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Download Download Design and Innovation in Montreal through the 1960s and 1970s LYDIA FERRABEE SHARMAN Résumé Abstract Après la Seconde Guerre mondiale, il a fallu After the Second World War, the wartime economy trans f ormer l’économie de temps de guerre en éco -in Canada had to be restructured into a peacetime nomie de temps de paix au Canada et penser à economy, and consumer products were needed for des objets de consommation à produire dans les the factories that had been producing weapons. It usines où l’on avait fabriqué des armes. C’est à was at this time that the industrial design profes - cette époque que la profession de designer indus - sion was organized. In Montreal, two consultant triel s’est implantée. À Montréal, deux cabinets de design offices were founded, Jacques Guillon consultants en design ont ouvert leurs portes, ceux Associates and Julien Hébert Associates, that went de Jacques Guillon et Associés et de Julien Hébert on to make a major contribution to the emerging et Associés. Ils ont apporté une contribution ma - field of industrial design in Canada. In the 1960s jeure au design industriel en émergence au Canada.three large-scale Montreal initiatives benefited Au cours des années 1960, les designers ont profitédesign ers: the development of the city core with de trois projets d’envergure à Montréal : le dévelopPlace - Ville-Marie as its centre, the building of the pement du noyau urbain avec la Place Ville-Marie metro, and Expo 67. These projects transformed the en son centre, la construction du métro et Expo 67. city, drew international attention and provided Ces projets ont transformé la ville, ont attiré l’atten•wide-ranging opportunities for designers, and the tion internationale et ont offert de vastes débouchésconsultant design offices employed many young aux designers. Les bureaux de consultants en designdesigners at that time. After Expo, some of these ont alors embauché de nombreux jeunes designers. young designers formed their own offices or became Après Expo 67, quelques-uns de ceux-ci ont fondé entrepreneurs manufacturing their own designs, leur propre firme ou ont fabriqué eux-mêmes les and some of their designs were very successful on objets qu’ils concevaient et certaines de leurs réa - both the national and international market. lisations ont connu du succès sur le marché tant international que national. In the early sixties, I arrived in Montreal with my jour nals would find interesting. I had over sixty portfolio under my arm. Although still in my very articles published in the next twenty years. Although early twenties, I already had furniture and exhibi - architecture, the fine arts and the decorative arts tion designs produced in London and New York, have a long publication history even in Canada, very and had designed the display system for London’s few people were writing about Canadian industrial Kings Road store, Bazaar, for the fashion designer design, and virtually none wrote for European design Mary Quant, best known for launching the miniskirt. journals. The fact that so many of my articles were It was unusual to see such a portfolio in Montreal accepted is an indication of the international at this time and Jacques Guillon invited me to join relevance of Canadian design at that time. his design office. It was the beginning of an intense and productive time for designers in Montreal. Soon after my arrival I began submitting articles Background: Industrial Design in Canada (under the name Lydia Ferrabee) on Canadian Before moving the focus of this article to Montreal, design to European design journals. My U.K. expe - it is important to consider the field of industrial ri ence gave me an understanding of which Canadian design during the Second World War and soon after design projects European designers and design at a national level in order to understand the distinct Material History Review 61 (Spring 2005) / Revue d’histoire de la culture matérielle 61 (printemps 2005) 43 contribution made by Montreal industrial designers to select Canadian products that emphasized “func­ during the 1960s and 1970s. During the Second tional grace and utility as the basic requisites for World War, when England was threat ened with good design in articles for everyday use.”3 The in va sion and France had already been invaded, in­ rhetoric was very much that of the early days of dus tries from these two countries were re-established postwar modernism as expressed in the U.K. with in Canada to produce the sup plies needed for the its emphasis on “good design,” function and utility, war. After the war, these factories needed to be con - the need to educate consumers to appreciate these verted to the production of con sumer products. qualities, and their economic advantages. The prod - Usually Canadian manufacturers started by copy - ucts selected were reminiscent of British postwar ing, or making under licence, products designed utility production. The NIDC promoted the idea and manufactured in the United States or Europe. of industrial design and its economic advantages None the less, the factories offered potential oppor - through exhibitions and publications over a ten- tunities for Canadian designers. Designers were year period. In 1948–49 there was Canadian Design also helped by the National Research Council, as for Everyday Use with the related publication on the it was investigating molded plywood and plastic Design Index. In Vancouver, the Community Arts applications and made its findings avail able Council sponsored Design for Living in 1949. In to design ers. For example, molded plywood chairs, Toronto there was Design in the Household. Booklets designed by W. Czerwinski and H. Stykolt in intended to inform and convince industry of the 1946 were made by Canadian Wooden Aircraft as advantages of employing industrial design ers they were adapting to a peacetime economy.1 The were Good Design will Sell Your Products, and How Montreal designer, Jacques Guillon, who had come Industrial Design Can Help You in Your Business. to Canada from Belgium and studied architecture at In 1961, NIDC was re-named the National Design McGill, designed one particularly innovative chair Council (NDC), as part of the fed eral Department with a seat and back of nylon parachute cord, from of Industry, Trade and Commerce. This move from army and navy surplus stores, and a frame using the National Gallery was a signif icant change in laminated plywood technology developed for skis. the positioning of Industrial Design. Finally, NDC Load testing showed this 3-kilogram chair could became known as Design Canada. sup port 1 533 kilograms. It received a patent and won During the 1960s several colleges, CEGEPs and an award at the 1954 Milan Triennale. Tens of thou­ universities founded industrial design programs. sands were sold in a four-year period in Montreal The engineering department of the University of and New York City (by Macy’s and Lord and Taylors), Waterloo started a graduate research program in where it was advertised in the New York Times.2 design in 1962. The first undergraduate degree pro­ An important initiative in 1951 was the first indus­ grams were established at Carleton University, trial design competition organized by the Federal the Université de Montréal, and the University of Ministry of Trade and Commerce, to encourage the Calgary in the 1970s; all of them now have graduate conversion of wartime industry to the manufacture programs as well. of consumer products. It was in Montreal and Toronto, the main pop - The industrial design profession became orga - u lation centres in Canada, that the first consultant nized after the Second World War. By 1948 there was design offices were established during the 1950s. a sufficient number of resident designers to form These offices were relatively small at first, with the Association of Canadian Industrial Designers, from one to three partners and employing about followed by regional associations. Also in 1948, six designers. The companies tended to offer a the first professional industrial design program in broad range of services including industrial, interior Canada was introduced, at the Ontario College of and graphic design. An important turning point Art (now the Ontario College of Art and Design). came for industrial designers when the Department However, the profession was just being formed of Transport built international airports in major and there was little public understanding of the cities across the country. The Department stipulated term “industrial design.” Donald Buchanan, and that the architects and designers must be Canadian, other like-minded modernists, worked to change and that the interiors must use Canadian products. this. Buchanan, an editor of Canadian Art maga - In addition to the importance of the design projects zine who was instrumental in founding the National was the value of the Federal Government’s recog - Film Board, joined the staff of the National Gallery nition of the competence of Canadian designers of Canada in 1947, retiring as its Associate Director that these contracts represented. As the main entry in 1960. At the National Gallery, he launched the points into Canada, the airports were to set a high National Industrial Design Committee (NIDC) and standard of design and to showcase the work of creat ed a Design Index with a committee of archi tects Canadian designers. Material History Review 61 (Spring 2005) / Revue de la culture matérielle 61 (printemps 2005) 44 Montreal Becomes a Centre for and designed products that sold widely on the Industrial Design international market. In the early 1960s, Montreal provided unprecedented In the 1960s and 70s, there was a movement opportunities for designers with major building among these designers away from the emphasis projects such as the new international airport at on utility that had grown out of postwar reconstruc­ Dorval, Place Ville-Marie, Place Bonaventure, the tion in Europe, to a later modernism identified as Montreal metro, and, the International World’s the International Style when it was introduced Fair, Expo 67.
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