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Futurama 45 Minutes
<Segment Title> 3/19/03 11:35 PM study time Futurama 45 minutes - An essay by Roland Marchand, "The Designers go to the Fair, II: Norman Bel Geddes, The General Motors "Futurama", and the Visit to the Factory Transformed" from the book Design History: An Anthology. Dennis P. Doordan (1995). Cambridge: The MIT Press. During the 1930s, the early flowering of the industrial design profession in the United States coincided with an intense concern with public relations on the part of many depression-chastened corporations.(1) Given this conjunction, it is not surprising that an increasingly well-funded and sophisticated corporate presence was evident at the many national and regional fairs that characterized the decade. Beginning with the depression-defying 1933-34 Century of Progress Exposition in Chicago, major corporations invested unprecedented funds in the industrial exhibits that also marked expositions in San Diego in 1935, in Dallas and Cleveland in 1936, in Miami in 1937, and in San Francisco in 1939. The decade's pattern of increasing investments in promotional display reached a climax with the 1939-40 World's Fair in New York City. Leaders in the new field of industrial design took advantage of the escalating opportunities to devise corporate exhibits for these frequent expositions. Walter Dorwin Teague led the way with his designs for Bausch & Lomb, Eastman Kodak, and the Ford Motor Company for the 1933-34 exposition in Chicago. In 1936 he designed the Ford, Du Pont, and Texaco exhibits at Dallas and three years later claimed responsibility for seven major corporate exhibits at the New York World's Fair—those of Ford, Du Pont, United States Steel, National Cash Register, Kodak, Texaco, and Consolidated Edison. -
WINTER 2007 • Russel Wright • New Aussie Digs $5.95 $7.95 Can on Sale Until March 1, 2008 TOC 2 16 10/18/07 10:57 AM Page 6
F_AR issue16 cover 10/17/07 5:10 PM Page 1 WINTER 2007 • russel wright • new aussie digs $5.95 $7.95 can On sale until March 1, 2008 TOC 2 16 10/18/07 10:57 AM Page 6 contents features 18 atomic aussie New construction down under channels the ’50s. 34 russel wright: 20th century tastemaker The designer’s daughter on growing up Wright. 48 artists in residence A homemade modernist house in Echo Park. 62 collecting: shirt-pocket transistor radios The great-great granddaddy of the iPod. 72 houston two-step Two Texas households that could not be 18 more different. 34 48 TOC 2 16 10/18/07 10:58 AM Page 7 winter 2007 departments 10 meanwhile ... back at the ranch 12 modern wisdom 30 home page Midcentury ranches in scenic Nebraska, Delaware and Tejas. 82 60 atomic books & back issues 69 postscript Digging up house history 82 cool stuff Goodies to whet your appetite 88 ranch dressing Chairs, daybeds, block resources and more. 94 events Upcoming MCM shows 98 buy ar 99 coming up in atomic ranch 99 where’d you get that? 100 atomic advertisers cover A home in Echo Park, Calif., has been in the 62 same family since it was built in 1950. The master bedroom’s birch paneling was refinished and the worn original asphalt tile replaced with ceramic pavers. The bed is by Modernica and the bedside lamp is a 1980s “Pegasus” by artist Peter Shire, who grew up in the house. His “Oh My Gatto” chair sits near the picture window. -
Pan Am's Historic Contributions to Aircraft Cabin Design
German Aerospace Society, Hamburg Branch Hamburg Aerospace Lecture Series Dieter Scholz Pan Am's Historic Contributions to Aircraft Cabin Design Based on a Lecture Given by Matthias C. Hühne on 2017-05-18 at Hamburg University of Applied Sciences 2017-11-30 2 Abstract The report summarizes groundbreaking aircraft cabin developments at Pan American World Airways (Pan Am). The founder and chief executive Juan Terry Trippe (1899-1981) estab- lished Pan Am as the world's first truly global airline. With Trippe's determination, foresight, and strategic brilliance the company accomplished many pioneering firsts – many also in air- craft cabin design. In 1933 Pan Am approached the industrial designer Norman Bel Geddes (1893-1958). The idea was to create the interior design of the Martin M-130 flying boat by a specialized design firm. Noise absorption was optimized. Fresh air was brought to an agreea- ble temperature before it was pumped into the aircraft. Adjustable curtains at the windows made it possible to regulate the amount of light in the compartments. A compact galley was designed. The cabin layout optimized seating comfort and facilitated conversion to the night setting. The pre-war interior design of the Boeing 314 flying boat featured modern contours and colors. Meals were still prepared before flight and kept warm in the plane's galley. The innovative post-war land based Boeing 377 Stratocruiser had a pressurized cabin. The cabin was not divided anymore into compartments. Seats were reclining. The galley was well equipped. The jet age started at Pan Am with the DC-8 and the B707. -
Russian Constructivism
De Stijl in the Netherlands Russian Constructivism 26 Constructivism was an artistic and architectural movement that originated in Russia from 1919 onward which rejected the idea of "art for art's sake" in favour of art as a practice directed towards social purposes and uses. Constructivism as an active force lasted until around 1934, having a great deal of effect on developments in the art of the Weimar Republic (post world war one Germany) and elsewhere, before being replaced by Socialist Realism. Its motifs have sporadically recurred in other art movements since. It had a lasting impact on modern design through some of its members becoming involved with the Bauhaus group. Constructivism had a particularly lasting effect on typography and graphic design. Constructivism art refers to the optimistic, non-representational relief construction, sculpture, kinetics and painting. The artists did not believe in abstract ideas, rather they tried to link art with concrete and tangible ideas. Early modern movements around WWI were idealistic, seeking a new order in art and architecture that dealt with social and economic problems. They wanted to renew the idea that the apex of artwork does not revolve around "fine art", but rather emphasized that the most priceless artwork can often be discovered in the nuances of "practical art" and through portraying man and mechanization into one aesthetic program. Constructivism was first created in Russia in 1913 when the Russian sculptor Vladimir Tatlin, during his journey to Paris, discovered the works of Braque and Picasso. When Tatlin was back in Russia, he began producing sculptured out of assemblages, but he abandoned any reference to precise subjects or themes. -
The PHSC E-MAIL Volume 6-8, Supplement to Photographic Canadiana, December 2006 the Photographic Historical Society of Canada
1 of 9 PAGES The PHSC E-MAIL Volume 6-8, Supplement to Photographic Canadiana, December 2006 The Photographic Historical Society of Canada LATEST NEWS…… WITH THE HOLIDAY SEASON UPON US, The PHSC Annual Auction will be held on March 11th, 2007 at a WE EXTEND TO YOU AND YOUR FAMILY new and much larger location. Ed Warner, in charge of the auction, BEST WISHES FROM THE says that the facilities provide lots of free parking. So look for details in PHSC EXECUTIVE & OFFICERS our next PHSC E-Mail newsletter. Wednesday, December 20th Meeting… There is a story behind of every piece of photographica – some are PHSC Monthly Meetings better than others. Our December meeting will bring out many curious items as are held on the third Wednesday from members stand to SHOW & TELL about their favourite pieces. Please bring September to June in the Gold Room, of Memorial Hall in the basement of along something from your own collection to stump the experts as to why it is so the North York Central Library, important, rare or unique – OR to have something identified. 5120 Yonge St., North York, Ontario. The meeting officially begins at 8:00 p.m. but is preceded by a Buy & Sell and social gathering from 7:00 p.m. onwards. For information contact the PHSC or Felix Russo, 33 Indian Rd. Cres., Toronto, ON, M6P 2E9, Phone (416) 532-7780. Programming Schedule: December 20th, 2006 -the favourite Annual Show & Tell Nite plus the Christmas Gift Exchange. January 17th, 2007 -Larry O’Grady of the Toronto Police Services will describe the depart- Meeting is held in the Gold Room, (basement) ment’s change to digital photography. -
The Art of Technology
KEY TERMS • Art Deco THE ART OF • Golden Age of Radio • Great Depression • Product Design TECHNOLOGY • World Expositions CLOSE LOOKING MEASURING FOURTEEN INCHES IN DIAMETER and one-half inch thick, ‘BLUEBIRD’ SPARTON MODEL RADIO c. 1936 the “Bluebird” radio’s cobalt blue, mirrored front panel is backed with dark fabric. A circle of metal mesh surrounding the small central dial Blue-mirrored glass, chromium-plated metal, wood acts as a speaker grill for the AM-band radio. Three thin chromium- Designer: Walter Dorwin Teague plated metal strips run horizontally through the larger plated circle on Born: Decatur, Indiana 1883 Died: Flemington, New Jersey 1960 which the dials sit. These strips are echoed in the white lines incised Manufacturer: Sparton Corporation, Jackson, on the radio’s black case. The left knob on the large circle controls Michigan, 1900–present power to the radio and volume, the central knob controls tuning, Purchase with Exchange Funds from Gift of Marion Lee Brown, Gift of Mrs. Matthew and the right controls tone. Its black feet are purely decorative; the Hirsch, Gift of Isabel Powell Kilmer, Gift of radio sits on thick wooden runners.1 Costing $39.95 in 1936,2 the Saidie A. May, Gift of Eleanor P. Spencer, and Gift of Eleanor L. Turnbull, BMA 1998.106 “Bluebird” is recognized as a masterpiece of Art Deco design. Art ©Walter Dorwin Teague and Associates, Inc. TEACHER’S GUIDE | AMERICAN COLLECTION | ©2014 | ARTBMA.ORG PAGE 72 Baltimore Museum of Art ©2014 www.artbma.org THE ART OF TECHNOLOGY ARTIST SPOTLIGHT Deco, the primary American and European design style of the 1920s and 1930s, is characterized by precise geometric shapes and bold AT AGE NINETEEN, Walter Dorwin Teague left planes of color that were often tertiary—indigo, aqua, ochre, vermillion, his native Indiana for New York City, where chartreuse, and violet. -
Technology and Obsolescence in America Copyright © 2006 by Giles Slade All Rights Reserved Printed in the United States of America
Made to Break GILES SLADE Harvard University Press Cambridge, Massachusetts I London, England Made To Break Technology and Obsolescence in America Copyright © 2006 by Giles Slade All rights reserved Printed in the United States of America First Harvard University Press paperback edition, 2007 Library of Congress Cataloging-in-Publication Data Slade, Giles. Made to break : technology and obsolescence in America I Giles Slade. p. cm. ISBN-13 978-0-674-02203-4 (cloth: alk. paper) ISBN-10 0-674-02203-3 (cloth: alk. paper) ISBN-13 978-0-674-02572-1 (pbk.) ISBN-10 0-674-02572-5 (pbk.) 1. Technological innovations-United States. I. Title. T173.8.S595 2006 609.73-dc22 2005036315 Introduction 1 1 Repetitive Consumption 9 2 The Annual Model Change 29 3 Hard Times 57 4 Radio, Radio 83 5 The War and Postwar Progress 115 6 The Fifties and Sixties 151 7 Chips 187 8 Weaponizing Planned Obsolescence 227 9 Cell Phones and E-Waste 261 Notes 283 Acknowledgments 313 Index 316 America, I do not call your name without hope -PABLO NERUDA To scrutinize the trivial can be to discover the monumental. Almost any object can serve to unveil the mysteries of engineering and its relation to art, business, and all other aspects of our culture. HENRY PETROSKI, THE PENCIL: A HISTORY (1989) For no better reason than that a century of advertising has condi tioned us to want more, better, and fa ster from any consumer good we purchase, in 2004 about 315 million working PCs were retired in North America. Of these, as many as 10 percent would be refurbished and reused, but most would go straight to the trash heap. -
Futurama: an Immersive Experience of America's Automotive Future
Journal of Motorsport Culture & History Volume 1 Issue 1 Article 6 2019 Futurama: An Immersive Experience of America's Automotive Future James Miller Hampshire College, [email protected] Follow this and additional works at: https://ir.una.edu/jmotorsportculturehistory Part of the Communication Commons Recommended Citation Miller, J. (2020). Futurama: An Immersive Experience of America's Automotive Future. Journal of Motorsport Culture & History, 1 (1). Retrieved from https://ir.una.edu/jmotorsportculturehistory/vol1/iss1/ 6 This Article is brought to you for free and open access by UNA Scholarly Repository. It has been accepted for inclusion in Journal of Motorsport Culture & History by an authorized editor of UNA Scholarly Repository. For more information, please contact [email protected]. Futurama: An Immersive Experience of America's Automotive Future Cover Page Footnote I am grateful to Julia Hildebrand for her close and critical reading of an earlier draft. The paper also benefitted from archival research at the Brooke Russell Astor Reading Room for Rare Books and Manuscripts at the New York Public Library. This article is available in Journal of Motorsport Culture & History: https://ir.una.edu/jmotorsportculturehistory/vol1/ iss1/6 Miller: Futurama Futurama: An Immersive Experience of America’s Automotive Future James Miller Hampshire College, Amherst MA, US, [email protected] Abstract General Motors’ Futurama exhibit at the 1939-40 New York World’s Fair offered a wildly popular immersive experience of American automobility twenty years in the future. The Fair proclaimed the “Dawn of a New Day” in “The World of Tomorrow” through comprehensive innovative architecture and design, which promoted the primary role of new technology, especially in the field of transportation. -
Design Goals
58 CHAPTER 5 The Objects of the American-Way Program Design Concepts For Russel Wright, the democracy of the machine and the individuality of the craftsman were each elemental to the American character and national wellbeing. As an organizing construct of the American-Way program, the combination of hand- and machine-made products became a prescription for American homes and a merging of production processes. Singly and as a collection, they reflected the blending of professional design with amateur experimentation, rural handcraft with studio art, factory processes and traditional folkways. A notable effect of this multiplicity of intentions in the American-Way products was a duality of nature in some of the products. Machine-made products sometimes looked like they were made by hand, and vice versa. Mary Wright’s designs for Everlast Aluminum, for example, had the hand-made properties of hammered aluminum, although they were a factory production (Figure 8). Likewise, Russel’s Oceana line, which predated the American-Way program but was incorporated into it, was a mass-produced series of wooden accessories carefully designed to look as if they had come from the hand of a woodworker (Figure 31). Conversely, objects considered part of the crafts program, such as Norman Beals’ Lucite bowls, had slick, rigid qualities reminiscent of the machine (Figure 9). Another material cross-fertilization resulted from the way Wright structured the program, asking designers and artists in some cases to contribute designs completely outside their fields of expertise. Thus, architect Michael Hare designed wooden tableware; movie set designer and House Beautiful contributor Joseph Platt did glassware; and painters Julian Levi and John Steuart 59 Curry supplied designs for printed drapery fabrics. -
Information to Users
INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information C om pany 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313 761-4700 800/521-0600 Order Number 9031153 The utilitarian object as appropriate study for art education: An historical and philosophical inquiry grounded in American and British contexts Sproll, Paul Anthony, Ph.D. -
Good Design 1996 Awarded Product Designs and Graphics and Packaging
GOOD DESIGN 1996 AWARDED PRODUCT DESIGNS AND GRAPHICS AND PACKAGING THE CHICAGO ATHENAEUM: MUSEUM OF ARCHITECTURE AND DESIGN THE EUROPEAN CENTRE FOR ARCHITECTURE ART DESIGN AND URBAN STUDIES ELECTRONICS 1996 Lifestyle 20 Music System, 1996. Design Team: Bose Corporation, Framington, Massachusetts. Manufacturer: Bose Corporation, Framington, Massachusetts. Microsoft EasyBall, 1996. Design Team: Walter Dorwin Teague Associates, Inc., Rosemont, Illinois. Manufacturer: Microsoft Corporation, Redmond, Washington Pippin/Atmark, 1996. Design Team: Lunar Design, Inc. Palo Alto, California; Apple Computer, San Jose, California Manufacturer:Apple Computer for Bandai, San Jose, California 13” Color Portable Television (The Shark), 1996. Designer: Paul Ocepeck - Thomson Consumer Electronics, Indianapolis, Indiana. Manufacturer: Thomson Consumer Electronics, Indianapolis, Indiana. Pilot, The Connected Organizer, 1996. Design Team: Palo Alto Design Group, Palo Alto, California Manufacturer: Palm Computing, Division of U.S. Robotics, Losa Altos, California FaxView 2000, 1996 Design Team: Product Genesis, Inc., Cambridge, Massachusetts. Manufacturer: Reflection Technology, Inc., Waltham, Massachusettes Star-Tac Analog Cellular Telephone, 1996. Design Team: Motorola Inc. Libertyville, Illinois Manufacturer: Motorola Inc. Libertyville, Illinois Good Design Awards 1996 Page 1 of 11 1996 © 1992-2016 The Chicago Athenaeum - Use of this website as stated in our legal statement JBL Starion IS1 Multimedia Speaker System, 1995. Design Team: Ravi Sawhney, Lance Hussey, Cary Chow, Robb Englin, Kurt Botsai, Frank Zinni, Jonathan Dyer, Juan Cilia, Chris Glupker, Lance Chikasawa - RKS Design, Inc., Canoga Park, California; Mike Watt, Kathy Lane, Tuck Richards, Alvin Tolosa, Bernie Hawkins, Brad Wood, Alan Devantier - Harman Interactive Group, Northridge, California. Manufacturer: Harman Interactive Group, a division of Harman/JBL, Northridge, California. Acer Aspire, 1995. Design Team: frogdesign inc., Sunnyvale, California. -
Art Moderne Becomes Industrial Design
MIT Press Open Architecture and Urban Studies • American Design Ethic Art Moderne Becomes Industrial Design Arthur J. Pulos Published on: Apr 22, 2021 License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC-BY-NC-ND 4.0) MIT Press Open Architecture and Urban Studies • American Design Ethic Art Moderne Becomes Industrial Design We passed from the hand to the machine, we enjoyed our era of the triumph of the machine, we acquired wealth, and with wealth education, travel, sophistication, a sense of beauty; and then we began to miss something in our cheap but ugly products. Efficiency was not enough. The machine did not satisfy the soul. Man could not live by bread alone. And thus it came about that beauty, or what one conceived as beauty, became a factor in the production and marketing of goods. Earnest Elmo Calkins, 1927 ([121], 147) One of the results of the Paris exposition was to awaken the public press in the United States to the existence, if not the importance, of modern design. Whereas the specialized magazines in art and decoration had been supporting the strong interest of the establishment in traditional styles and the cultural aspects of design, now American newspapers and magazines began to promote design for its economic value. It was stated that America was beginning to catch up as big business was losing its “timidity in the presence of Art.” An editorial in the New York Times challenged industry: “American captains of industry must soon change their traditional characters. True, the