Modernism or Modern ISMS? Notes on an Epistemological Problem in Design History

This article addresses an epistemological problem best describedas the insufficiently scrutinising use of ism-suffixed termsas categorising and analytic tools in the fields of architectural anddesign history. It seeks to explore the enigmatic nature of ismsand proposes methodological frameworks for their readingand interpretation

Real imagined communities: : National narratives and the globalization of design history

Kjetil Fallan, and Grace Lees-Maffei, 'Real Imagined Communities: National Narratives and the Globalization of Design History', Design Issues, Vol. 31 (4): 5-18, January 2016, doi: 10.1162/DESI_a_00360, https://www.mitpressjournals.org/doi/pdf/10.1162/DESI_a_00360. © 2015 Massachusetts Institute of Technology.The nation state is no longer the only socio-cultural or political-economic unit forming our identities and experiences, if it ever was, although national and regional histories of design have demonstrated cogent frameworks for the discussion of common socio-economic, cultural, and identity issues. In the context of celebrations and moral panic alike about the effect of globalization, recognizing that the much-vaunted global chains of design, manufacturing, and commerce are still composed of national endeavors is critical. This article argues for a reinsertion of the national category into contemporary academic understanding of design—both past and present. It provides a timely examination of the historiographic and methodological value of national frameworks in writing design history. We begin by examining how the dominant national paradigm ceded to the global as an academic, and mainstream, preoccupation, and then reintroduce the national into the global in design history.Peer reviewe

The Enthusiast’s Eye: The Value of Unsanctioned Knowledge in Design Historical Scholarship

If design history research relies solely on institutionalized documentation and academic scholarship – that is, sanctioned knowledge – not only will its purview be limited to a very narrow segment of design culture, it will also lose out on a vast array of sources to valuable knowledge about our material environment produced by amateurs, collectors, and enthusiasts – what we in this article define as “unsanctioned knowledge.” Because of its dissociation with professional institutions and academic protocols and their – albeit admittedly utopian, but nonetheless upheld – ideals of objectivity, this type of knowledge is typically considered fundamentally subjective in nature and therefore of little or no relevance and value to academic scholarship. In this article, we argue that, to the contrary, design historical scholarship has much to gain from engaging more seriously with the unsanctioned knowledge represented by the enthusiast's eye

Our Common Future: Joining Forces for Histories of Sustainable Design

A common ground is emerging for social and cultural studies of design. Design history is exploring the socially constructed and networked nature of our material surroundings; at the same time, STS is investigating design as the interface between humans and technology. This common ground is particularly interesting where it intersects with the rapidly growing fields of environmental history and environmental humanities. Today, environmental concerns, especially issues of sustainability, are essential parameters in all design practices. However, this ‘green revolution’ is a glaringly white spot on the design historical map, still awaiting its scholarly historicization. Historical understanding of, and critical reflection on, the rise of sustainability as the primordial trope in design discourse is essential to building a solid knowledge base and to underpin present and future decision-making. This article will argue for the urgency of charting this terrain, and call for design history, design studies, STS and environmental history to join forces in the pioneering efforts at studying histories of sustainable design

"The 'Designer'-The 11th Plague": Design Discourse from Consumer Activism to Environmentalism in 1960s Norway

© 2011 Massachusetts Institute of Technolog

Modern Transformed: The domestication of industrial design culture in Norway, ca. 1940-1970

The doctoral thesis sets out to describe and analyse how the mid-twentieth century Norwegian design community domesticated ideologies partly inherited from the traditional applied art movement (brukskunstbevegelsen), partly imported from various international currents of the so-called “modern movement”, in their co-construction of industrial design culture. The empirical studies follow two paths/levels; the ideology/propaganda debated in and mediated through the design magazine Bonytt, and the strategies/materiality/products developed by the ceramics/earthenware/porcelain manufacturer Figgjo. As such, the thesis is a cultural history of industrial design, where design (as) culture is seen as a sort of dialectic or discourse between ideology and practice. This often uneasy relation between ideology and practice is the leitmotif of the study. The concept of domestication, along with other theoretical frameworks and methodological tools appropriated from STS, becomes valuable when studying this process by following the actors in their construction, negotiation and mediation of these ideologies as played out in their main debate forum, the design magazine Bonytt. However, the domestication of industrial design culture in Norway does not end with the writings of campaigning designers, enthusiastic journalists, ardent academics and organization men. The mediations between ideology and practice is also traced in a domestication perspective. As such, the manufacturing industry - here represented by the ceramic tableware manufacturer Figgjo - represents a second site of domestication, where the ideologies undergo new negotiations and transformations in meeting other users, requirements and circumstances

Designing Worlds: National Design Histories in an Age of Globalization

From consumer products to architecture to advertising to digital technology, design is an undeniably global phenomenon. Yet despite their professed transnational perspective, historical studies of design have all too often succumbed to a bias toward Western, industrialized nations. This diverse but rigorously curated collection recalibrates our understanding of design history, reassessing regional and national cultures while situating them within an international context. Here, contributors from five continents offer nuanced studies that range from South Africa to the Czech Republic, all the while sensitive to the complexities of local variation and the role of nation-states in identity construction