This fascinating collection provides a chronologically arranged set of case studies looking at how interior design has constantly redefined itself as a manifestation of culture, from the eighteenth century to the present day. The book looks at the amateur activities of female 'home makers' in search of creative outlets and married couples seeking to modernise their homes, as well as the contributions of early professional (female) 'interior decorators', and later (male) 'interior designers'. It also considers the more anonymous role of commercial enterprises, such as hairdressing salons, ocean-going liners or modern offices as well as public institutions such as hospitals or naval training establishments. Interior design and identity examines interior design in relation to the changing identities of its practitioners, its inhabitants and of the furnishings, focussing on the ways in which cultural values came to be embedded in the spaces which people inhabited and made their own. Issues relating to interiority, gender and the relationship of the public sphere are also considered, opening up a new level of design historical enquiry.
From Barbie and Action Man to guns via bicycles, perfume and trainers, The gendered object is an intriguing collection of new writing on the way in which objects of everyday life are made socially acceptable and 'appropriate' for women or men. What does the Strawberry Shortcake doll tell us about views of the adult female body? When does the necktie become anti-establishment? How does a woman relate to a washing machine? And can a hearing aid really be gendered? These questions are answered and many others raised in this entertaining study of design for men and women.
Reassessing the concept of utility, this thought-provoking collection explores the philosophy behind utility, and offer a discussion of rational, or ethical, design theory. Rather than repeating arguments about the inadequacies of modern functional design, the book approaches the subject as a continuing history which has attempted to improve the human condition through a process of rational thought in the construction of the material world. Detailed historical studies of cars, textiles, clothing, ceramics, and furniture are presented alongside a generic definition of utility which puts forth a new ethical design theory.
This book investigates and problematizes the long-held belief that addiction is legible from the body, thus positioning visual images as unreliable sources in attempts to identify alcoholics and drug addicts. Examining paintings, graphic satire, photographs, advertisements and architectural sites, Skelly explores such issues as on-going anxieties about maternal drinking; the punishment and confinement of addicted individuals; the mobility of female alcoholics through the streets and spaces of nineteenth-century London; and soldiers' use of addictive substances such as cocaine and tobacco to cope with traumatic memories following the First World War.
Wallpaper’s spread across trades, class and gender is charted in this first full-length study of the material’s use in Britain during the long eighteenth century. It examines the types of wallpaper that were designed and produced and the interior spaces it occupied, from the country house to the homes of prosperous townsfolk and gentry, showing that wallpaper was hung by Earls and merchants as well as by aristocratic women. Drawing on a wide range of little known examples of interior schemes and surviving wallpapers, together with unpublished evidence from archives including letters and bills, it charts wallpaper’s evolution across the century from cheap textile imitation to innovative...
Women, we are told, should not own guns. Women, we are told, are more likely to be injured by their own guns than to fend off an attack themselves. This "fact" is rooted in a fundamental assumption of female weakness and vulnerability. Why should a woman not be every bit as capable as a man of using a firearm in self-defense? And yet the reality is that millions of American women--somewhere between 11,000,000 and 17,000,000--use guns confidently and competently every day. Women are hunting, using firearms in their work as policewomen and in the military, shooting for sport, and arming themselves for personal security in ever-increasing numbers. What motivates women to possess firearms? What ...
This third edition of An Introduction to Design and Culture has been revised and updated throughout to include issues of globalization, sustainability and digital/interactive design. New for this edition is a chapter which covers key changes in design culture. Design culture has changed dramatically in the 21st century, the designer-hero is now much less in evidence and design has become much more interdisciplinary. Drawing on a wealth of mass-produced artefacts, images and environments including sewing machines, cars, televisions, clothes, electronic and branded goods and exhibitions, author Penny Sparke shows how design has helped to shape and reflect our social and cultural development. This introduction to the development of modern (and postmodern) design is ideal for undergraduate students.
This is the twentieth in a series of occasional volumes devoted to studies in British art, published by the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art and distributed by Yale University Press. --Book Jacket.
In this groundbreaking reassessment of the conventional understanding of a cohesive "Arts and Crafts" movement in Britain, Imogen Hart argues that a sophisticated mode of looking at decorative art developed in England during the second half of the nineteenth century. Bringing to light a significant number of little-known visual and textual sources, Arts and Crafts Objects insists that the history of British design between the 1830s and the 1910s is more complex and interwoven than concepts of clearly differentiated movements allow for. Reinvesting the objects with the original importance ascribed to them by their makers and users, this book places furniture, metalwork, tiles, vases, chintzes, carpets, and wallpaper at the center of a rigorous reassessment of the concept of "Arts and Crafts." The book offers radical new interpretations of the Arts and Crafts Exhibition Society and the homes of William Morris, alongside illuminating analyses of less familiar, but equally rich, contexts.