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"Design is one of the most powerful fields of study of our time. This anthology not only makes it immediately accessible to a vast audience, but also displays it in all its glory and humanity. It gives design an even better name."--Paola Antonelli, Curator of Design, Museum of Modern Art

Co-published with the Design Management Institute, with input from a diverse range of industry experts/designers, theorists, critics, historians, and curators, this anthology is the first to focus exclusively on the history of industrial design. This pioneering guide traces the entire history of industrial design, industrialization, and mass production from 1850 until today.

Sixty comprehensive essays written by designers, theorists, advertisers, historians, and curators detail the most crucial movements, issues, and accomplishments of industrial design. They combine news reports on the very first design workshops, aesthetic manifestos, lectures, and more from the biggest names in the field: William Morris, Henry Dreyfuss, Henry Ford, Sigmund Freud, Kenichi Ohmae, David H. Rice, and Victor Papanek, to name only a few.

The Industrial Design Reader is an excellent resource for educators, students, and practicing designers. It features design from not only theoretical and aesthetic perspectives, but also from a socio-political point of view, with texts from Karl Marx, Ralph Nader, and others.

Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

Tabla de contenidos provista por Syndetics

• Foreword(p. vi)
• Preface(p. vii)
• Acknowledgments(p. ix)
• Editor's Note(p. xi)
• 1851-1875
• 1852: Henry Cole, "On the International Results of the Exhibition of 1851"(p. 3)
• 1852: Horatio Greenough, "The Law of Adaptation"(p. 11)
• 1853: John Ruskin, "The Nature of Gothic"(p. 14)
• 1856: Owen Jones, Grammar of Ornament(p. 19)
• 1867: Karl Marx, "The Capitalist Character of Manufacture"(p. 22)
• 1868: Charles Eastlake, Hints on Household Taste(p. 25)
• 1873: Christopher Dresser, Principles of Decorative Design(p. 28)
• 1876-1900
• 1877: William Morris, "The Lesser Arts"(p. 35)
• 1882: Lewis Foreman Day, "To Ladies and Amateurs"(p. 40)
• 1893: Candace Wheeler, "Decorative and Applied Art"(p. 44)
• 1897: Henry van de Velde, "A Chapter on the Design and Construction of Modern Furniture"(p. 47)
• 1899: Thorstein Veblen, "Pecuniary Canons of Taste"(p. 49)
• 1901-1925
• 1901: Frank Lloyd Wright, "The Art and Craft of the Machine"(p. 55)
• 1905: Josef Hoffmann and Koloman Moser, "The Work-Program of the Wiener Werkstatte"(p. 61)
• 1908: C. R. Ashbee, Craftsmanship in Competitive Industry(p. 64)
• 1909: Filippo Tommaso Marinetti, "The Foundation and Manifesto of Futurism"(p. 70)
• 1910: Adolf Loos, "Ornament and Crime"(p. 74)
• 1911: Hermann Muthesius, "Aims of the Werkbund"(p. 82)
• 1911: Frederick Winslow Taylor, The Principles of Scientific Management(p. 84)
• 1914: Hermann Muthesius and Henry van de Velde, Statements from the Werkbund Conference of 1914(p. 88)
• 1919: Christine Frederick, "The Labor-Saving Kitchen"(p. 92)
• 1919: Walter Gropius, "Program of the Staatliche Bauhaus in Weimar"(p. 97)
• 1922: Theo van Doesburg, "The Will to Style"(p. 101)
• 1922: Alexander Rodchenko and Varvara Stepanova, "Program of the First Working Group of Constructivists"(p. 104)
• 1923: Le Corbusier, "Eyes Which Do Not See: Automobiles"(p. 106)
• 1925: Helen Appleton Read, "The Exposition in Paris"(p. 113)
• 1926-1950
• 1928: Henry Ford, "Machinery, The New Messiah"(p. 121)
• 1930: Fortune, "Color in Industry"(p. 123)
• 1930: Sigmund Freud, Civilization and Its Discontents(p. 125)
• 1932: Earnest Elmo Calkins, "What Consumer Engineering Really Is"(p. 129)
• 1934: Alfred H. Barr, Jr. and Philip Johnson, Machine Art(p. 132)
• 1934: Norman Bel Geddes, "Streamlining"(p. 135)
• 1935: Marcy Babbitt, "As a Woman Sees Design: An Interview with Belle Kogan"(p. 137)
• 1936: Fortune, "What Man Has Joined Together..."(p. 140)
• 1940: Harold Van Doren, "The Designer's Place in Industry"(p. 142)
• 1941: Eliot Noyes, Organic Design in Home Furnishings(p. 144)
• 1950: Edgar Kaufmann, Jr., What is Modern Design?(p. 146)
• 1951-1975
• 1951: Raymond Loewy, "The MAYA Stage"(p. 155)
• 1953: Dwight D. Eisenhower, "Peaceful Uses of Atomic Energy"(p. 159)
• 1955: Henry Dreyfuss, "Joe and Josephine"(p. 162)
• 1958: Program of the Hochschule fur Gestaltung, Ulm(p. 169)
• 1959: Richard Nixon and Nikita Khrushchev, "The Kitchen Debate"(p. 172)
• 1963: Ann Ferebee, "Is Industrial Design Color Blind?"(p. 175)
• 1964: Edward Carpenter, "Statement: The Designing Women"(p. 177)
• 1965: Ralph Nader, Unsafe at Any Speed(p. 181)
• 1966: Robert Venturi, Complexity and Contradiction in Architecture(p. 184)
• 1969: R. Buckminster Fuller, Operating Manual for Spaceship Earth(p. 186)
• 1971: Victor Papanek, Design for the Real World(p. 188)
• 1973: Richard Nixon, "Address to the Nation About Policies To Deal With the Energy Shortages"(p. 191)
• 1976-2000
• 1976: Alexander Kira, "Historical Aspects of Personal Hygiene Facilities"(p. 199)
• 1984: Klaus Krippendorff and Reinhart Butter, "Product Semantics: Exploring the Symbolic Qualities of Form"(p. 201)
• 1984: Barbara Radice, "Memphis and Fashion"(p. 204)
• 1984: Dieter Rams, "Omit the Unimportant"(p. 208)
• 1985: The Japan Management Association, "Just-In-Time at Toyota"(p. 211)
• 1988: C. Thomas Mitchell, "The Product As Illusion"(p. 214)
• 1990: Americans With Disabilities Act (U.S. Public Law 101-336)(p. 215)
• 1991: Kenichi Ohmae, "Global Products"(p. 217)
• 1992: David H. Rice, "What Color Is Design?"(p. 220)
• 1996: Charles Jencks, "The Post-Modern Information World and the Rise of the Cognitariat"(p. 223)
• 1998: Kenji Ekuan, "Japanese Aesthetics"(p. 227)
• 1999: Hartmut Esslinger, "Frog Stands For..."(p. 229)
• 1999: Donald Norman, "Time for a Change: Design in the Post-Disciplinary Era"(p. 230)
• Index(p. 233)

Notas de autor provistas por Syndetics

Carma R. Gorman earned her doctorate in art history at the University of California, Berkeley, and is currently an assistant professor design at Southern Illinois University, Carbondale, where she teaches courses on the history of art and design