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AHRM 1014 > Exam #1 History of Design > Flashcards

Exam #1 History of Design Flashcards

1
Q

Paleolithic/Neolithic (Stone), Bronze, and iron ages

A

-tools were first “designed” objects
-Got us asking questions
-material/methods/form
-performance=beauty

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2
Q

Neolithic Era Part 1

A

-refined tools
-transition to farming-more homewares
-craft: pottery and weaving, potter’s wheel-designed good, first machine to have been design for serial production of designed good.
-Potter’s wheel-first use of the wheel but took almost 3 centuries mores until wheel was implemented as a transportation device (wheelbarrow type tool)

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3
Q

Neolithic Era Part 2

A

-move from caves
-created structures for living/working
-mudbrick/stone walls
-paint and plaster
-excavated dwellings Skara Brae, Scotland, Europe’s most complete Neolithic village

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4
Q

Bronze Age

A

-Metal (bronze and copper) replacing stone for tools/implements
-use of mold=replication
-mold: designs could be replicated

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5
Q

Iron Age

A

-Iron: malleable, could experiment
-form and functional= improved tool performance
-“Design maketh man”
-“we shape our tools and then the tools shape us”- we created them but then they change how we live and work

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6
Q

Ancient Egypt

A

-rise of royal families living in structure besides mud huts
-new structures boasted murals portraying their history and beliefs
-Basic furnishings and decorative objects like vases and sculptures
-the practice of interior design dates back to Ancient Egyptians

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7
Q

Greek Empire

A

-advancements in civilization and lifestyles
-citizens decorating their homes for the first time
-Greeks possessing furnishings inlaid with ornate ivory and silver details
-iconic pillars and columns as key motifs
-Greeks created standard rules and procedures for building construction
-Roman and Greek civilization the Egyptian art of interior designing and accessorizing

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8
Q

Roman Empire

A

-The roman decorated their homes with murals and mosaics, and furnishings featured clawed feet
-Major advancements in architecture with the Roman Arch

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9
Q

Roman Major Advancements

A

-Egypt: ramps, levers
-China: compass, crossbow, propeller
-Greece: giant catapult

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10
Q

Major advancement of Brick

A

-major factor in advancement of civilization
-came about through trial and error: had to determine best material, exact form and size, best production method
-Easily standardized and mass-produced: factories

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11
Q

Coinage

A

-impact on trade=impact on human development
-learned value
-a designed item itself
-standardized
-design as metaphor: coins had value for culture and monetarily

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12
Q

Weaponry

A

-Standardized designs to allow for significant volume
-first real “division of labor” in design
-all items were considered from functional and design/manufacturing standpoint
-designing and making became two separate tasks

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13
Q

Invention vs Design

A

-very little design for beauty at this time, but didn’t mean there was no design
-invention is the results of design thinking
-still happens with drawing, trial and error, models

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14
Q

The Dark Ages

A

-The Dark Ages saw disinterest in interior design
-People opting for simple paneled wood walls, minimal furnishings, and stone slab floors
-coined the dark ages for good reason

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15
Q

Standardization/mass production

A

-more extensive use of molds
-creation of seals
-specializes workshops
-formed craft guilds
-apprentice>journeyman>master
-craft guilds were big socially, basically a labor organization that gave importance to the craftsman, but also important because it resulted in specialized crafts for groups, and it produced higher quality goods because they wanted to preserve their reputation.

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16
Q

Notable Inventions

A

-larger, stronger plough
-waterwheel (water power for energy)
-Hourglasses (first real timekeeping device): and then the mechanical clock
-Blast furnace (stronger iron)
-Spinning wheel for textiles

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17
Q

Middle Ages

A

-short life spans
-kingdoms: portability, necessity
-feudal system
-little room for art/beauty

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18
Q

The Byzantine Empire

A

-During this period grand domes and decadent took center stage
-after the dark ages, Europeans were once again inspired to introduce color and decorative ornamentation into their homes.

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19
Q

Gothic

A

-in response to the dark ages, decorative ornamentation and bold colors were once again prominent interior design features
-highly decorated interior and exterior featuring spires, gargoyles, and stained glass windows

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20
Q

The Renaissance Period

A

-Interior design flourished during the Renaissance period
-Grand furnishings and art. Vibrant hues and luxurious textiles
-Silk and velvet along with marble surface. Carpets were used as wall art when possible.
-Throughout the 15th and 16th centuries, the French Renaissance started a renewable focus on art and creativity in interior design.

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21
Q

The Printing Press

A

-Designed object with largest impact on human history
-Thoughts and ideas could be shared
-pattern books published
-separation of designing and making
-literacy improved

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22
Q

India

A

-The architecture rooted in its history, culture and religion
-The architectural methods practiced in India are a result of examination and implementation of its established building traditions and outside cultural interactions
-as far back as ancient India, architects used to double as interior designers to fully develop their complete vision
-Architect Vishwakarma: one of the gods featured in India mythology

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23
Q

Age of Enlightenment/Scientific Revolution

A

-early roots of a structed design process
-spurred the country into a period of innovation and majorly upset the dominant cultural understanding of the time
-Free Mason as the primary source of authority and legitimacy and came to advance ideals like liberty, progress, tolerance, fraternity, constitutional government and separation of church and state. In France the central doctrines of the Enlightenment philosophers were individual liberty and religious tolerance, in opposition to an absolute monarchy

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24
Q

Design

A

-“The Analysis of Beauty”
-Emergence of consumer products
-“how to attain timeless beauty”
-Simplicity, harmony, symmetry, proportion
-Relationship between purpose of object and the way it looks
-started to see people wonder about beauty and design, beginning of the overarching theme for design of what is timeless, goal of simplicity but kept being swept in newest trends.

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25
Q

New Styles Born

A

-Baroque= “rough, imperfect pearl”, Italy, Formality, ceremony, serious, bold colors, dark, heavy
-Rococo=”shell”, France, Comfort, informality, fantasy, gold/white/pastels, smaller rooms, asymmetric, curved lines

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26
Q

The Industrial Revolution

A

-Throughout the Industrial Revolution interior design was available for a wider audience
-easier to access for the general population
-easier printing processes creating a wide distribution of fashion and lifestyle publications and the fact that luxury items became increasingly attainable
-The profession of interior design came with the rise of middle-class society and the complicated architecture that rose to popularity during the industrial revolution

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27
Q

Beginning of Industrial Revolution Part 1

A

-industrial revolution=the process of change from an agrarian and handcraft economy to one dominated by industry and machine manufacturing
-Applied science=industrialized manufacturing
-spinning machines= factories
-coal and steam replaced wind and water for energy/power
-decreased use of human/animal labor and increased productivity
-terrible work conditions

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28
Q

Beginning of Industrial Revolution Part 2

A

-Victorians produced wonderful works of architecture, the styles that architects developed from the beginning of Queen Victoria’s reign. -There was an abundant revival of styles: Greek Revival
-Gothic Revival and a return to Renaissance forms
-Prominent styles during this later period included Italianate, second empire, strike-Eastlake and Queen Anne, Victorians also began to paint their homes in unique colors.

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29
Q

Industrial Revolution in the United States

A

-Caught on more quickly because of labor savings and lack of artisans
-unskilled labor of women and children
-heavy investment in machines
-Initial challenge was primarily transportation
-Influence of patent law

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30
Q

New styles born 1800

A

-Neoclassicism
-clean, elegant, columns, large in size
-Objectivity, impersonality, rationality, decorum, balance, harmony, proportion and moderation
-Gothic Revivalism (start of 1800)
-Irregular shapes/forms, pointed arch, castle-like

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31
Q

Neoclassical Style

A

-Taking inspiration from ancient Greek and Roman cultures
-This era saw furnishings rely heavily on the use of bronze and gold metals, and soft furnishings featuring silk, velvet, and satin. The trend of matching wallpaper and furnishings also took hold.

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32
Q

Steam

A

-led to collective work environment
-drove machinery that could produce design goods
-eventually powered the stem locomotive

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33
Q

Cotton

A

-Mills allowed for faster, wider
-Became a machined industry

34
Q

Iron and Steel

A

-New methods improved usability of iron, allowed for use in design and manufacturing
-Steel became low cost/high volume, led to widespread use for cutlery, tools, weapons, railroad
-Both contributed to even greater accuracy, precision, standardization, consistency, interchangeability

35
Q

Transportation

A

-New development of roads and canals
-steamboat
-railroads

36
Q

Transportation by 1860

A

-Machine made clothing
-US no longer trailed Great Britain, France, and Germany
-Design was just a part of production (conception and planning)

37
Q

Moving toward gilded age

A

-population doubled between 1860 and 1890
-Urbanization
-“glittering on the surface but corrupt underneath”
-“Build a better mousetrap, and the world will be a path to your door.”

38
Q

Centennial-World Fair in Philadelphia

A

-Showed off America’s dominance in technology
-intoxication with foreign goods/material things
-Beauty for beauty’s sake
-Desire to “decorate”
-Made the public aware

39
Q

Effects on design/consumption part 1

A

-handbooks, design books, major publications
-kicked off major design campaigns
-Museums, exhibitions
-Education in design=drawing schools, art education for children
-Design as recognized

40
Q

Effects on design/consumption part 2

A

-this was a time when women fashions took on a new opulence and extravagance
-late 1800s
-influenced by British royalty
-etiquette and fashion were central to life in the gilded age, Dressing properly came to clearly define a person’s good breeding, rank, station, and wealth
-“it is the duty of every lady to dress as well and as becomingly as her means will allow.”

41
Q

Effects on design/consumption part 3

A

-The standard for men was that “for evening a gentleman should wear a black dress suit, with white cravat, and kid gloves of white or pale hue. His shirtfront should be spotless” Men also wore evening dresses for “large dinner party, opera, or ball”
-And before dusk “The morning dress for gentlemen is a black frock coat, or a black cut-away, white or black vest, grey or colored pants, a high silk (stove-pipe) hat, and a black neck-tie”

42
Q

Home

A

-Women began to stay at home
-Point of tension=home as status symbol (ornate, visual excess)
vs home as expression of simplicity/morality/lack of excess

43
Q

Movements

A

Aesthetic: Late 1800’s
-Driven by employment of decorators
-led to new motifs/styles
-Designer’s major cultural function was to enhance the aesthetic experience of life for its own sake”
Arts and Crafts: About 1880-1920
-Authenticity, simplicity
-ideological and practical-rejection of the artificial abundance of gilded age
-fine home spirit-devotion to parents and the fireside”

44
Q

Aesthetic Movement 1800’s to today

A

-art for art sake
-the aesthetic movement was a way for radicals to express their dislike of current, tired interior design
-from the early 1800’s and on, more and eclecticism was often found in interior design in Europe and America

45
Q

Art Nouveau 1890 to 1920

A

-The enthusiasm behind the Art Nouveau movement was in focusing on natural silhouettes derived by botanical elements that lent the era its signature curved lines and organic shapes
-The 19th century saw, however, the ultimate in appreciation and the popularization of interior design

46
Q

Arts and Crafts 1860 to 1910

A

-in order to highlight their opposition to mass-produced ordinary items due to the innovations of the industrial revolution, people turned to traditional crafts and classic elements to produce furnishings.

47
Q

Art Deco 1920 to 1960

A

-intoxicating blend of early 20th century design styles including constructivism, Cubism, Modernism, Bauhaus, Art Nouveau, and Futurism
-One of the most well-known interior design styles
-represented modernity, everyday glamor, and elegance

48
Q

Modernism 1880-1940

A

-The modernist movement stressed simplicity, clarity of form, and rejected noise in design
-By the 20th century, functionality became a key component in the approach to interior design
-Falling water Frank Lloyd wright
-Farnsworth house Meis Van Der Rohe
-Villa Savoye Corbusier
-Glass house Phillip Johnson

49
Q

Bauhaus 1920-1934

A

-Grand yet minimal and beautifully executed gestures
-Founded by German architect Walter Bauhaus, who also created the Bauhaus school of art and design in Weimar Germany

50
Q

End of an era

A

-market saturation
-replacement good/design for obsolescence=moved away from research/timelessness
-Automobile industry led the way in design
-Spending stimulated economy/patriotic duty=led into Great Depression

51
Q

Great Depression

A

-preceded by saturated market
-led to mass poverty, lost jobs, homelessness, manufacturers making major cuts
-Design become economically important
-surface styling became important, because if consumers could choose between two products, they would choose the more attractive one
-The stock market crash of 1929. During the 1920 the US stock market underwent a historic expansion
-banking panics and monetary contraction
-The gold standard
-Decreased international lending and tariffs

52
Q

Design during the depression part 1

A

-found a way to stimulate sales: changing forms and surface qualities
-developed an even more streamlined style
-decreased resistance
-minimize chaos
-this streaming continued for serval decades

53
Q

Streamlining

A

-literally could make things happen faster (cars)
-Made a product more intuitive, simpler, made the marketing of it easier but also decreased sales resistance

54
Q

Design during the depression part 2

A

-Hard on society, big for designers
-American design established as a major international force
-change how goods were consumed
-appeal to emotional impulses

55
Q

WWII Influence on Design

A

-Tons of stuff needed designing
-kept designers busy
-led to significant use of plywood, the “modern miracle material”

56
Q

Moma Competition

A

-1948 Charles Eames
-Single form seat shells made of molded plastic
-Interchangeable bases
-Among the first large, plastic, consumer items to be mass produced

57
Q

Post-war design (1945) part 1

A

-Depression + war=people have felt deprived
-advertising had been appealing to “designing tomorrow”
-and designers wanted to be ready to get the sales
-people were ready to purchase/lots of people needed housing
-pre-fabrication, factory-built housing
-planned communities

58
Q

Post-war design part 2

A

-factories that produced war goods were now ready to manufacture consumer goods
-consumption transitioned to focus on home life, American dream

59
Q

Tension, Again

A

-good design versus mass market appeal
-design shapes the “physical frame of public and private life”
-wanted to create more than a “throw-away aesthetic”
-but people had to buy it
-momentary purchase (what’s popular) versus eternity

60
Q

Movement: Mid-Century Modern

A

-Functionality is important, as form follows function
-uncluttered and sleek lines with both organic and geometric forms
-Minimal ornamentation
-an exploration of different traditional as well as non-traditional materials
-Juxtaposition of different, and sometimes contrasting materials
-Iconic pieces have been endlessly copied

61
Q

1950 Birth of Popular Culture

A

-Television advertisements and TV dinners, Fast food, Rock and roll, sugary cereals
-corporate in-house design
-middle class expressing personal freedoms
-identities linked to purchases

62
Q

Transition, Social and cultural disruptions

A

-Vietnam War
-Urban poverty
-Racial conflict
-Youth counterculture

63
Q

1960s ideological changes impact design

A

-young people with big influence
-Utopian ideals, new visions for the future
-Plastics/thermoplastics
-playful design

64
Q

Designing for people

A

-scientific method of design based on human’s factors
-began to erode the “modern” trends in design
-move toward organic
-first use of anthropometrics
-no vain ornamentation

65
Q

Pop and pop art

A

-popular, transient, expendable, low cost, mass produced, young, witty, sexy, gimmicky, glamorous, big business

66
Q

Influence of design: Tension

A

-Flat -packed furniture, expendability, pop influence
vs
-stuck in corporate design: conservative company choices, rise of middle-of-the-road brands and products

67
Q

Modern design

A

-60’s disposable design gimmickry
-design was everywhere
-utopian ideals
-influence of young people
-transformed design and consumption

68
Q

Modern design transition

A

-Anti-industry/anti-establishment
-environmentalism
-ergonomics
-consumers grew wary of all modern marketing/psychological manipulation
-planned obsolescence became offensive
-encouraged conservativism, lessened experimentation
-Bland products
-Foreign imports-Buckminster fuller geodesic dome-can we join the earth to high technology

69
Q

1970’s

A

-Contradictions:
-drab earth tones vs campy colors
-nature-loving hippiedom vs high-tech futurism

70
Q

Postmodern design “Do your own Thing”

A

-Had to learn to think globally
-Results of emphasis on entrepreneurship
-economic upturn meant more money to spend in acquiring design
-mass travel, mass emigration-> more ethnic diversity
-global media

71
Q

1980s: The Design Decade

A

-flashback to 1930 where design in CENTRAL to business
-“look and image can mean the difference between a hit and a flop”

72
Q

Case Study: Ford Taurus

A

-1970 energy crisis led to sales slump
-American cars < foreign competitors
-current team was satisfied with boxy, awkward cars
-revised entire design process: team taurus
-communication and collaboration
-regarded as single most important American design of the 1980’s

73
Q

Major Influencers

A

-Philippe Starck= Boutique Hotels- “designed” luxury
-Michael Graves= Target
-OXO Good Grips

74
Q

Scandinavian Modern 1930’s to Today

A

-highlights the virtues of beautiful designed, practical objects
-easily affordable and accessible
-belonging to the school of modernism, Scandinavian interior design is a design movement characterized by a focus on functionalism and simplicity

75
Q

Eclectic 1900’s to Today

A

-mix different design styles with authority for the sharp increase of designers in the industry
-Eclectic style is all about harmony and the coming together of disparate styles, juxtaposing textures, and contrasting colors to create a cohesive space
-the clash that works versus the clash that fails

76
Q

Colonial Revival 1905 to Today

A

-popular in the US
-colonial revival found inspiration from the Neoclassical and Georgian historical styles

77
Q

Postmodernism 1978-Today

A

-Contradiction to the generic blandness of the Modernist movement
-Modernist architecture emphasizes function=roots in Bauhaus, now evolved into architects such as I.M. Pei
-Post-Modern architecture combines new ideas with traditional forms= Micheal Graves, Phillip Johnson-even architects such as Robert Stern, Frank Gehry and Robert Venturi

78
Q

Contemporary 1980’s to Today

A

-classic and timeless, light-handed, sparse take on decorating, calming and serene
-Focus on architectural elements, decorative details, attention to bold scales, and a concise color palette to create a warm space with easy sophistication
-Simplicity, clean lines, plays on texture, and quiet drama are fundamental in achieving a perfectly balanced contemporary style home

79
Q

Computers

A

-create tension: visual and operational coherence was difficult
-Steve Jobs= make it “as easy to use as a toaster”
-addition of the mouse
-create entirely new industries

80
Q

Design Today

A

-With technology available, we can all design
-Digital capabilities let us personalize most anything
-no more visions of universal coherence
-Now we also feel closer to the source/more like craftspeople

AHRM 1014 (6 decks)

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