1,721,078 research outputs found
Introduction: Interrogating Iconic Design
No full textThis introduction begins with the roots of iconicity and examines identifying characteristics shared by religious icons and design icons alike as functions of reception, representativeness, recognition and reverence. It then goes on to examine the words icon and iconic and the processes of iconization by which iconicity is conferred. The final part introduces the book, its approaches and its structure of thematic parts and chapters which are representative of wider issues in design discourse
Introduction: Writing Design
No full textThis introduction establishes ‘writing design’ as a polyvalent and useful term for thinking about how text is used in design criticism, design history and design practice; in so doing, it provides bibliographic pointers to a wide range of related publications. Core senses for the term ‘writing design’ have informed the organization of the book; this introduction situates the chapters within that organization and considers alternative reading routes before closing with a summary of the book’s contribution
Juicy Salif Lemon Squeezer, Italy/France (Philippe Starck, 1990)
No full textIf iconicity is about being recognizable, then Philippe Starck’s Juicy Salif lemon squeezer is a quintessentially iconic design. Its unique shape has not been seen before or since, even though it is imbued with multiple references and has been exceptionally influential. But, Starck’s Juicy Salif is nothing but recognizable: it barely functions as a lemon squeezer, and therefore its main purpose is to appear, to be noticed and to be recognized
General Introduction
No full textThe General Introduction to The Design History Reader introduces design history, and The Design History Reader, considers the communication of design in textual form, surveys the book's structure and alternative reading routes around the material included in the book and closes with a statement about the intended readership
A special relationship : The UK-US transatlantic domestic dialogue
Get PDFProceeding from the position that national identity cannot be understood solely from within a given focal nation, this chapter argues that transnational or comparative design histories are better fitted to understanding national identity in design and the transnational nature of design and its histories
‘Made’ in England? : The Mediation of Alessi S.p.A
No full textThe discourse surrounding Italian design often invokes the notion, myth or unofficial brand of ‘made in Italy’ as shorthand for indicating the quality and specialness of Italian design. This chapter interrogates ‘made in Italy’ more closely. It challenges the production emphasis of ‘made’ with an understanding that products are as much ‘made’ through their consumption and mediation as they are through their manufacture. The chapter also replaces a focus on that which occurs ‘in Italy’ with a case-study analysis of what happens outside Italy (in England in this example) for better understanding the significance of Italian design. It does this through analysis of a variety of discourses from vanity publishing and press releases, to interviews with designers, manufacturers, retailers, commentators and consumers, and statistical information about sales and magazine circulation
A Special Relationship: The Transatlantic Domestic Dialogue
No full textProceeding from the position that national identity cannot be understood solely from within a given focal nation, this chapter argues that transnational or comparative design histories are better fitted to understanding national identity in design and the transnational nature of design and its histories
Introduction: National Design Histories in an Age of Globalization
No full textThis introduction begins by examining how the dominant national paradigm has been challenged by the global as an academic, and mainstream, preoccupation, and then argues for the reconceptualization of the national within the global in design history before exploring the contribution of the chapters presented in the book
Introduction: The History of Italian Design
No full textThis general introduction is divided into three sections. It begins with a critical reflection on the place of national histories in an increasingly globalised design environment, highlighting the key methodological issues for design historians. The second section provides historical context for understanding Italian design during the period covered by the book as a whole—the early twentieth century to the present. The final section explains the book’s structure and contents
Design (History) and Heritage (Studies)
Get PDFThis introduction makes the case for bringing design history and heritage studies together as timely and relevant to the current state of the art in each field. It provides contextual accounts of design history and parallel developments in heritage studies and critical heritage studies. It explains the structure for the book in six sections addressing design fields, and introduces the chapter contributions and links between them. It offers alternative reading routes attentive to chronology and geography. Three core themes of the book are: interrogating conceptual models and definitions of heritage; examining the significance of intangible cultural heritage for the understanding of design past and present; and questioning structures of ownership, belonging, and identity politics at the intersections of design and heritage. Above all, Design and Heritage shows how heritage is designed. In closing, we reflect on the potential for future work in and between these fields to the benefit of bot
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