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Industrial Revolution, Arts&Crafts, Domesticity

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Industrial Revolution, Arts&Crafts, Domesticity Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Looking out the window in York Bay, Wellington Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity INDUSTRIAL REVOLUTION REVIVAL GOTHIC ARCHITECTURE BAROQUE Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity GOTHIC REVIVAL ARTS AND CRAFTS MOVEMENT Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Pre-Industrial Production: Animal – People – Water – Wind Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity The ‘Dark Satanic Mills’, 14-16hr days, 7 days a week: From a ‘cottage industry’ to the ‘spinning jenny’ and factory production Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity 1870 1900 World War I - continual increase of mechanisation Second Industrial Revolution Combustion Engine and Electromotor Development of Capitalist Monopolys Development of Chemical Industry Fordism, Taylorism Steel Production Standardisation, Division of Labour New ways of labour division Beginnings of telecommunication technologies Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity 1920 World economy depression - Fascism - World War II 1940 Third Industrial Revolution Motorising of the farming sector Nuclear power Scientific management applications to the home Electronics Automatic controls Automated production lines Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Economic recovery programme 1960 ‘Wirtschaftswunder’ Space race Further increase of precision, control, rationalisation and standardisation of production Transfer of production knowledge from US to Europe and Japan Data processing Computer technology developments Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity "One man draws out the wire; another straights it; a third cuts it; a fourth points it; a fifth grinds it at the top for receiving the head; to make the head requires two or three distinct operations; to put it on is a peculiar business; to whiten the pin is another; it is even a trade by itself to put them into the paper; and the important business of making a pin is in this manner divided into about 18 distinct operations.” Adam Smith in ‘The Wealth of Nations’ 1776 The result of labor division in Smith’s example resulted in productivity increasing by 24,000 percent (sic), i.e. that the same number of workers made 240 times as many pins as they had been producing before the introduction of labor division. Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Crystal Palace and the Great Exhibition at Hyde Park, London, Joseph Paxton, 1851 Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Crystal Palace, Inside, London, Joseph Paxton, 1851 Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Paddington Station, London, Isambard Kingdom Brunel, 1854: A new Building Typology Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity SS Great Western Isambard Kingdom Brunel, 1837 Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity In the 1830s Ralph Waldo Emerson traveled to Europe on a sailboat and returned on a steamship. If we look at this moment symbolically, we could say he went over on a recyclable vessel that was solar-powered, operated by craftsmen practicing ancient arts in the open air. He returned in what would become a steel rust bucket spewing oil on the water and smoke in the sky, operated by men shovelling fossil fuels into the mouths of boilers in the dark. In his journals on the way back in the steamship, Emerson noted the lack of what he wistfully described as the connection to the ‘Aeolic kinetic’ – the force of the wind. He wondered at the implications of these changing connections between humans and nature. From: Cradle to Cradle, McDonough and Braungart, 2002. Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Summary 1 of 2: _Changing contexts: Population drift from rural to cities and towns 1500s _From Cottage Industry to Factory production, beginning in England with textiles _New technologies driven by alternative sources of energy _Adam Smith’s ‘Invisible Hand’ and the division of labour as the key economic principles _The Great Exhibition 1851: Colonisation and exploitation; rivalry and showcasing through World Expositions _Rise of the Bourgeoisie: Nouveau riche 1800s, an ‘upper middle class’ Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity “We have much studied and much perfected, of late, the great civilised invention of the division of labour; only we give it a false name. It is not truly speaking the labour that is divided; but the men: - Divided into mere segments of men - broken into small fragments and crumbs of life; so that all the little piece of intelligence that is left in a man is not enough to make a pin, or a head of a nail.” John Ruskin, The Stones of Venice, 1851-53 Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity “We have much studied and much perfected, of late, the great civilised invention of the division of labour; only we give it a false name. It is not truly speaking the labour that is divided; but the men: - Divided into mere segments of men - broken into small fragments and crumbs of life; so that all the little piece of intelligence that is left in a man is not enough to make a pin, or a head of a nail.” Ruskin, The Stones of Venice _For people like John Ruskin the Gothic “represented the Christian belief and emphasis on the unique value of the human soul”. The Christian Gothic “not only recognises its [the human being’s] value; it confesses to its imperfection Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity “We have much studied and much perfected, of late, the great civilised invention of the division of labour; only we give it a false name. It is not truly speaking the labour that is divided; but the men: - Divided into mere segments of men - broken into small fragments and crumbs of life; so that all the little piece of intelligence that is left in a man is not enough to make a pin, or a head of a nail.” Ruskin, The Stones of Venice _For people like John Ruskin the Gothic “represented the Christian belief and emphasis on the unique value of the human soul”. The Christian Gothic “not only recognises its [the human being’s] value; it confesses to its imperfection _Ruskin compared the processes of production and the division of labour with that of a worker that is equally divided and destroyed,… not labour is divided, but men!” Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity “We have much studied and much perfected, of late, the great civilised invention of the division of labour; only we give it a false name. It is not truly speaking the labour that is divided; but the men: - Divided into mere segments of men - broken into small fragments and crumbs of life; so that all the little piece of intelligence that is left in a man is not enough to make a pin, or a head of a nail.” Ruskin, The Stones of Venice _For people like John Ruskin the Gothic “represented the Christian belief and emphasis on the unique value of the human soul”. The Christian Gothic “not only recognises its [the human being’s] value; it confesses to its imperfection _Ruskin compared the processes of production and the division of labour with that of a worker that is equally divided and destroyed,… not labour is divided, but men!” _He promoted the involvement of the worker in all parts of a production, referring as a precedent to the medieval, gothic workshop practices Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity The Stones of Venice, Ruskin Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity 19th Century ‘Swiss Army Knife’ Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Carved Oak Table, exhibited at Crystal Palace, 1851 Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity _William Morris’s workshop was set up as an alternative to Industrial production, furniture, textiles carpets, wallpaper, stained glass, supporting individuality and ‘truth’ William Morris Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity _William Morris’s workshop was set up as an alternative to Industrial production, furniture, textiles carpets, wallpaper, stained glass, supporting individuality and ‘truth’ _’Truth’ was to be achieved by honest ornamentation, human craftsmanship and imperfection as a consequence. These led to Arts and Crafts characteristics of honest, pure use of materiality; expression of material and its properties; no nails or steel used in furniture; use of old craft knowledge Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Morris wallpaper: truth to nature was achieved by “logical structure and attention to nature” Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Kelmscott Press, 1891 onwards, Book Cover designs: “to produce books by traditional methods”, designs inspired by 15th C type Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity A.W.N. Pugin, Knock-down Table, Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Philip Webb, Red House for William Morris, 1859 Lecture 3: 19th
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