History of Industrial Design

This article considers the peculiarities of designing industrial enterprises and their settlements in the USSR during the first five-year plans. Referring to the Pyshminsky Electrolytic Copper Plant (Rus. PMEZ) and Medny Rudnik, the settlement around it, the author carries out a comparative analysis of its designs and their implementation. The author refers to the collections of the State Archive of Sverdlovsk Region, periodicals, and materials related to plans for the economic development of the Urals and the USSR. Analysis of the main decisions demonstrates a gradual departure from the project in each of the points, often caused by subjective reasons. The plan of the settlement combined ideas of new Soviet everyday life and real conditions, reflecting national trends in the life of an individual enterprise and locality. The construction of the PMEZ and its settlement is compared with other projects from the first five-year plans (Uralmash, Magnitostroy, etc.), singling out typical and specific features. The author pays special attention to the reasons for a significant discrepancy between what was initially planned and what was implemented, such as insufficient funding, constant short-ages of materials and equipment, lack of personnel, changing administrative trends, the specialisation of regions and industrial complexes, and architectural policy. Many elements of the projects were unrealistic, and some solutions that were implemented but proved unsustainable reveal serious problems in the field of industrial design in the USSR between the 1920s and 1930s.

Рассмотрена специфика проектирования промышленных предприятий и их населенных пунктов в годы первых пятилеток. На примере Пышминского медеэлектролитного завода и его поселка Медный Рудник проведен сравнительный анализ разработанных проектов и их реализации. Источниками выступили фонды ГАСО, периодическая печать, материалы, касающиеся планирования развития экономики Урала и СССР. В ходе анализа основных решений прослеживается постепенный отход от проекта по каждому из пунктов, зачастую вызванный субъективными причинами. При планировании поселка сочетаются представления о новом социалистическом быте и реальные условия. Подчеркивается отражение общегосударственных тенденций в жизнедеятельности отдельного предприятия и населенного пункта. Проведено сравнение строительства Пышминского медеэлектролитного завода и его поселка с другими проектами первых пятилеток (Уралмашем, Магнитостроем и пр.), выделено типичное и особенное. Отдельно обозначены причины существенного расхождения между изначально планируемым и реально воплощенным: недостаточное финансирование, постоянный дефицит материалов и оборудования, отсутствие кадров, меняющиеся тенденции в районировании территорий, специализации регионов и промышленных комплексов, архитектурной политике. Многие элементы проектов были нереальны в существовавших условиях, а некоторые решения, реализованные, но показавшие свою нежизнеспособность, выявляют серьезные проблемы в сфере промышленного проектирования в СССР 1920–1930‑х гг.

Статья знакомит с эволюцией проектных поисков Джо Понти,
художника, дизайнера, архитектора, издателя, сценографа, ос-
нователя и автора журналов «Домус» и «Стиль жилого дома»
(1941–1947). Его творчество сыграло огромную роль для ита-
льянской культуры и включает самые разные области, переда-
вая дух современности с особым вниманием к социальным по-
требностям и воспитанию нового вкуса, связанного с культурой
Средиземноморья.
The essay shows the evolution of the design research of Gio Ponti,
artist, designer, architect, publisher, stage designer, founder, director
and publicist of the «Domus» magazines (1929) and «Lo Stile
nella casa e nell ’arredamento» (1941–1947). His creative work has
gas played a tremendous role in the Italian culture, it concernes the
most varied disciplines, interpreting the spirit of modernity with attention
to the social needs and education of a new taste and is linked
to Mediterranean culture.
Ключевые слова: Джо Понти, журнал Домус, жилой интерьер,
итальянская архитектура и дизайн ХХ века, мебель.
Keywords: Gio Ponti, Domus magazine, dwelling interior, Italian architecture
and design of the XX century, furniture.

This monograph reconstructs the history of Fuller's first three models for the Dymaxion Car through detailed plans and archival photographs, and relates the production process of Dymaxion #4, a new prototype produced by Norman Foster, which was launched on the street in 2010. (IvoryPress.com)

Este trabajo analiza los principales procesos implicados en el diseno y en eldesarrollo de nuevos productos, en distintas escalas empresariales, segun elenfoque que Ofrecen la perspectiva del diseno industrial, del marketing y de la ingenieria, mediante la descripcion de las metodologias propuestas por distintos autores. A partir de las conclusiones alcanzadas en el analisis de una serie decasos, se formula una propuesta metodologica que integra las secuencias de las etapas que comprende el proceso de desarrollo de productos y que vincula las herramientas que proponen las mencionadas disciplinas para cumplir con las expectativas de su campo.

Welchen Einfluss hat die Gestaltung des gegenständlichen Umfeldes auf zwischenmenschliche Beziehungen und wie werden diese gewollt oder ungewollt mit den Dingen mitgestaltet? Auf welche Weise werden durch Design und Architektur soziale Kompetenzen wie zwischenmenschliches Erkennen, Handeln und Erleben ermöglicht oder verunmöglicht?
Autor*innen verschiedener Disziplinen gehen diesen Fragen nach und eröffnen hierbei eine dingorientierte Perspektive auf das Themenfeld des Social Design, die sowohl geeignet ist, eine Brücke zwischen Theorie und Praxis zu bilden, als auch einschlägiges Studienmaterial für die sozialen Dimensionen der Gestaltung zu versammeln.

Fuller's work has often suffered from lopsided treatment. Some laud him as a planetary prophet whose design science work foretold sustainable architecture and nanotechnology; others dismiss him as a "delirious technician" with a talent for linguistic obfuscation. Between adulation and disdain must lie a balanced picture of Fuller's life and his work.

This volume paints that picture by taking a broader historical view, discussing Fuller and his work in the context of larger social and cultural patterns. Fuller is a common thread in a critical cultural history that will show him to be both a participant in and a product of his times. By placing Fuller and his work in a historical framework, we will arrive at a much richer understanding of both this self-made polymath and his times. This fresh, contextual look at Fuller's work from leading scholars in different fields is an important step toward filling the void of serious scholarship on Fuller. (Hsiao-Yun Chu, on sup.org)

This paper deals with Wilhelm Wagenfeld's search for a consumer goods design based on human values in the machine age. Reflecting on Wagenfeld's personal and professional experiences and encounters during the  interwar years, it reviews his Post-World War II design thinking, discussing his stance on contemporary debates regarding the ideal of the  'Good Form' and the fashion based, image-forming consumer goods production. Both characterised the era of the economic miracle and both were, according to Wagenfeld two sides of the same coin in as far as they neglected human's primordial needs or customs.

Resumo: A ideia deste artigo surgiu da constatação de que 14 entre as 15 instituições de ensino que estavam oficialmente representadas no evento " Seminário Paulista do Ensino da História do Design 2014 " , instituições que ministram a disciplina em cursos de design no estado de São Paulo (predominantemente), em Pernambuco e no Paraná, fazem um recorte de linha do tempo única, desde um ponto passado, comum para todos nós, designers, até um presente igualmente pontual e comum a todos. Já no Paraná, no Curso de Design de Produto da UFPR, nós temos trabalhado com outra visada, a de que não se deve tratar a sequência dos fatos e eventos da História do Design de Produto de forma unilinear: nós trabalhamos com a hipótese de que existem pelo menos quatro Histórias do Design e não apenas uma, de que existem pelo menos quatro diferentes narrativas possíveis para a construção da história do design de produto, as quais não se excluem nem se complementam, convivem umas com as outras, lado a lado, resultando desse cenário, acreditamos, um quadro mais amplo e ao mesmo tempo mais claro e organizado da complexidade da História do Design de Produto. Palavras-chave: história do design, histórias do design, linhas simultâneas de tempo. Abstract: The idea of this article came from the finding that 14 out of the 15 educational institutions officially represented at the event "Paulista Seminar on Teaching the History of Design 2014" make a cutting of single timeline history. Those institutions offer the discipline in courses of design in the state of São Paulo (predominantly), Pernambuco and Parana. In Paraná state, in the UFPR Product Design Class, we have been working with another target, which is that we should not treat the sequence of facts and events in the History of Product Design as a single timeline. We have been working with the hypothesis that there are at least four histories of Design and not just one. That there are at least four different possible narratives for the construction of the history of product design, which does not exclude or complement each other, they live with each other, side by side, resulting from this scenario, we believe, a broader and yet more clear and organized picture of the complexity of Product Design History

Shaker furniture is a style of furniture that was made in America mainly in the nineteenth century. However, it has since been introduced in various other countries, and the style has been applied in modern design theory. This article classifies the (2) The industrial aspect in Section 1 contrasts with the pre-industrial aspect in Section 3. (3) The user's viewpoint in Section 2 contrasts with the craftsman's viewpoint in Section 3. The three phases are balanced and organized by each contrasts. This unity is appearing in the context of their cultural backgrounds; this is another aspect of diversity. Therefore, the three phases have two aspects of diversity and unity.

Kjetil Fallan, Grace Lees-Maffei, Eds, ‘Designing Worlds: National Design Histories in an Age of Globalization’, (Oxford & New York: Berghahn Books, 2016), ISBN 1785331558. Designing Worlds: National Design Histories in an Age of Globalization edited by Kjetil Fallan and Grace Lees-Maffei is available open access under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0).

‘Kent mobilyası’ kavramı, Türkiye’de 1980’den itibaren endüstriyel ürün tasarımı, peyzaj tasarımı, şehir planlama ve mimarlık disiplinleri tarafından irdelenmekte, tarihsel gelişimleri araştırılmaktadır. Aradan geçen zamana rağmen, bir kent mobilyası ve reklam mecrası olan ‘afiş sütunu’nun Türkiye’deki geçmişinin tespit edilmediği, dolayısıyla gelişimi ve dönüşümü üzerine çalışılmadığı gözlemlenmiştir. Bu araştırma, disiplinlerarası bir ünite olan ve 20’nci yüzyılın başında İstanbul’da boy gösteren ‘afiş sütunları’nın ortaya çıkışını tarihsel akış içerisinde fotoğraflarla kanıtlayarak, edindiği bulguları akademik platformda tartışmaya açmayı hedeflemiştir. Bildiri, Geç Osmanlı ve Erken Cumhuriyet dönemlerinde, modernleşme hareketinin sosyo-kültürel ve ekonomik bir göstergesi olduğu düşünülen afiş/reklam sütunlarını kronolojik bilgiler ve görsel havuz ışığında incelemiş ve sonraki araştırmalara zemin hazırlamıştır.

Design history conferences often echo with the laments of leaving out the 'peripheral' and postcolonial accounts. There have been attempts to ‘bridge the gaps’ in the last two decades first through the initiation of the International Conferences on Design History and Studies (ICDHS) and later in the year 2013 through the Design History Society’s first annual meet outside Europe at The National Institute of Design (NID) in Ahmedabad, India. Scholars have taken these opportunities to challenge the hegemony of the ‘centre’ by presenting the accounts from larger geographies of design on broader facets like craft, communication and architecture. However, comprehensive accounts of institutional history around design in postcolonial India have only been few. The recent ‘50-years retrospective’ by National Institute of Design Ahmedabad’s is one such monograph. So, here comes a version which voices another school of design from postcolonial India, Industrial Design Centre at Indian Institute of Technology Bombay (IDC), now approaching its fiftieth year of existence.

ABSTRACT

Norman Bel Geddes (1893-1958) was one of America’s most prominent industrial designers working between 1927 and 1950. My study investigates his designs and rhetoric as rational and non-rational expressions of modernity. The aspects of modernity explored include: modernism, mass culture, consumption, production, identity and gender. The study investigates Bel Geddes’s designs of stage sets, architecture, products, and world fair exhibits, and the rhetoric he used to promote such designs. Through such projects and their emphases on art, desire, intuition, spirituality, order, and science, Bel Geddes fasshioned his image as a ‘practical visionary’.
Chapter one, ‘Both Artist-Engineer and Practical Visionary: The Imaging of Industrial Design in Horizons (1932)’, investigates how Bel Geddes sought to present the field of industrial design as one of logic and foresight, by promoting himself, and by proxy all industrial designers, as rational and imaginative artist-engineers. This dual discourse was offered in Bel Geddes’s monograph Horizons – the central focus of this chapter. Chapter two, ‘Shaping the Audiences of Dramatic Design’, explores Bel Geddes’s move from advertising and stage design in the 1910s and 1920s to architectural design, investigating in particular his designs (1928-1932) of theatres, window displays, an advertising agency auditorium, and a restaurant for the Chicago World’s Fair of 1933. In the creation of these designs Bel Geddes was informed by his knowledge of drama, psychology and audience behaviour. Such architectural designs were meant to impress, excite and transform their audiences – to encourage emotional, psychological or ideological change. Chapter three, ‘Industrial Architecture: The Factory, Petrol Station Design and the Mass Produced Home’, explores the rhetoric and designs which expressed Bel Geddes’s belief in the material benefits of industrial production and the symbolic value of the machine. The chapter looks at Bel Geddes’s designs (1929-1945) of a factory development, a petrol station, and a mass production house. These designs were intended to promote Bel Geddes and his clients as progressive, modern and far-sighted, and presented the machine as both rational and non-rational, with the ability to both order society and provide it with a spiritual basis. Chapter four, ‘Streamlining: Both a Mechanical and Organic Aesthetic’, investigates Bel Geddes’s streamlined designs (1928 and 1950) of vehicles and other products and their accompanying rhetoric. The chapter explores Bel Geddes’s flexible streamlined aesthetic, which alternately foregrounded mechanical and natural aspects, depending on the era and the requirements of the design. Chapter five, ‘Consumer Research: Constructing the Ideal Consumer and a Popular and Modern Aesthetic, 1930-1945’, investigates NBG & Company’s consumer surveys and resulting design recommendations which sought to promote a modern, popular and technologically progressive style aimed at purchasers with average tastes and middle incomes. Chapter six, ‘Futurama and the War Models Exhibit: The Production and Consumption of Model Worlds and Bel Geddes’s Masculine Image’, explores the creation and reception of three of Bel Geddes’s miniature modelling projects, his futuristic model cities created for a Shell Oil advertising campaign (1937) and for the General Motors Futurama shown at the New York World’s Fair (1939-40), and the models depicting World War II battles built and photographed for Life magazine (1942), and exhibited at the Museum of Modern Art (1944). Such projects helped to create a masculine and prophetic image for Bel Geddes.

Il contributo è dedicato alla formazione del linguaggio settoriale del design e al suo ruolo nella storia della lingua italiana del Novecento. L’emanciparsi della nuova disciplina dall’architettura — fin dagli anni Trenta del Novecento — e il suo rapido affermarsi nella realtà produttiva del boom economico italiano negli anni Cinquanta costituiscono le basi per la formazione di una lingua speciale. La lingua del design unisce e investe di nuovi significati gli elementi appartenenti sia ai linguaggi dell’arte e della tecnica sia alle lingue di filosofi ed economisti. Nel Novecento la prima pubblicazione dedicata interamente alla produzione artistica in serie, «Stile industria», diretta dall’architetto e designer Alberto Rosselli, proponeva una gamma di testi del tutto aderenti al pluristilismo della nuova disciplina — il design, nonché alla peculiare individualità di tutti i suoi artefici: da artisti ai teorici dell’architettura e del design, dai progettisti ai critici d’arte agli ideatori di messaggi pubblicitari. Il periodico trimestrale, poi bimestrale, di Rosselli accompagnò dal 1954 al 1963 la crescita della società italiana del boom economico, toccando un insieme di fenomeni e processi riguardanti diversi strati della popolazione coinvolti nella produzione e nel consumo dei beni. Col passar del tempo, e la progressiva acquisizione dell'importanza del design non soltanto nell’industria ma anche nella società, la lingua speciale della scrittura del e sul design divenne una delle fonti di innovazione dell’italiano, non soltanto a livello lessicale, con i tecnicismi affermatisi nell’uso, ma anche nella promozione di un modello testuale descrittivo, ricco di epiteti e termini astratti ("atmosfera", "comfort", "creatività" e "creativo", "essenzialità di linee", "funzionalità", "interazione"), costruito con periodi ampi e figure retoriche, in diversi testi pubblicitari di largo consumo.

Si pone in rilievo il ruolo di una rivista di disegno industriale, oggi design, nella storia dell'italiano contemporaneo. Fondata dall'architetto Alberto Rosselli nel 1954, la pubblicazione trimestrale e poi bimestrale, «Stile industria», accompagnerà per nove anni la crescita della società italiana del "boom" economico, dando una forma testuale e linguistica al dibattito intorno all’estetica della produzione in serie, e toccando nel contempo un insieme di fenomeni e processi riguardanti diversi strati della popolazione coinvolti nella produzione e nel consumo dei beni. La nuova realtà produttiva, che ha profondamente modificato la vita della società italiana condizionando a partire dagli anni Cinquanta gli usi e i costumi della quotidianità, ha trovato nella disciplina del design una delle manifestazioni più evidenti. Alla sua fisionomia di materia e tecnica e artistica corrispondeva appieno l’impostazione del periodico guidato da Rosselli. E così, nella scrittura "del" e "sul" design, le parole antiche, "forma" e "formale", "funzione", acquistano una nuova accezione circoscritta al lavoro del designer. All’epoca poco frequenti nella lingua d’uso, i termini che le affiancano, "funzionale" e "funzionalità", dal linguaggio tecnologico passeranno rapidamente in quello del commercio e della pubblicità, per fissarsi stabilmente nel lessico di settori diversi. A questi si aggiungono "efficienza" ed "estetica", l’antico "creativo" con il valore del tutto nuovo di ‘dotato di fantasia e inventiva’ e la neoformazione "creatività".

Summary history of the Swiss Army knife (2008), The well-known Swiss Army Knife subverted the tool logic of the knife by incorporating attachments that give the owner specifically designed implements for potentially punishing alternative uses. This knife is considered amongst the first pocket-sized multipurpose tools.

Autumn 1963-Winter 1964: a reflection on the genesis of a renewed historiography of design should begin by analyzing this period of time. During the preparation of the XIII Triennale di Milano, dedicated to the topic of Leisure time, the need arose to systematically deal with the study of Design, identifying it – as Vittorio Gregotti wrote – in a unitary project method, not only in the exclusive field of the decorative and industrial arts. But above all, the need was felt to “attack the problems” of the young discipline of Design, far from a “definitive settlement” as stated by Gregotti, who was among the protagonists, with Umberto Eco, of the spectacular Milan event of the summer 1964. So, in this period the idea of a monographic issue of the magazine “Edilizia Moderna”, exclusively dedicated to Design issues, was developed. During this period an attempt was made to build an “alternative” to the historical narrative of the industrial product. This article explores the influence of the “experimentalism” of the Gruppo 63 in the historiographical construction of Design.

ENSIDESA design
Without using the term “design”, the fact of building the great Spanish state iron industry in 50’s of XX century, force to struggle to invent solutions which nowadays would fit perfectly in this concept.
Due to the enterprise measurements and some materials shortage, these designs become truly challenges for the industrial engineering, or the solution to tiny daily problems such as provisional installations, urban furniture etc.

Diseño ENSIDESA
Sin emplear apenas la expresión “diseño”, la construcción de la gran siderurgia estatal española ENSIDESA en los años 50 del siglo XX, obligó a ingeniar soluciones que hoy encajarían perfectamente en el concepto.
Por las dimensiones de la empresa y la escasez de ciertos materiales, estos diseños supusieron verdaderos retos de ingeniería industrial a gran escala, o la solución a pequeños problemas cotidianos como instalaciones provisionales, mobiliario urbano etc.

“D” come design, ma anche come donna: designer, artiste, artigiane e imprenditrici hanno avuto un ruolo chiave nella ricca e densa storia del design italiano dal dopoguerra ai nostri giorni, stando al centro della scena come dietro le quinte. Negli anni in cui la cultura del progetto si stava affermando, l’apporto dell’universo femminile è stato essenziale sotto il profilo della creatività e dell’innovazione. Donne che si sono distinte nei settori più diversi, indicando nuove possibili strade: non solo disegno industriale e grafica, ma editoria, formazione, imprenditoria, fino al mondo delle tecnologie informatico-digitali. Progettiste che hanno saputo fare la differenza, lavorando attivamente in studi di progettazione, nelle redazioni e all’interno delle università.
La ricognizione sulle loro carriere ne sancisce autorialità e protagonismo, riconoscendone il coraggio di scelte spesso difficili e controcorrente. Attraverso il racconto delle loro vicende viene arricchita e completata la storia del design novecentesco, con nuove prospettive nei modi di leggere il ruolo della donna ieri come oggi.
La componente femminile, con la doppia caratterizzazione incarnata dalle due eroine ariostesche – Angelica e Bradamente – emerge potente nel campo del design, una disciplina che parla il linguaggio universale della creatività, capace di spostare lo sguardo dal maschile al femminile e viceversa.

Ensaio publicado no catálogo da exposição 'TEMPOS MODERNOS | Cerâmica Industrial Portuguesa Entre Guerras | Colecção AM-JMV', com curadoria de Rita Gomes Ferrão, decorrida no Museu Nacional do Azulejo, Lisboa, de Setembro de 2018 a Agosto de 2019.
Num momento particular da história da Europa, enquadrado por duas Guerras Mundiais, a indústria cerâmica portuguesa reconfigura-se segundo novas leis impostas pelo Estado Novo, modernizando as suas propostas de modo a encontrar o gosto internacional e os mercados das colónias ultramarinas. Enquanto a mecanização tarda em instalar-se, os industriais apoiam-se em feiras, exposições e publicações internacionais, para delinear os modelos a fabricar, interpretando amiúde o design de peças estrangeiras, que assim dá entrada no mercado interno. O uso do léxico Art Déco ou de técnicas como a pintura a aerógrafo (spritzdekor), articula-se com a geometrização das formas, as decorações abstractas ou a figuração estilizada, introduzindo na vida doméstica portuguesa um vislumbre de modernidade.
Reunindo fragmentos de uma história de indústria, de empreendimento individual e busca coletiva por uma vida melhor, esta mostra tomou emprestado o título do filme "Modern Times", de Charlie Chaplin (1936), como metáfora para as dificuldades de adaptação a uma nova vida, da qual só saberá após a II Guerra Mundial.

Der Beitrag thematisiert anhand gegenwärtiger und historischer Designdiskurse soziale Denkweisen der Gestaltung. Diese werden in drei Dimensionen systematisiert, die das zwischenmenschliche Gestalten auszeichnen: der Soziabilität des Gestaltens, der Sozialität des Gestalteten und der Soziabilität des Gebrauchens. Es wird gezeigt, dass die gegenwärtigen Bestrebungen im Nachdenken über soziales Design insbesondere um eine angemessene Integration des Autonomiegedankens bemüht sind, und zwar sowohl auf der Seite des Gestaltens wie auf der Seite des Gebrauchens. Zwischenmenschliches Design erweist sich so als eine Art Metadesign, als der Versuch, die dinglichen Voraussetzungen für das autonome zwischenmenschliche Gestalten der Gebrauchenden zu gestalten.

Sozialistische Bildkulturen gingen über die politische Ikonografie weit hinaus: Jenseits von Hammer und Sichel, roten Bannern oder stilisierten Lenin-Portraits konnten sie Normalität herstellen und integrativ wirken, Identität stiften, aber auch subversiv sein. Bilder banden die Bevölkerung emotional an das System. Der Sammelband behandelt unterschiedliche populäre Medien aus dem späten Sozialismus: Bildpostkarten, Verpackungen, Schaufensterdekorationen und andere alltägliche Bildformen. Die Beiträge beschreiben Spannungsfelder zwischen dem politischen Programm einer einheitlichen sozialistischen Hemisphäre und den visuellen Brüchen in der kulturellen und sozialen Praxis. Ein Glossar erläutert zentrale ästhetische Leitbegriffe.

Kjetil Fallan, Grace Lees-Maffei, Eds, ‘Designing Worlds: National Design Histories in an Age of Globalization’, (Oxford & New York: Berghahn Books, 2016), ISBN 1785331558. Designing Worlds: National Design Histories in an Age of Globalization edited by Kjetil Fallan and Grace Lees-Maffei is available open access under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0).

Essay published in the catalogue of the exhibition 'MODERN TIMES |  Portuguese Industrial Ceramics Between Wars | AM-JMV Collection', curated by Rita Gomes Ferrão, held at National Azulejo Museum, Lisbon, September 2018 - August 2019.
ISBN 978-972-776-561-4
At a specific moment in European history, within the timeframe of two World Wars, the Portuguese ceramics industry was reconfigured along new laws dictated by the New State. It updated its proposals to adapt to international taste and the markets of the overseas colonies. As mechanisation was late in coming, industrialists found support in fairs, exhibitions and international publications, inspired to draft the models to be manufactured, often interpreting the design of foreign pieces.
The use of the Art Deco lexicon or of techniques such as airbrushing (spritzdekor) articulates with the geometric forms, abstract decorations or stylised figuration, introducing a glimpse of modernity into Portuguese domestic life.
Bringing together fragments of a history of industry, individual enterprise and the collective search for a better life, this show has borrowed the title of Charlie Chaplin’s "Modern Times" (1936), as a metaphor for the difficulties of adapting to a new life that will only become apparent after the Second World War.

Tourism agencies, governments, museums, and design academies in the Netherlands and abroad are already busy preparing for the widespread celebrations of 100 Years of De Stijl – 25 Years of Dutch Design next year (2017). While De Stijl’s implied beginnings (1917) are relatively uncontroversial, the proposition that Dutch design originates from 1992 is much more so. This specific construction of ‘Dutch design’ as an avant-garde phenomenon that started in the 1990s with Droog design and is today centred around the Design Academy Eindhoven is a clear example of design canonisation at work. In this process, what comes to count as (good) design and the knowledge about it is selectively produced in line with specific (cultural, political, economic, etc.) agendas.

However, this case also shows how today, the process of design canonisation is no longer solely decided on by traditionally recognised authorities (museum curators, design historians, high-end retail venues, influential designers) but also by an unusually wide range of ‘non-expert’ actors (tourism agencies, politicians, funding agencies). This dispersion of design canonisation is boosted further by digital and participatory social media technologies and platforms, which allow individuals and communities to generate a multiplicity of alternative ‘mini-canons’ that operate alongside and relatively independently from official or accepted ones.

Yet – and paradoxically – this proliferation of actors and multiplicity of canons does not necessarily herald the end of established canons. Indeed, the Dutch design ‘brand’ seems to become ever more established and entrenched. In what different ways do contemporary processes of design canonisation work, and what are the outcomes? What are the implications of this contemporary condition of ever changing canonisation processes for design historical knowledge? What repercussions does it have for traditionally acknowledged actors on the one hand, and for non-professionals on the other? Does it contribute to bringing into view the material culture of otherwise underrepresented individuals and communities?

Structure
The one-day symposium From De Stijl to Dutch Design: Canonising Design 2.0 aims to reflect on questions relating to the workings and implications of canonisation processes – both traditional and contemporary, professional and amateur – to knowledge formation and transfer concerning design. To reflect the contemporary condition whereby design canons and knowledge are created through and by actors operating in widely diverse institutions with a variety of different agendas, the symposium is structured in two parts. The morning session is structured according to a typical academic conference format, comprising the presentations of four scholarly papers followed by a response and discussion. In the afternoon session, five keynote speakers will reflect on the contemporary processes of design canonisation from their respective perspectives: academia, politics/economics, the museum, and design practice. The day will conclude with a roundtable discussion, where the different perspectives will be confronted with each other so as to bridge highly compartmentalized discourses that otherwise remain largely unknown and irrelevant to each other. Ultimately, the aim of the symposium is to generate new academic knowledge about design canonisation that is relevant to all actors involved in the process. The event will be bi-lingual: speakers are welcome to present and respond in Dutch or English.

Venue
The event is organised by the Dutch Design History Society in partnership with Centraal Museum Utrecht, where it will be held. Centraal Museum owns the largest Rietveld collection in the world, and was the first museum to acquire the entire Droog collection and a broad range of Dutch Modernism fashion in the 1990s. Since then, it has actively experimented with a range of digital and participatory platforms to share and co-create its design collection with diverse audiences. Being one of the initiators of 100 Years of De Stijl – 25 Years of Dutch Design, in which economic considerations of city branding and tourist marketing predetermined the definition of the event’s content, Centraal Museum is eager to reflect on questions concerning design canonisation in the past, present, and future, and its role in it. As such, it provides the ideal institutional setting to reflect upon the symposium’s theme.

Call for papers
For the morning session, the symposium welcomes contributions by academics (junior and established) of design and art history, media studies, museology, anthropology, and related fields. Potential themes to be elaborated by papers include but are not limited to:
- The processes according to which design canons are formed, today and in the past;
- The formation of alternative design canons and/or the breakdown of canonical thinking, i.e. the ‘undoing’ of canonisation;
- The formation of design canons beyond the traditional national framework: local/regional/global;
- The (different) roles that the media, museums, and governments/politics play in these processes;
- The impact of contemporary online mediation and distributed participatory processes, such as digital platforms, in the canonisation of design;
- New actors in the canonisation of design;
- The role of museum exhibitions and (permanent) displays in canonisation processes;
- The emergence (and the role) of new publics/new consumers of design canons;
- The canonisation of De Stijl and/or Dutch design;
- The futures of design canons.
Note that papers do not necessarily have to reflect on Dutch cases.

The presentations will be considered for an edited publication, while the results of the symposium and debate will become available from the website of the Dutch Design History Society.


Proposals
Proposals for 20-minute papers must be submitted by 1 October 2016 as detailed below. Please email the document as a Word document to DesignGNL@gmail.com.

Page 1
Author(s) full name(s)
Institution, address for correspondence, telephone and e-mail
50-word biography
Page 2
Title of the paper
Three keywords
200-word abstract of the paper in Dutch or English

Publikacja zawiera materiały z konferencji naukowej pt. "Rola bankowości i przedsiębiorczości w ochronie dziedzictwa miast postindustrialnych w warunkach rozwoju demokracji lokalnej", która odbyła się w Supraślu w dniach 5 i 6 czerwca 2006 r. Konferencja wraz z publikacją zostały sfinansowane ze środków Ministerstwa Nauki i Szkolnictwa Wyższego, Banku Gospodarstwa Krajowego, Samorządu Miasta Supraśl.

Journal of Design History Special Issue
Call for Papers
The Journal of Design History is calling for submissions to a special volume of research articles on Locating Design Exchanges in Latin America and the Caribbean (LAC) to be published in 2018. Its aim is to unearth exchanges, connections and comparisons in design and material culture among Latin American and Caribbean nations and between the region and other global geographies since 1800.

El trabajo contribuye al conocimiento de la industria del vidrio español durante el siglo XIX a partir de la Fábrica de Cristal y Vidrio de Santa Lucia (Cartagena). La evolución de la empresa es analizada en el contexto del sector español, destacándose varias fases: el impulso que vivió el sector en las décadas de 1840 y 1850, los problemas de mercado y competitividad en las décadas finales del siglo XIX y la reestructuración a comienzos del siglo XX. Esta última acabó con la
formación de estructuras de oligopolio que afectaron a las ramas del vidrio plano y del vidrio hueco. Se destacan, los factores de localización industrial, la distribución regional de la producción y 10s cambios acaecidos en sus diferentes ramas entre 1856 y 1905. Los datos aportados muestran el protagonismo de la empresa de Cartagena en el sector vidriero español y, en particular, su especialización en cristal y vidrio blanco tallado durante la Restauración.