Design

Henry Dreyfuss (Coronet Magazine, 1947)

Attached is an article about the work of the American industrial designer Henry Dreyfuss (1904 – 1972):

At 43, Henry Dreyfuss is enormously successful, a fact which he makes every effort to conceal… In designing a typewriter, he measured the fingers of hundreds of typists. In creating a new chair for plane or train, he doesn’t settle for the fact that the chair simply seems comfortable. He hires an orthopedic surgeon to advise.

Industrial design was barely getting started when the 1929 Depression struck. America’s economic collapse may have meant calamity for millions of people, but for designers it spelled golden opportunity. Savage competition became the rule. To stay in business, a manufacturer had to give his products new utility, new eye-appeal…

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Moholy-Nagy and the New Bauhaus (Coronet Magazine, 1941)

This unprepossessing place is the American survivor of a great international movement, the Bauhaus of Dessau, which filled the world with tubular chairs and sectional sofas. The Bauhaus, like so many other things German, drew Hitler’s ire because it was too intellectually independent. Hitler dissolved it in 1938…Some fragments of Bauhaus fled to America. Dr Laszalo Moholy-Nagy escaped with some remnants of students’ work and saught refuge in Chicago. There, in his concrete warehouse, Moholy-Nagy’s movement has taken root.

They do the oddest things…A chair might just be a double loop of shellacked plywood. It is steamed and shaped so that it has a seat, and a back, and stands on the floor…It doesn’t look like much of a chair. It will do the job for which chairs are sold.

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American Graphics Seen in Soviet Russia (Pageant Magazine, 1964)

An exhibition of graphic art from the United States has become a tremendously popular attraction [as it toured throughout four cities within the Soviet Union]… In the first two days more than 17,000 Soviet citizens, most of them in their teens or early twenties, came to see a gay collection of funny American posters, preposterous ads, colorful book covers and abstract prints.

‘You mean you’re really allowed to paint like this, and nobody says anything?’ one of the visitors asked.

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Norman Bel Geddes (Creative Art Magazine, 1933)

Norman Bel Geddes (1893 – 1958) was one of the prominent industrial designers to practice a style known as streamline modern. Always mentioned in the same breath as Henry Dreyfuss and Raymond Lowey, Norman Bel Geddes opened his office in 1927 and helped to give the 1930s a defining look. He was the first of his kind to recognize that American manufacturers were sincerely interested in the marketing of modern design.


The sleek, aerodynamic lines of 1930s streamlining can clearly bee seen in the thirteen images illustrating the attached article about his work, which was written by Douglas Haskell, a well-known design critic active throughout much of the period spanning the mid-Twenties through the mid-Sixties; the column was intended to serve as a review for Geddes’ 1932 book, Horizonsstyle=border:none.

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Designs of the Italian Futurists (Current Opinion Magazine, 1919)

Already the young architects of Italy are looking forward to a new renaissance of building, toward the production of a new style based upon modern methods of building and adapted to modern needs. The impulse to this new movement came from the brilliant Futurist Antonio Sant’Elia, who carried the ideas of the Italian innovators into the field of architecture, but whose development was cut short by his heroic death in the war… Nevertheless, his influence upon the younger architects has been great. Fortunately, they have been able to adapt his ideas to the exigencies of practical building, and in some instances to avoid a complete severing with the traditions of the past.

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Design for Modern Living (Pathfinder Magazine, 1949)

In an attempt to define modernism for a broad audience, architect/designer Alexander Girard curated the Exhibition for Modern Livingstyle=border:none that was housed at the Detroit Institute of Arts during the winter of 1949. It was a ground breaking exhibit that brought modernism down from the mountain and allowed people to see that modern design was intended to make life more pleasant:

Modern design implies shape for use, simplicity, new forms to utilize new materials, easier housekeeping, and honest expression of mass production… Up the richly carpeted ramp, viewers walk up to a dining room done by Alvar Aalto; past two studies Bruno Mathsson and Jean Risom and a bedroom and living-room representing a variety of designers; then up another level to a space furnished by Charles Eames; and finally to a small balcony overlooking George Nelson’s living area. The quiet simplicity of the rooms and the gentle tones of symphonic music have people talking in whispers. Sighed one woman: ‘I’d like to live here.’

Design for Modern Living (Pathfinder Magazine, 1949) Read More »

Design for Modern Living (Pathfinder Magazine, 1949)

In an attempt to define modernism for a broad audience, architect/designer Alexander Girard curated the Exhibition for Modern Livingstyle=border:none that was housed at the Detroit Institute of Arts during the winter of 1949. It was a ground breaking exhibit that brought modernism down from the mountain and allowed people to see that modern design was intended to make life more pleasant:

Modern design implies shape for use, simplicity, new forms to utilize new materials, easier housekeeping, and honest expression of mass production… Up the richly carpeted ramp, viewers walk up to a dining room done by Alvar Aalto; past two studies Bruno Mathsson and Jean Risom and a bedroom and living-room representing a variety of designers; then up another level to a space furnished by Charles Eames; and finally to a small balcony overlooking George Nelson’s living area. The quiet simplicity of the rooms and the gentle tones of symphonic music have people talking in whispers. Sighed one woman: ‘I’d like to live here.’

Design for Modern Living (Pathfinder Magazine, 1949) Read More »

Design for Modern Living (Pathfinder Magazine, 1949)

In an attempt to define modernism for a broad audience, architect/designer Alexander Girard curated the Exhibition for Modern Livingstyle=border:none that was housed at the Detroit Institute of Arts during the winter of 1949. It was a ground breaking exhibit that brought modernism down from the mountain and allowed people to see that modern design was intended to make life more pleasant:

Modern design implies shape for use, simplicity, new forms to utilize new materials, easier housekeeping, and honest expression of mass production… Up the richly carpeted ramp, viewers walk up to a dining room done by Alvar Aalto; past two studies Bruno Mathsson and Jean Risom and a bedroom and living-room representing a variety of designers; then up another level to a space furnished by Charles Eames; and finally to a small balcony overlooking George Nelson’s living area. The quiet simplicity of the rooms and the gentle tones of symphonic music have people talking in whispers. Sighed one woman: ‘I’d like to live here.’

Design for Modern Living (Pathfinder Magazine, 1949) Read More »

ISAMU NOGUCHI (Creative Art Magazine, 1933)

This is an early Thirties profile of a young American sculptor named Isamu Noguchi (1904 – 1988). In the years to come, Noguchi would become well known for his innovative designs for lamps and furniture; but when this article first appeared he was admired for simply having served as an apprentice to Constantin Brancussi.

Click here to read a 1946 art review concerning the paintings of French architect Le-Corbusier.

ISAMU NOGUCHI (Creative Art Magazine, 1933) Read More »

A Rug by Raymond Loewy (Quick Magazine, 1953)

A small notice from a news digest featured a photograph of a carpet that was designed by famed industrial designer Raymond Loewy (1893 – 1986) in the early Fifties

Something new in room dividers are area rugs designed by Raymond Loewy to define areas of activity within a room; dining sections, TV corners for example. Sophisticated but adaptable to almost all interiors, the new rugs come in such decorator colors as pink, lime green [and] turquoise.

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