projected, or “scripted,” possible forms of computer use, and who they imagined would be the users of these machines. We also compare both computers with the high-profile One Laptop Per Child project to demonstrate the wider relevance of our study and the usefulness of our investigative toolset to the intersection of design studies and science and technology studies.
{"title":"Designing Educational and Home Computers in State Socialism: The Polish and Czechoslovak Experience","authors":"P. Wasiak, Jaroslav Švelch","doi":"10.1093/jdh/epad027","DOIUrl":"https://doi.org/10.1093/jdh/epad027","url":null,"abstract":"\u0000 This article investigates the design of two comparable microcomputers that were built under state socialism in neighboring countries: Poland (Elwro Junior) and Czechoslovakia (Didaktik Gama). Both computers were “clones” of the highly popular British ZX Spectrum computer. In our article, we discuss the decisions that informed the design of the local “clones” of the British computer, and how both endeavors were supposed to solve specific problems identified by the communities involved in their design. We argue that different configurations of power—in which the actors that took part in the design of both computers were embedded—were the primary reason why these similar products, the ZX Spectrum clones, were “scripted” in a substantially different manner. The Junior was designed as an “educational computer” envisaged as an aid to schooling, while the Gama was a more flexible “home computer.” Our investigation focuses on how their designers projected, or “scripted,” possible forms of computer use, and who they imagined would be the users of these machines. We also compare both computers with the high-profile One Laptop Per Child project to demonstrate the wider relevance of our study and the usefulness of our investigative toolset to the intersection of design studies and science and technology studies.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49468392","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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