History Of Modern Design David Raizman Pdf Download [EXCLUSIVE]

Upon the first publication of a book of sweeping scope and authoritative purpose come the inevitable arguments about inclusion. Those scanning for a "who's who of modern design" might question, for instance, Raizman's brief mention of the Thonet brothers, as well as his decision not to cite their famous Chair No. 14, a ubiquitous symbol of industrial change that haunts Tissot and Lautrec paintings alike. While Raizman includes a remarkable array of information in a single volume, his tendency to skim key works and focus on themes of social and technological change could well frustrate those looking for an encyclopedic approach to design history. Other birthing pains for a new text include a number of spelling errors and factual discrepancies that surely will be addressed in later editions. For example, one of Wright's Highland Park homes is located in Mamaroneck, New York rather than the suburbs of Chicago. For some such errors might diminish the book's arguments, however its chief strength, synthesizing a wide body of knowledge into an easily comprehended text, should not be overlooked. Nevertheless, Raizman directly confronts one of the greatest problems to wrack nineteenth-century designers from Ruskin to the German Werkbund at the turn of the century: just how integral is the machine to designers, or for that matter, design studies? In academe, the fields of engineering, economics, and management have rapidly colonized the discipline, and there have been few efforts in the humanities to assert a cogent argument for the contributions of humanist study in this field. As Raizman's text implies, the methods of analysis employed by historians as well as anthropologists, cultural geographers, social psychologists, and literary critics hold enormous relevance for the field, nudging art historical inquiry in design studies beyond a mere chronicle of changing styles. Raizman's position is that the machine is crucial to design development in the nineteenth century, but he also includes some of the debate surrounding the rich nineteenth-century handicraft tradition. His discussion encompasses, for instance, the Shakers, and encapsulates their attitudes toward craftsmanship as well as their roots in a radical form of Christianity. He also includes Whistler's Peacock Room, although it is less a machine-inspired design than an example of artistic handiwork. This point was ignored by the vindictive Frederick Leyland, resulting in Whistler's final payment in pounds. But pounds or guineas, A History of Modern Design establishes nineteenth-century design firmly within broader histories of the period. 2b1af7f3a8