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Global Design-00-P.Qxd 7/12/10 09:35 Page I Global Design-00-p.qxd 7/12/10 09:35 Page i 1 2 3 4 GLOBAL DESIGN HISTORY 5 6 7 8 9 0 11 12 Globalism is often discussed using abstract terms, such as ‘networks’ or ‘flows’ and usually in 13 relation to recent history. Global Design History moves us past this limited view of globalism, 14 broadening our sense of this key term in history and theory. 15 Individual chapters focus our attention on objects, and the stories they can tell us about 16 cultural interactions on a global scale. They place these concrete things into contexts, such 17 as trade, empire, mediation, and various forms of design practice. Among the varied topics 18 included are: 19 • the global underpinnings of Renaissance material culture 20 • the trade of Indian cottons in the eighteenth century 21 • the Japanese tea ceremony as a case of ‘import substitution’ 22 • German design in the context of empire 23 • handcrafted modernist furniture in Turkey 24 • Australian fashions employing ‘ethnic’ motifs • an experimental UK–Ghanaian design partnership 25 • Chinese social networking websites 26 • the international circulation of contemporary architects 27 28 Featuring work from leading design historians, each chapter is paired with a ‘response’, designed to expand the discussion and test the methodologies on offer. An extensive 29 bibliography and resource guide will also aid further research, providing students with a user 30 friendly model for approaches to global design. 31 Global Design History will be useful for upper-level undergraduate and postgraduate 32 students, academics and researchers in design history and art history, and related subjects such 33 as anthropology, craft studies and cultural geography. 34 Glenn Adamson is Deputy Head of Research at the Victoria and Albert Museum, where 35 he leads a graduate programme in the History of Design. He is co-editor of the Journal of 36 Modern Craft, and author of Thinking Through Craft (2007) and The Craft Reader (2010). 37 Giorgio Riello is Associate Professor in Global History and Culture at the University of 38 Warwick. He is the author of A Foot in the Past (2006) and has recently co-edited The Spinning 39 World: A Global History of Cotton Textiles, 1200–1850 (2009) and The Fashion History Reader 40 (2010). 41 Sarah Teasley is Research Tutor in the History of Design and Liaison Tutor in Critical and 42 Historical Studies at the Royal College of Art. She is co-author of 20th Century Design History 43 (2005), and a specialist in the history of design for mass production in modern Japan. 44 T&F PROOFS. NOT FOR DISTRIBUTION. Global Design-00-p.qxd 7/12/10 09:35 Page ii 1 2 3 4 5 6 7 8 9 0 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 T&F PROOFS. NOT FOR DISTRIBUTION. Global Design-00-p.qxd 7/12/10 09:35 Page iii 1 2 3 4 GLOBAL DESIGN 5 6 7 HISTORY 8 9 0 11 12 13 14 15 16 17 Edited by Glenn Adamson, 18 Giorgio Riello and Sarah Teasley 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 T&F PROOFS. NOT FOR DISTRIBUTION. Global Design-00-p.qxd 7/12/10 09:35 Page iv 1 2 3 4 5 6 7 8 9 0 11 12 13 14 15 16 First edition published 2011 by Routledge 17 2 Park Square, Milton Park, Abingdon, OX14 4RN 18 Simultaneously published in the USA and Canada by Routledge 19 270 Madison Ave, New York, NY 10016 20 Routledge is an imprint of the Taylor & Francis Group, an informa business 21 Editorial selection and material © 2011 Glenn Adamson, Giorgio Riello 22 and Sarah Teasley 23 Individual chapters and chapter responses © 2011 the contributors 24 The right of Glenn Adamson, Giorgio Riello and Sarah Teasley to be identified as the authors of the editorial material, and of the contributors for their individual 25 chapters, has been asserted, in accordance with sections 77 and 78 of the 26 Copyright, Designs and Patents Act 1988. 27 Typeset in Bembo by 28 Keystroke, Station Road, Codsall, Wolverhampton Printed and bound in Great Britain by 29 TJ International Ltd, Padstow, Cornwall 30 All rights reserved. No part of this book may be reprinted or reproduced or utilized 31 in any form or by any electronic, mechanical, or other means, now known or 32 hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. 33 British Library Cataloguing in Publication Data 34 A catalogue record for this book is available from the British Library 35 Library of Congress Cataloging in Publication Data 36 Global design history / edited by Glenn Adamson, Giorgio Riello and Sarah 37 Teasley. — 1st ed. p. cm. 38 Includes bibliographical references. 39 1. Design—History. 2. Culture and globalization. I. Adamson, Glenn. II. Riello, Giorgio. III. Teasley, Sarah, 1973– 40 NK1525.G58 2011 41 745.409—dc22 2010037066 42 ISBN 13: 978–0–415–57285–9 (hbk) 43 ISBN 13: 978–0–415–57287–3 (pbk) 44 ISBN 13: 978–0–203–83197–7 (ebk) T&F PROOFS. NOT FOR DISTRIBUTION. Global Design-00-p.qxd 7/12/10 09:35 Page v 1 2 3 4 CONTENTS 5 6 7 8 9 0 11 12 13 14 15 16 17 Illustrations 00 18 Contributors 00 19 Preface 00 20 21 Introduction:Towards global design history 00 22 Sarah Teasley,Giorgio Riello and Glenn Adamson 23 24 1 The Global Renaissance: Cross-cultural objects in the early 25 modern period 00 26 Marta Ajmar-Wollheim and Luca Molà 27 28 29 Response 00 30 Dana Leibsohn 31 32 2 Global design in Jingdezhen: Local production and global 33 connections 00 34 Anne Gerritsen 35 36 Response 00 37 Beverly Lemire 38 39 3 Indian cottons and European fashion, 1400–1800 00 40 John Styles 41 42 Response 00 43 Prasannan Parthasarathi 44 T&F PROOFS. NOT FOR DISTRIBUTION. Global Design-00-p.qxd 7/12/10 09:35 Page vi vi Contents 1 4 Import substitution, innovation and the tea ceremony in 2 fifteenth and sixteenth-century Japan 00 3 Christine M. E. Guth 4 5 Response 00 6 Maxine Berg 7 8 5 The globalization of the fashion city 00 9 Christopher Breward 0 11 Response 00 12 Simona Segre Reinach 13 14 6 Performing white South African identity through international 15 and empire exhibitions 00 16 Dipti Bhagat 17 18 Response 00 19 Angus Lockyer 20 21 7 ‘From the far corners’:Telephones,globalization, and the 22 production of locality in the 1920s 00 23 24 Michael J. Golec 25 Response 00 26 27 Anne Balsamo 28 29 8 The globalization of the Deutscher Werkbund: Design reform, 30 industrial policy,and German foreign policy,1907–1914 00 31 John Maciuika 32 33 Response 00 34 Paul Betts 35 36 9 Where in the world is design?:The case of India, 1900–1945 00 37 Victor Margolin 38 39 Response 00 40 Christopher Pinney 41 42 10 ‘Handmade modernity’:A case study on post-war Turkish 43 modern furniture design 00 44 Gökhan Karakus¸ T&F PROOFS. NOT FOR DISTRIBUTION. Global Design-00-p.qxd 7/12/10 09:35 Page vii Contents vii Response 00 1 Edward S. Cooke, Jr. 2 3 11 Old empire and new global luxury: Fashioning global design 00 4 Peter McNeil 5 6 Response 00 7 Shehnaz Suterwalla 8 9 12 Analyzing social networking websites:The design of Happy 0 Network in China 00 11 12 Basile Zimmermann 13 14 Response 00 15 Ngai-Ling Sum 16 17 13 From nation-bound histories to global narratives of architecture 00 18 Jilly Traganou 19 20 Response 00 21 Lucia Allais 22 23 14 e-Artisans: contemporary design for the global market 00 24 Tom Barker and Ashley Hall 25 26 Response 00 27 Shannon May 28 29 30 Bibliography 00 31 Resource Guide 00 32 Index 00 33 34 35 36 37 38 39 40 41 42 43 44 T&F PROOFS. NOT FOR DISTRIBUTION. Global Design-00-p.qxd 7/12/10 09:35 Page viii 1 2 3 4 5 6 7 8 9 0 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 T&F PROOFS. NOT FOR DISTRIBUTION. Global Design-00-p.qxd 7/12/10 09:35 Page ix 1 2 3 4 ILLUSTRATIONS 5 6 7 8 9 0 11 12 13 14 15 16 17 1.1 Table carpet, Cairo, Egypt, mid-16th century 00 18 1.2 Ewer; brass engraved and damascened with silver with filling of 19 black lacquer, left side view with The Arms of Molino of Venice, 20 Flemish with the decoration Italian (Venetian Saracenic), late 21 15th century 00 22 2.1 Underglaze porcelain dish made in Jingdezhen c.1770. The landscape 23 on this dish represents the traditional Chinese landscape theme, but 24 recreated in Europe and transmitted to China to be reproduced on 25 Chinese porcelain for export to Europe. The design became a staple 26 of European chinoiserie and ‘rococo’ styles 00 27 2.2 Early 15th-century large porcelain serving dish made in Jingdezhen 28 for consumers in the Middle East.
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