Barry M. Katz
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780262029636
- eISBN:
- 9780262330923
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262029636.003.0001
- Subject:
- Business and Management, Business History
Chapter One traces the Silicon Valley design community back to its origins in the 1950s, when a small number of technology companies first began to put “designers" on their staffs. Drawing upon ...
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Chapter One traces the Silicon Valley design community back to its origins in the 1950s, when a small number of technology companies first began to put “designers" on their staffs. Drawing upon corporate and archival records, interviews, and surviving artifacts, this chapter describes the campaigns of the first generation of designers as they sought to demonstrate to a skeptical engineering audience that “design” could improve not just the appearance but the functionality and marketability of a company’s products. The example of two companies in particular—Hewlett Packard and Ampex—reveals the stages by which designers achieved a hard-won credibility as they advanced from fitting electronic components into sheet metal enclosures to helping to define brands.Less
Chapter One traces the Silicon Valley design community back to its origins in the 1950s, when a small number of technology companies first began to put “designers" on their staffs. Drawing upon corporate and archival records, interviews, and surviving artifacts, this chapter describes the campaigns of the first generation of designers as they sought to demonstrate to a skeptical engineering audience that “design” could improve not just the appearance but the functionality and marketability of a company’s products. The example of two companies in particular—Hewlett Packard and Ampex—reveals the stages by which designers achieved a hard-won credibility as they advanced from fitting electronic components into sheet metal enclosures to helping to define brands.
Barry M. Katz
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780262029636
- eISBN:
- 9780262330923
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262029636.003.0003
- Subject:
- Business and Management, Business History
The 1979 Palo Alto telephone directory lists exactly 9 “design” firms-squeezed between “detective agencies” and “diaper services.” Today there are, arguably, more designers working in the San ...
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The 1979 Palo Alto telephone directory lists exactly 9 “design” firms-squeezed between “detective agencies” and “diaper services.” Today there are, arguably, more designers working in the San Francisco Bay Area than anywhere else in the world. This chapter traces the further evolution of professional practice, but also the formation of a professional design community and the “sea change” that resulted in, literally, the fusion of European design and American engineering. By the mid-1970s a small but growing number of technology companies had created internal design groups, several independent consultancies had been formed, and this nascent community had begun to contribute a distinctive voice to the national professional societies. The passage of computing out of the laboratory and into the office, the classroom, and ultimately the home, proved to be the decisive catalyst.Less
The 1979 Palo Alto telephone directory lists exactly 9 “design” firms-squeezed between “detective agencies” and “diaper services.” Today there are, arguably, more designers working in the San Francisco Bay Area than anywhere else in the world. This chapter traces the further evolution of professional practice, but also the formation of a professional design community and the “sea change” that resulted in, literally, the fusion of European design and American engineering. By the mid-1970s a small but growing number of technology companies had created internal design groups, several independent consultancies had been formed, and this nascent community had begun to contribute a distinctive voice to the national professional societies. The passage of computing out of the laboratory and into the office, the classroom, and ultimately the home, proved to be the decisive catalyst.
Maiken Umbach
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780199557394
- eISBN:
- 9780191721564
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199557394.003.0005
- Subject:
- History, Cultural History, European Modern History
Chapter 5 analyses how modern mass‐produced objects, especially the products manufactured and promoted by the German Werkbund, incorporated notions of place, memory and nature. The first wave of ...
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Chapter 5 analyses how modern mass‐produced objects, especially the products manufactured and promoted by the German Werkbund, incorporated notions of place, memory and nature. The first wave of globalization, while giving rise to a marked cultural imperialism, also fostered a new preoccupation with cultural specificity in Germany. Vernacular prototypes and Arts and Crafts inspirations informed a new industrial commodity culture, and underpinned the success story of goods ‘made in Germany’. Challenging existing accounts of the Werkbund controversy (Werkbundstreit) of 1914, which have focused on the conflict between art and economics, the chapter draws attention to a subtly different rivalry between Muthesius, who saw authentic and rooted design as the cure for the loss of identity in modernism, and Osthaus, who saw the commercialization of culture as a way of democratizing modernity, and whose aesthetic programme took its inspiration from advertising and shop window displays.Less
Chapter 5 analyses how modern mass‐produced objects, especially the products manufactured and promoted by the German Werkbund, incorporated notions of place, memory and nature. The first wave of globalization, while giving rise to a marked cultural imperialism, also fostered a new preoccupation with cultural specificity in Germany. Vernacular prototypes and Arts and Crafts inspirations informed a new industrial commodity culture, and underpinned the success story of goods ‘made in Germany’. Challenging existing accounts of the Werkbund controversy (Werkbundstreit) of 1914, which have focused on the conflict between art and economics, the chapter draws attention to a subtly different rivalry between Muthesius, who saw authentic and rooted design as the cure for the loss of identity in modernism, and Osthaus, who saw the commercialization of culture as a way of democratizing modernity, and whose aesthetic programme took its inspiration from advertising and shop window displays.
John Harwood
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816670390
- eISBN:
- 9781452946825
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816670390.003.0002
- Subject:
- Architecture, Architectural History
This chapter discusses the beginning of Eliot Noyes’ association with IBM. It initially presents a background of Noyes’ architectural work, noting his compound methods to design—a combination of ...
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This chapter discusses the beginning of Eliot Noyes’ association with IBM. It initially presents a background of Noyes’ architectural work, noting his compound methods to design—a combination of traditional techniques and high modernism. Noyes was strongly influenced by Peter Behrens, a prominent member of Werkbund and pioneer of corporate design. Behrens’ ideologies were passed on to Noyes through his professor, Walter Gropius, founder of the Bauhaus school and proponent of modern and industrial design. The chapter then discusses Noyes’ conception of “organic design”, which can be interpreted as the link between the characteristic of being organic and the harmonious organization of different parts. It also recounts Noyes’ and eventually Paul Rand’s involvement in the reinvention of the IBM graphics.Less
This chapter discusses the beginning of Eliot Noyes’ association with IBM. It initially presents a background of Noyes’ architectural work, noting his compound methods to design—a combination of traditional techniques and high modernism. Noyes was strongly influenced by Peter Behrens, a prominent member of Werkbund and pioneer of corporate design. Behrens’ ideologies were passed on to Noyes through his professor, Walter Gropius, founder of the Bauhaus school and proponent of modern and industrial design. The chapter then discusses Noyes’ conception of “organic design”, which can be interpreted as the link between the characteristic of being organic and the harmonious organization of different parts. It also recounts Noyes’ and eventually Paul Rand’s involvement in the reinvention of the IBM graphics.
Stephen Zamora, José RamlÓN CossÍO, Lenone Pereznieto, José Roldá n-Xopa, and David Lopez
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780199288489
- eISBN:
- 9780191700514
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199288489.003.0021
- Subject:
- Law, Constitutional and Administrative Law
This chapter discusses the rights and obligations of the creators of artistic, literary, scientific, industrial, and commercial works. It focuses on patents and copyrights, and touches on other forms ...
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This chapter discusses the rights and obligations of the creators of artistic, literary, scientific, industrial, and commercial works. It focuses on patents and copyrights, and touches on other forms of intellectual property rights, such as utility models, industrial designs, industrial secrets, commercial advertisements, trade names, and appellations of origin.Less
This chapter discusses the rights and obligations of the creators of artistic, literary, scientific, industrial, and commercial works. It focuses on patents and copyrights, and touches on other forms of intellectual property rights, such as utility models, industrial designs, industrial secrets, commercial advertisements, trade names, and appellations of origin.
Graeme Dinwoodie and William Cornish
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199661770
- eISBN:
- 9780191778612
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199661770.003.0006
- Subject:
- Law, Law of Obligations, Company and Commercial Law
This chapter begins with a general discussion of intellectual property, covering the range of the subject, intellectual property and monopoly, legal sources, European Union policies, international ...
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This chapter begins with a general discussion of intellectual property, covering the range of the subject, intellectual property and monopoly, legal sources, European Union policies, international oversight, actions against unconnected infringers, and parallel importation of connected goods. It then deals with patents for inventions, confidential information, copyright, industrial designs, trademarks and names, and registered trademarks.Less
This chapter begins with a general discussion of intellectual property, covering the range of the subject, intellectual property and monopoly, legal sources, European Union policies, international oversight, actions against unconnected infringers, and parallel importation of connected goods. It then deals with patents for inventions, confidential information, copyright, industrial designs, trademarks and names, and registered trademarks.
Danielle Shapiro
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780816693405
- eISBN:
- 9781452954318
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816693405.003.0007
- Subject:
- Art, Design
This chapter brings together all the elements of his career in the postwar era as he and the industrial design field matured. It concludes with an analysis of Vassos’s contribution and avenues for ...
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This chapter brings together all the elements of his career in the postwar era as he and the industrial design field matured. It concludes with an analysis of Vassos’s contribution and avenues for further study.Less
This chapter brings together all the elements of his career in the postwar era as he and the industrial design field matured. It concludes with an analysis of Vassos’s contribution and avenues for further study.
Camilo D. Trumper
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520289901
- eISBN:
- 9780520964303
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520289901.003.0002
- Subject:
- History, Latin American History
Chapter 1 examines the connections between urban planning and political theory, with particular attention to how the state’s urbanization and industrial design programs of the 1960s and 1970s shed ...
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Chapter 1 examines the connections between urban planning and political theory, with particular attention to how the state’s urbanization and industrial design programs of the 1960s and 1970s shed light on the era’s political debates over citizenship. It looks especially closely at the work of the state-sponsored industrial design team that was charged with reshaping both everyday objects like spoons, plates, and chairs, and the larger processes that underwrote the integration of industry into a national socialist economy. This chapter examines the connections between seemingly mundane or innocuous everyday objects, and the era’s most ambitious projects. It ends with a study of the building designed for and built to host the Third United Nations Congress on Trade and Development (UNCTAD III), which acted as a symbol of Popular Unity socialist modernity and a stage upon which its residents and visitors could practice an inclusive vision of Popular Unity socialism. The UNCTAD building was, in short, a public sphere rooted or grounded in public space and action. This chapter offers a unique view into multilayered visions for an “ideal” socialist city, and a model for the practice of a particular, modern socialist citizenship.Less
Chapter 1 examines the connections between urban planning and political theory, with particular attention to how the state’s urbanization and industrial design programs of the 1960s and 1970s shed light on the era’s political debates over citizenship. It looks especially closely at the work of the state-sponsored industrial design team that was charged with reshaping both everyday objects like spoons, plates, and chairs, and the larger processes that underwrote the integration of industry into a national socialist economy. This chapter examines the connections between seemingly mundane or innocuous everyday objects, and the era’s most ambitious projects. It ends with a study of the building designed for and built to host the Third United Nations Congress on Trade and Development (UNCTAD III), which acted as a symbol of Popular Unity socialist modernity and a stage upon which its residents and visitors could practice an inclusive vision of Popular Unity socialism. The UNCTAD building was, in short, a public sphere rooted or grounded in public space and action. This chapter offers a unique view into multilayered visions for an “ideal” socialist city, and a model for the practice of a particular, modern socialist citizenship.
Christopher Innes
- Published in print:
- 2005
- Published Online:
- October 2013
- ISBN:
- 9780300108040
- eISBN:
- 9780300129557
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300108040.003.0001
- Subject:
- Society and Culture, Cultural Studies
This chapter discusses the “style” of twentieth-century America, which was deliberately designed and created by specific individuals. The particular cultural shift followed by this style, copied ...
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This chapter discusses the “style” of twentieth-century America, which was deliberately designed and created by specific individuals. The particular cultural shift followed by this style, copied around the world, marks the start of industrial design in a modern sense. Perhaps surprisingly, this type of design came out of theater. In fact, the magic of the stage turns out to be crucial to its development, since the people who led the way in consciously designing a new lifestyle for America made their reputations on Broadway and carried its theatricality over into everything they did. The objects and styles created by these individuals, or by their descendants in the industrial process, surround us still and continue to condition the way we live.Less
This chapter discusses the “style” of twentieth-century America, which was deliberately designed and created by specific individuals. The particular cultural shift followed by this style, copied around the world, marks the start of industrial design in a modern sense. Perhaps surprisingly, this type of design came out of theater. In fact, the magic of the stage turns out to be crucial to its development, since the people who led the way in consciously designing a new lifestyle for America made their reputations on Broadway and carried its theatricality over into everything they did. The objects and styles created by these individuals, or by their descendants in the industrial process, surround us still and continue to condition the way we live.
Richard Hornsey
- Published in print:
- 2010
- Published Online:
- August 2015
- ISBN:
- 9780816653140
- eISBN:
- 9781452946139
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816653140.003.0006
- Subject:
- History, European Modern History
This chapter looks at the postwar importance of the home and widespread deployment of “contemporary” interior design as an indirect method of domestic social management. It compares the public design ...
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This chapter looks at the postwar importance of the home and widespread deployment of “contemporary” interior design as an indirect method of domestic social management. It compares the public design advice of the Council of Industrial Design (COID) to the theoretical writings of the queer computer scientist Alan Turing, which reveals the computational logics within the color schemes and contrasting textures of the contemporary style. The chapter also considers the impact of Do-It-Yourself (DIY), focusing on the DIY magazines, such as The Practical Householder, which adhered to the modish vision of interior design propagated by the COID.Less
This chapter looks at the postwar importance of the home and widespread deployment of “contemporary” interior design as an indirect method of domestic social management. It compares the public design advice of the Council of Industrial Design (COID) to the theoretical writings of the queer computer scientist Alan Turing, which reveals the computational logics within the color schemes and contrasting textures of the contemporary style. The chapter also considers the impact of Do-It-Yourself (DIY), focusing on the DIY magazines, such as The Practical Householder, which adhered to the modish vision of interior design propagated by the COID.
Eran Liss and Dan Adin
- Published in print:
- 2012
- Published Online:
- April 2015
- ISBN:
- 9780199917419
- eISBN:
- 9780190260149
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199917419.003.0003
- Subject:
- Law, Intellectual Property, IT, and Media Law
This chapter focuses on the role of industrial design within the entire spectrum of intellectual property laws in Israel. It first considers the main prerequisites that require analysis of industrial ...
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This chapter focuses on the role of industrial design within the entire spectrum of intellectual property laws in Israel. It first considers the main prerequisites that require analysis of industrial designs, namely: novelty and non-functionality. In particular, it examines what constitutes prior “publication” that bars novelty and what level of difference from the prior art is required to meet the novelty requirement. It then turns to the non-functionality requirement, with particular reference to registration procedure, the registration process, the so-called supplementary designs, and cancellation of a registered design. It also discusses what constitutes infringement of a registered design, defenses against infringement claims, remedies in infringement proceedings, and the principle of parallel importation.Less
This chapter focuses on the role of industrial design within the entire spectrum of intellectual property laws in Israel. It first considers the main prerequisites that require analysis of industrial designs, namely: novelty and non-functionality. In particular, it examines what constitutes prior “publication” that bars novelty and what level of difference from the prior art is required to meet the novelty requirement. It then turns to the non-functionality requirement, with particular reference to registration procedure, the registration process, the so-called supplementary designs, and cancellation of a registered design. It also discusses what constitutes infringement of a registered design, defenses against infringement claims, remedies in infringement proceedings, and the principle of parallel importation.
- Published in print:
- 2012
- Published Online:
- June 2013
- ISBN:
- 9780804778046
- eISBN:
- 9780804780537
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804778046.003.0004
- Subject:
- History, British and Irish Modern History
This chapter discusses the contested development of the museums' art collections, showing that the museums of Birmingham, Liverpool, and Manchester collected art with the understanding that they were ...
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This chapter discusses the contested development of the museums' art collections, showing that the museums of Birmingham, Liverpool, and Manchester collected art with the understanding that they were providing essential experiences rather than representative historical or educational collections. The municipal art museums in these cities opened in purpose-built galleries with intact permanent collections, although of varying quality, representativeness, and scope. The municipal art museum in Birmingham had been both an “art gallery” and an “industrial museum.” Representations of the naked human form have been disputed in the municipal art museums in Liverpool. The battle between reformers and the “popular party” played out in the conflict over the place of applied art in the Manchester collection. For all three museums, art was socially significant and potentially beneficial due to its ability to represent the experience of beauty, and applied art could be a vital means for enhancing industrial design.Less
This chapter discusses the contested development of the museums' art collections, showing that the museums of Birmingham, Liverpool, and Manchester collected art with the understanding that they were providing essential experiences rather than representative historical or educational collections. The municipal art museums in these cities opened in purpose-built galleries with intact permanent collections, although of varying quality, representativeness, and scope. The municipal art museum in Birmingham had been both an “art gallery” and an “industrial museum.” Representations of the naked human form have been disputed in the municipal art museums in Liverpool. The battle between reformers and the “popular party” played out in the conflict over the place of applied art in the Manchester collection. For all three museums, art was socially significant and potentially beneficial due to its ability to represent the experience of beauty, and applied art could be a vital means for enhancing industrial design.
Maiken Umbach
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780199557394
- eISBN:
- 9780191721564
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199557394.001.0001
- Subject:
- History, Cultural History, European Modern History
This is a study of a distinctive brand of modernism, which first emerged in late 19th‐century Germany, and remained influential throughout the inter‐war years and beyond. Its supporters saw ...
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This is a study of a distinctive brand of modernism, which first emerged in late 19th‐century Germany, and remained influential throughout the inter‐war years and beyond. Its supporters saw themselves as a new elite, ideally placed to tackle the many challenges facing the young and rapidly industrializing German nation‐state. They defined themselves as bourgeois, and acted as self‐appointed champions of a modern consciousness. Focusing on figures such as Hermann Muthesius, Fritz Schumacher, and Karl‐Ernst Osthaus, and the activities of the Deutscher Werkbund and other networks of bourgeois designers, writers and ‘experts', this book shows how bourgeois modernism shaped the infrastructure of social and political life in early 20th‐century Germany. Like the project of liberal governmentality described by Foucault, bourgeois modernism exercised its power not so much in the realm of ideas, but by transforming the physical environment of German cities, from domestic interiors, via consumer objects, to urban and regional planning. Drawing on a detailed analysis of key material sites of bourgeois modernism, and interpreting them in conjunction with written sources, this study offers new insights into the history of the bourgeois mindset and its operations in the private and public realms. Thematic chapters examine leitmotifs such as the sense of locality and place, the sense of history and time, and the sense of nature and culture. Yet for all its self‐conscious progressivism, German bourgeois modernism was not an inevitable precursor of neo‐liberal global capitalism. It remained a hotly contested historical construct, which was constantly redefined through its performance in different geographical and political settings.Less
This is a study of a distinctive brand of modernism, which first emerged in late 19th‐century Germany, and remained influential throughout the inter‐war years and beyond. Its supporters saw themselves as a new elite, ideally placed to tackle the many challenges facing the young and rapidly industrializing German nation‐state. They defined themselves as bourgeois, and acted as self‐appointed champions of a modern consciousness. Focusing on figures such as Hermann Muthesius, Fritz Schumacher, and Karl‐Ernst Osthaus, and the activities of the Deutscher Werkbund and other networks of bourgeois designers, writers and ‘experts', this book shows how bourgeois modernism shaped the infrastructure of social and political life in early 20th‐century Germany. Like the project of liberal governmentality described by Foucault, bourgeois modernism exercised its power not so much in the realm of ideas, but by transforming the physical environment of German cities, from domestic interiors, via consumer objects, to urban and regional planning. Drawing on a detailed analysis of key material sites of bourgeois modernism, and interpreting them in conjunction with written sources, this study offers new insights into the history of the bourgeois mindset and its operations in the private and public realms. Thematic chapters examine leitmotifs such as the sense of locality and place, the sense of history and time, and the sense of nature and culture. Yet for all its self‐conscious progressivism, German bourgeois modernism was not an inevitable precursor of neo‐liberal global capitalism. It remained a hotly contested historical construct, which was constantly redefined through its performance in different geographical and political settings.
Christopher Innes
- Published in print:
- 2005
- Published Online:
- October 2013
- ISBN:
- 9780300108040
- eISBN:
- 9780300129557
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300108040.001.0001
- Subject:
- Society and Culture, Cultural Studies
From the 1920s through the 1950s, two individuals, Joseph Urban and Norman Bel Geddes, did more, by far, to create the image of “America” and make it synonymous with modernity than any of their ...
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From the 1920s through the 1950s, two individuals, Joseph Urban and Norman Bel Geddes, did more, by far, to create the image of “America” and make it synonymous with modernity than any of their contemporaries. Urban and Bel Geddes were leading Broadway stage designers and directors who turned their prodigious talents to other projects, becoming mavericks first in industrial design and then in commercial design, fashion, architecture, and more. The two men gave shape to the most quintessential symbols of the modern American lifestyle, including movies, cars, department stores, and nightclubs, along with private homes, kitchens, stoves, fridges, magazines, and numerous household furnishings. This book tells the story of Urban and Bel Geddes. The book shows how these two men with a background in theater lent dramatic flair to everything they designed and how this theatricality gave the distinctive modernity they created such wide appeal. If the American lifestyle has been much imitated across the globe over the past fifty years, it is due in large measure to the designs of Urban and Bel Geddes. Together they were responsible for creating what has been called the “Golden Age” of American culture.Less
From the 1920s through the 1950s, two individuals, Joseph Urban and Norman Bel Geddes, did more, by far, to create the image of “America” and make it synonymous with modernity than any of their contemporaries. Urban and Bel Geddes were leading Broadway stage designers and directors who turned their prodigious talents to other projects, becoming mavericks first in industrial design and then in commercial design, fashion, architecture, and more. The two men gave shape to the most quintessential symbols of the modern American lifestyle, including movies, cars, department stores, and nightclubs, along with private homes, kitchens, stoves, fridges, magazines, and numerous household furnishings. This book tells the story of Urban and Bel Geddes. The book shows how these two men with a background in theater lent dramatic flair to everything they designed and how this theatricality gave the distinctive modernity they created such wide appeal. If the American lifestyle has been much imitated across the globe over the past fifty years, it is due in large measure to the designs of Urban and Bel Geddes. Together they were responsible for creating what has been called the “Golden Age” of American culture.
W. Nicholson Price
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231171182
- eISBN:
- 9780231540070
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231171182.003.0024
- Subject:
- Law, Medical Law
Drug manufacturing today is both high cost and poor quality, due largely to stagnant technological development. Improving innovation incentives and decreasing regulatory hurdles could lead to ...
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Drug manufacturing today is both high cost and poor quality, due largely to stagnant technological development. Improving innovation incentives and decreasing regulatory hurdles could lead to significant positive change.Less
Drug manufacturing today is both high cost and poor quality, due largely to stagnant technological development. Improving innovation incentives and decreasing regulatory hurdles could lead to significant positive change.
Sylvia Lavin
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9780190218430
- eISBN:
- 9780190218461
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190218430.003.0007
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century and Contemporary Literature
This chapter explores the exhibition design and architecture that Achille Castiglioni completed in the 1950s and 1960s for the Italian television network RAI. The author demonstrates how these ...
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This chapter explores the exhibition design and architecture that Achille Castiglioni completed in the 1950s and 1960s for the Italian television network RAI. The author demonstrates how these projects adumbrate the elements of a design culture uniquely suited to the speed and rapid change of the television medium. She explicates the work of Castiglioni in relation to the contemporaneous discussion of media by semiotician Umberto Eco. Castiglioni’s television sets were just some of the many objects he designed to fill a well-appointed interior. Yet his way of working and thinking about design in the era of information also laid the foundation for developing a radically social and participatory understanding of the end user, one that ultimately made it possible to assign architecture new forms of value, even in the context of consumer society. The most acute transformations to architecture in the era of television did not result in a reconfigured window or facilitate the domestication of a new optical toy replete with reality effects, although both of those things certainly took place. Instead, television triggered a wave of thinking about the emergence of a communications environment that recalibrated the speed, recalculated the membership, and redefined the “nature” of architecture as a world space and an open work.Less
This chapter explores the exhibition design and architecture that Achille Castiglioni completed in the 1950s and 1960s for the Italian television network RAI. The author demonstrates how these projects adumbrate the elements of a design culture uniquely suited to the speed and rapid change of the television medium. She explicates the work of Castiglioni in relation to the contemporaneous discussion of media by semiotician Umberto Eco. Castiglioni’s television sets were just some of the many objects he designed to fill a well-appointed interior. Yet his way of working and thinking about design in the era of information also laid the foundation for developing a radically social and participatory understanding of the end user, one that ultimately made it possible to assign architecture new forms of value, even in the context of consumer society. The most acute transformations to architecture in the era of television did not result in a reconfigured window or facilitate the domestication of a new optical toy replete with reality effects, although both of those things certainly took place. Instead, television triggered a wave of thinking about the emergence of a communications environment that recalibrated the speed, recalculated the membership, and redefined the “nature” of architecture as a world space and an open work.
- Published in print:
- 2008
- Published Online:
- March 2013
- ISBN:
- 9780226218007
- eISBN:
- 9780226218021
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226218021.003.0006
- Subject:
- History, American History: 20th Century
In a 1937 Sky Line column, critic Lewis Mumford described the modernized storefronts and refurbished commercial exteriors that were appearing regularly on the streets of New York City for nearly a ...
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In a 1937 Sky Line column, critic Lewis Mumford described the modernized storefronts and refurbished commercial exteriors that were appearing regularly on the streets of New York City for nearly a decade. As Mumford realized, by the end of the decade what was true of Fifth Avenue was also true of Main Street, and his observations would have accurately characterized virtually every commercial corridor in the United States in the later 1930s. One of the things Mumford appreciated about the new storefronts—and that was valid whether they appeared in big cities or small towns—was that they were helping to disseminate European modernist architecture in the United States. When chain and independent retailers with stores lining U.S. Main Streets embraced Mumford's “blatant” modernism as their own, they did so in conscious emulation of urban prototypes that had been among the earliest buildings in the country to reflect architectural trends emanating from Europe and stylistic trends emanating from the discipline of industrial design.Less
In a 1937 Sky Line column, critic Lewis Mumford described the modernized storefronts and refurbished commercial exteriors that were appearing regularly on the streets of New York City for nearly a decade. As Mumford realized, by the end of the decade what was true of Fifth Avenue was also true of Main Street, and his observations would have accurately characterized virtually every commercial corridor in the United States in the later 1930s. One of the things Mumford appreciated about the new storefronts—and that was valid whether they appeared in big cities or small towns—was that they were helping to disseminate European modernist architecture in the United States. When chain and independent retailers with stores lining U.S. Main Streets embraced Mumford's “blatant” modernism as their own, they did so in conscious emulation of urban prototypes that had been among the earliest buildings in the country to reflect architectural trends emanating from Europe and stylistic trends emanating from the discipline of industrial design.
Monica Ponce de Leon
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780262019415
- eISBN:
- 9780262315388
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262019415.003.0015
- Subject:
- Environmental Science, Environmental Studies
From the onset of industrialization, material production in the various design fields—from industrial design to the design of environments and buildings—has had and continues to have a devastating ...
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From the onset of industrialization, material production in the various design fields—from industrial design to the design of environments and buildings—has had and continues to have a devastating effect on the planet. Given the magnitude and complexity of the problem, this chapter asks, how can designers participate in the solution? The answer to this question is complex and the chapter investigates this. Voluntary programs are not enough; regulatory mechanisms that ensure change in the marketplace are needed. Access to innovation and information is critical so that building designers, owners, and users can make informed choices. The technology and capacity exist, but we are not moving fast enough. A design and construction revolution is necessary to move our society quickly to the next level of sustainability.Less
From the onset of industrialization, material production in the various design fields—from industrial design to the design of environments and buildings—has had and continues to have a devastating effect on the planet. Given the magnitude and complexity of the problem, this chapter asks, how can designers participate in the solution? The answer to this question is complex and the chapter investigates this. Voluntary programs are not enough; regulatory mechanisms that ensure change in the marketplace are needed. Access to innovation and information is critical so that building designers, owners, and users can make informed choices. The technology and capacity exist, but we are not moving fast enough. A design and construction revolution is necessary to move our society quickly to the next level of sustainability.
Lucas Lixinski
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199679508
- eISBN:
- 9780191758546
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199679508.003.0006
- Subject:
- Law, Public International Law, Law of Obligations
This chapter addresses the ways in which intellectual property can be used to redress cultural harm. It argues that intellectual property offers the strongest form of protection, but it easily ...
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This chapter addresses the ways in which intellectual property can be used to redress cultural harm. It argues that intellectual property offers the strongest form of protection, but it easily commodifies and ossifies heritage. The chapter looks at how copyright (including moral rights), trademarks, trade secrets, appellations of origin, and industrial designs can be (and have been) used to protect certain manifestations of heritage. The chapter also discusses issues related to the propertization of the ‘cultural commons’ and the public domain. It argues that cultural flows are a necessary part of cultural life and heritage, and are responsible for the maintenance of living cultures, and that intellectual property stifles these flows. Therefore, intellectual property should be used only in certain situations, where cultural harm is serious and needs to be redressed.Less
This chapter addresses the ways in which intellectual property can be used to redress cultural harm. It argues that intellectual property offers the strongest form of protection, but it easily commodifies and ossifies heritage. The chapter looks at how copyright (including moral rights), trademarks, trade secrets, appellations of origin, and industrial designs can be (and have been) used to protect certain manifestations of heritage. The chapter also discusses issues related to the propertization of the ‘cultural commons’ and the public domain. It argues that cultural flows are a necessary part of cultural life and heritage, and are responsible for the maintenance of living cultures, and that intellectual property stifles these flows. Therefore, intellectual property should be used only in certain situations, where cultural harm is serious and needs to be redressed.
Peter Neushul and Peter Westwick
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780226372884
- eISBN:
- 9780226373072
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226373072.003.0002
- Subject:
- History, History of Science, Technology, and Medicine
In the late 1960s and early 1970s surfers launched what became known as the shortboard revolution. Surfboard shapers, inspired in part by psychedelic drugs, introduced radically new surfboard designs ...
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In the late 1960s and early 1970s surfers launched what became known as the shortboard revolution. Surfboard shapers, inspired in part by psychedelic drugs, introduced radically new surfboard designs and performance standards. The revolution also shifted the prevailing mass-production model in the surfboard industry to a backyard-craftsman ideal, similar to the small-is-beautiful ethos then infiltrating other technological fields. Instead of surfboards knocked out by the thousands in standard models from factories, shapers now worked alone with a surfer to develop a custom design tailored to the individual’s style. This craftsman ideal, however, was underpinned by the industrial-scale, highly toxic process chemistry used to make polyurethane foam, polyester resin, and fiberglass, the main ingredients in surfboards. Modern industrial science and technology thus pervaded surfing, one of the most romantic domains of the counterculture.Less
In the late 1960s and early 1970s surfers launched what became known as the shortboard revolution. Surfboard shapers, inspired in part by psychedelic drugs, introduced radically new surfboard designs and performance standards. The revolution also shifted the prevailing mass-production model in the surfboard industry to a backyard-craftsman ideal, similar to the small-is-beautiful ethos then infiltrating other technological fields. Instead of surfboards knocked out by the thousands in standard models from factories, shapers now worked alone with a surfer to develop a custom design tailored to the individual’s style. This craftsman ideal, however, was underpinned by the industrial-scale, highly toxic process chemistry used to make polyurethane foam, polyester resin, and fiberglass, the main ingredients in surfboards. Modern industrial science and technology thus pervaded surfing, one of the most romantic domains of the counterculture.
