Design in the U.S.A.

Design in the U.S.A. (2005)
By Jeffrey L. Meikle

Synopsis: "The purpose of this book is to trace the history of design in the U.S. as a functional tool, as an economic force, and as the expression of a consumer culture that continues to transform everyday life" (17). It traces the history of U.S. design from 1790-present, and is divided into five sections: 1) The Emergence of the American System, 1790-1860 (increased urbanization at the end of this period; Americans had democratic passion for physical comforts that influenced design; 1853 NY Exhibition showed fanciness that would soon be available to the middle class too); 2) Art and Industry in the Gilded Age, 1860-1918 (rise of visual appearance over touch-based production; increased focus on taste and personal expression; aesthetic vs. moral views of design; Arts and Crafts Movement, 1880s - ); 3) Designing the Machine Age, 1918-1940 (birth of the industrial design profession in 1930s; rise of streamlining = desire for a less complex world; increased mobility and efficiency); 4) High Design vs. Popular Styling, 1940-1965 (rise of functionalism; rise of populuxe; shift from material to immaterial existence); 5) Into the Millennium: Moving Beyond Modernism (fracturing of any single design vision; playful mixing of postmodern style; information age as extension of modernity). Most interesting argument (as this book is more of a survey as opposed to an argument-driven book) is that the increased malleability of everything in the information age (today) and the increased catering to a multitude of subcultures marks the dissolution of the "modernist vision of rational, universal coherence" (210). American design is largely about the massive proliferation of stuff.

Interesting Specifics:

"...The democratic pursuit of happiness was related to an increasing flow of material goods - all of them products of design" (12).

It is said that design imposes order - but whose order, and for what purposes? (15-16)

Catherine Beecher = 1800-78

Transcontinental Railroad Completed = 1869

Model T Ford = 1908

Frederick Taylor = 1856-1915

Ford shuts down River Rouge plant in 1927.

Fiestaware = 1930s

Journal Industrial Design launched in 1954.

1960s = shift from a material to immaterial world (information age - isnt' this also when "postmodernism" began?)

Defines what it means to be a consumer: "how to invest time and energy in shopping, how to gain emotional release by acquiring material things, and how to construct and express personal identity by arranging and displaying possessions" (52).

"Visual appearance...assumed greater economic and cultural significance, as a 'touch-oriented, local world of production' yielded to a 'sight-oriented, broader world of consumption'" (52).

There were two schools of British design philosophy - the aesthetic and the moral - "one advocating design as a source of visual and tactile pleasure, the other as a source of moral reform" (67).

Tiffany lamp craze was in the 1900s.

Arts and Crafts Movement big in 1880s-1900s.

Stickley started making mission style furniture in 1902.

Industrial design profession emerged in the 1930s.

Streamlining "represented a common assumption that society's larger processes had to be rendered smoother, less complex, more frictionless in operation" (125). Also, "its rounded, enclosing forms, particularly when applied to architecture, suggested a need for protection and stability" (125).

Ford Taurus as radical design breakthrough, and car historians regard it as "'the single most important American production design of the 1980s'" (191).

Says Learning from Las Vegas (1972) launched the postmodern movement (192). [Hmm, don't others say it was a little earlier? Maybe it's that these guys were the first to really defend it and make it a "taste of the people" movement to embrace - ]

Grid was the first laptop.

Interacts With:

Rudeness and Civility, Class (any book that deals with middle class obsession with comfort)
Meaning of Things
Land of Desire (focus on the rise of the visual)
Did consumer culture kill Modernism?

Class: A Painfully Accurate Guide Through The American Status System

Class: A Painfully Accurate Guide Through The American Status System (1983)
by Paul Fussell

Synopsis: Fussell's basic goal is to debunk the very American idea that we live in a classless society. He does this by providing a tongue-in-cheek, yet somewhat accurate, taxonomy of the various class markers. He shows that even the most minute details can be seen as clear depictions of class. He discusses body shape, gestures, recreation habits, clothing, household objects, decor, materials, attitude, reading preferences, ways of speaking, food preferences, higher education, and architecture. The book's tone is self-consciously ironically snobby and playful, and is decidedly non-scholarly and footnote-free. His final point seems to be that the only way to escape your class is to bow-out of the system completely and become a self-made "inner-directed" "Category-X" person. This is the escape route he grants to (presumably) all his clever, creative, in-the-know readers (and himself). Overall, he argues that the middle class is intensely insecure about its status, and hence is obsessed with the inoffensive (which is perceived as "tasteful") and un-ideological. The middle class is horrified of conflict, controversy, and ideas, and this shows in most of what they do. The implication of this is that the middle class is a very dangerous class to be immersed in, as it avoids all conflict and pain to the point of ignorance and inaction. [This really connects to Radway].

Interesting Specifics:

"Style and taste and awareness are as important as money" (16), and the source of ones money is more important than the amount.

Really emphasizes the fact that the middle class suffers from status anxiety and intense desire to belong (35). For the middle class "Argument or even disagreement must be avoided at all costs" (97).

"Classy people never deal with the future" (74).

Says the desire for privacy is an upper class marker [but don't all people desire privacy, and it's just that the upper class has more access to it?]

The term "weekend" came about in 1878, "a moment marking what can be said to be the flowering of high bourgeois culture" (120).

"We're pretty much stuck for life in the class we're raised in" (198).

Says all of U.S. culture is immersed in a class-lowering, or "prole-drift" (205)

"It's only as an X, detached from the constraints and anxieties of the whole class racket, that an American can enjoy something like the Liberty promised on the coinage" (223). [Geez, that's not too overdramatic).

Interacts With:

Bourdieu (Class can be seen as an obscenely simplified and lay-person version of Distinction, without the theoretical framework. Is basically about the role of "stuff" in constructing a self. Departing from Bourdieu, Fussell does grant people some agency by allowing them to sneak off into the Category X realm if they want to.)
Connects with all the books that discuss the role of "stuff" in constructing a self/identity.
Rudeness and Civility (in the use of labels and clothing and goods to distinguish one person and "type" from another; also in the rise of "gentility" and its scorn of anything that seems offensive or rude).
Radway, Reading the Romance and A Feeling For Books (both demonstrate the ways in which middle class women go out of their way to avoid reading anything that is too heavy or upsetting - especially Reading the Romance; fits with Fussell's argument that the middle class goes out of its way to avoid pain and conflict of all kinds)
The Lonely Crowd (Fussell seems to run with a tweaked version of the "inner-directed" person in constructing his glorified class-dodger "Category X")

The Celebration Chronicles: Life, Liberty, and the Pursuit of Property Values in Disney's Brave New Town

The Celebration Chronicles: Life, Liberty, and the Pursuit of Property Values in Disney's Brave New Town (1999)
By Andrew Ross

Synopsis: Andrew Ross spent one year living and doing participant observation in Celebration, Florida in order to see what it was like to live there - to discover its problems, its residents, the general attitude there, its issues, etc. Though it's very American in its desire to start from scratch and create something new, Celebration has its good and bad points, like all other towns. Though Celebration's marketers rely heavily on allusions to "childhood innocence" and "the good old days," it is a high tech place with a progressive alternative public school that parents tend to squabble over (Ross claims it's because they viewed the school as a consumer product that may not have been delivering results). Ross also points out that many residents were angry about the "shoddy construction" of Celebration's homes. Basically, asks a few questions: Can a corporation provide a public realm? is this just another privatopia? What about taste/aesthetics? Is it the shape itself of New Urbanism that increases a sense of community, or is it the people who seek that out?

Interesting Specifics:

Celebration is all about the "iconography of innocence" (16).

Contains an interesting section on model home interiors and market research (pp. 25-27).

Attacks Kunstler for his "crotchety version of orderly civic conduct" (76) and says it is "stuffed with contempt for lower-middle-class taste" (76).

New Urbanism clings hard to the belief that "the design of a physical environment has a fundamental impact upon social behavior" (78).

"The closer people live to one another the more likely they are to guard their privacy" (85).

Pattern books contain all the design a developer could use.

Public schools have long been seen as "the unique source of American national unity" (138).

Spends a lot of time examining Celebration's school, which can be seen as its one utopian element - and which has been, ironically, the source of most of the city's controversy.

Says that the trend of saying "it's not natural to notice skin color" is just the latest from of racism (270).

There's a seedy tourist attraction called "Old Town" right near Celebration.

Interacts With:
Behind the Gates, Brave New Neighborhoods, Building Suburbia

Putting Women in Place: Feminist Geographers Made Sense on the World

Putting Women in Place: Feminist Geographers Made Sense on the World (2001)

By Mona Domosh and Joni Seager

Synopsis: Place and gender are inextricably linked. This book explores issues of power, and brings feminism and gender to geography by pointing out the importance of examining the link between gender and place. Shows that ideals of gender do inform our use of space and affect out sense of mobility. Discusses home space and the gendering of public and private space within Victorian homes; female design tastes and the way male-dominated “modernist” movement (1890s-1930s) sought to streamlines and usurp home decoration which had previously been a female domain; discussion of middle-class women as “Americanizers” to “foreign”-types; Charlotte Perkins Gillman and other feminist efforts to collectivize female labor; fact that much female labor is not counted in GDP/work averages; idea that feminine implies natures and chaos, while masculine implies order/control/city [connects here with Terrible Honesty]; suburban space and the attempt to limit female mobility as cars are seen as “male;” rugged nature as male; women’s building at Columbia Expo; feminist environmentalism and scary male view of earth as a “mother” who will clean-up our mess.

Interesting Specifics:

Postwar females’ design tastes in home interiors were castigated by “taste” experts as middle-low brow kitsch, thus challenging and belittling female power (28).

Increased female presence in cities in the 1850s led such spaces to be increasingly “feminized” so as to be more appropriate for women. Example is the fancy arches of shopping arcades (93).

Suburban growth really increased in the 1920s

Gays and lesbians often lead gentrification efforts (102)

“Mobility is greatest at the extreme ends of the socioeconomic spectrum” (110).

Rise of masculine rugged farmer ideal in 1930s as way to counteract effeminate dependency of govt. aid during Depression (166).

Gender is the biggest determiner of attitudes towards animals (185)

Ecofeminism is concerned with control of resources, power relations, different way of viewing the environment, systems of oppression, etc.

Trivia:

First toilets were designed to look like parlor chairs, but were changed in the 1920s due to hygiene concerns (16)

Women, whether married with kids or not, tend to work closer to their homes than men [is this because women’s work tends to be more “low-level” and hence easier to find stuff anywhere/less justification for traveling far distances to work?].

Interacts With:

Terrible Honesty,