Routledge Research in Design History – serie

Design, Displacement, Migration: Spatial and Material Histories gathers a collection of scholarly and creative voices—spanning design, art, and architectural history; design studies; curation; poetry; activism; and social sciences––to interrogate the intersections of design and displacement.The contributors foreground objects, spaces, visual, and material practices and consider design’s role in the empire, the state, and various colonizing regimes in controlling the mass movement of people, things, and ideas across borders, as well as in social acts that resist forced mobility and immobility, or enact new possibilities. By consciously surfacing echoes, rhymes, and dissonances among varied histories, this volume highlights local specificity while also accounting for the vectors of displacement and design across borders and histories. Design, Displacement, Migration: Spatial and Material Histories shows displacement to be a lens for understanding space and materiality and vice versa, particularly within the context of modernity and colonialism.This book will be of interest to scholars working in design history, design studies, architectural history, art history, urban studies, and migration studies.

Design, Displacement, Migration: Spatial and Material Histories gathers a collection of scholarly and creative voices—spanning design, art, and architectural history; design studies; curation; poetry; activism; and social sciences––to interrogate the intersections of design and displacement.The contributors foreground objects, spaces, visual, and material practices and consider design’s role in the empire, the state, and various colonizing regimes in controlling the mass movement of people, things, and ideas across borders, as well as in social acts that resist forced mobility and immobility, or enact new possibilities. By consciously surfacing echoes, rhymes, and dissonances among varied histories, this volume highlights local specificity while also accounting for the vectors of displacement and design across borders and histories. Design, Displacement, Migration: Spatial and Material Histories shows displacement to be a lens for understanding space and materiality and vice versa, particularly within the context of modernity and colonialism.This book will be of interest to scholars working in design history, design studies, architectural history, art history, urban studies, and migration studies.

This volume offers spatial theories of the emergent based on a careful close reading of the complete works of nineteenth-century writer and mathematician Lewis Carroll—from his nonsense fiction, to his work on logic and geometry, including his two short pamphlets on architecture. Drawing on selected key moments in our philosophical tradition, including phenomenology and sociospatial theories, Caroline Dionne interrogates the relationship between words and spaces, highlighting the crucial role of language in processes of placemaking. Through an interdisciplinary method that relates literary and language theories to theories of space and placemaking, with emphasis on the social and political experience of architectural spaces, Dionne investigates Carroll’s most famous children’s books, Alice’s Adventures in Wonderland and Through the Looking-Glass and What Alice Found There, in relation to his lesser-known publications on geometry and architecture. The book will be of interest to scholars working in design theory, design history, architecture, and literary theory and criticism.

Covering the 1960s and 1970s, this volume explores new ways of investigating, comparing and interpreting the different domains of design culture across the Nordic countries. Challenging the traditional narrative, this volume argues that the roots of the most prominent features of Nordic design’s contemporary significance are not to be found amongst the objects for the home collectively branded as ‘Scandinavian Design’ to great acclaim in the 1950s, but in the discourses, institutions and practices formed in the aftermath of that oft-told success story, during the turbulent period between 1960 and 1980. This is achieved by employing multidisciplinary approaches to connect the domains of industrial production, marketing, consumption, public institutions, design educations, trade journals as well as public debates and civic initiatives forming a design culture. This book makes a significant contribution to current, international agendas of historiographical critique focusing on transnational relations and the deconstruction of national design histories. This book will be of interest to scholars in design, design history and Scandinavian studies.The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

This volume offers spatial theories of the emergent based on a careful close reading of the complete works of nineteenth-century writer and mathematician Lewis Carroll—from his nonsense fiction, to his work on logic and geometry, including his two short pamphlets on architecture. Drawing on selected key moments in our philosophical tradition, including phenomenology and sociospatial theories, Caroline Dionne interrogates the relationship between words and spaces, highlighting the crucial role of language in processes of placemaking. Through an interdisciplinary method that relates literary and language theories to theories of space and placemaking, with emphasis on the social and political experience of architectural spaces, Dionne investigates Carroll’s most famous children’s books, Alice’s Adventures in Wonderland and Through the Looking-Glass and What Alice Found There, in relation to his lesser-known publications on geometry and architecture. The book will be of interest to scholars working in design theory, design history, architecture, and literary theory and criticism.

Covering the 1960s and 1970s, this volume explores new ways of investigating, comparing and interpreting the different domains of design culture across the Nordic countries. Challenging the traditional narrative, this volume argues that the roots of the most prominent features of Nordic design’s contemporary significance are not to be found amongst the objects for the home collectively branded as ‘Scandinavian Design’ to great acclaim in the 1950s, but in the discourses, institutions and practices formed in the aftermath of that oft-told success story, during the turbulent period between 1960 and 1980. This is achieved by employing multidisciplinary approaches to connect the domains of industrial production, marketing, consumption, public institutions, design educations, trade journals as well as public debates and civic initiatives forming a design culture. This book makes a significant contribution to current, international agendas of historiographical critique focusing on transnational relations and the deconstruction of national design histories. This book will be of interest to scholars in design, design history and Scandinavian studies.The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

Using interdisciplinary research and critical analysis, this book examines experiences through (or with) kimonos in Britain during the late Victorian and Edwardian periods.Bringing new perspectives to challenge the existing model of ‘Japonisme in fashion’ and introducing overlooked contacts between kimonos and people, this book explores not only fine arts and department stores but also a variety of theatres and cheap postcards. Putting a particular focus on the responses and reactions elicited by kimonos in visual, textual and material forms, this book initiates an entirely new discussion on the British adoption of Japanese kimonos beyond the monolithic view of the relationship between the East and West.This book will be of interest to scholars working in fashion studies, British studies, Japanese studies, design history and art history.

Using interdisciplinary research and critical analysis, this book examines experiences through (or with) kimonos in Britain during the late Victorian and Edwardian periods.Bringing new perspectives to challenge the existing model of ‘Japonisme in fashion’ and introducing overlooked contacts between kimonos and people, this book explores not only fine arts and department stores but also a variety of theatres and cheap postcards. Putting a particular focus on the responses and reactions elicited by kimonos in visual, textual and material forms, this book initiates an entirely new discussion on the British adoption of Japanese kimonos beyond the monolithic view of the relationship between the East and West.This book will be of interest to scholars working in fashion studies, British studies, Japanese studies, design history and art history.

What is design in modern China? And what are the ecological stakes in understanding how modern Chinese design encourages us to see? This book takes up these questions though exploration into the work of three famous designers who were actively engaged with the natural sciences in early twentieth-century Shanghai, Canton, and Beijing.The designed objects asking for heightened vision into interior and exterior worlds make their way across temporal and cultural boundaries. This book, then, is also about that movement, and the emotions of the eye which support it. Porcelain dishes, textiles, magazine covers, and paintings moved the people who lived with them a century ago in China to an awareness of their edges, rims, borders as boundary lines, and to see things through those in-between forms from a new point of view; to share pleasure in colour and pattern, perhaps, but also to connect to other deeply transformative feelings at the boundary.The book will be of interest to scholars working in design history, art history, and Chinese studies.

What is design in modern China? And what are the ecological stakes in understanding how modern Chinese design encourages us to see? This book takes up these questions though exploration into the work of three famous designers who were actively engaged with the natural sciences in early twentieth-century Shanghai, Canton, and Beijing.The designed objects asking for heightened vision into interior and exterior worlds make their way across temporal and cultural boundaries. This book, then, is also about that movement, and the emotions of the eye which support it. Porcelain dishes, textiles, magazine covers, and paintings moved the people who lived with them a century ago in China to an awareness of their edges, rims, borders as boundary lines, and to see things through those in-between forms from a new point of view; to share pleasure in colour and pattern, perhaps, but also to connect to other deeply transformative feelings at the boundary.The book will be of interest to scholars working in design history, art history, and Chinese studies.

This book examines artists’ engagements with design and architecture since the 1980s, and asks what they reveal about contemporary capitalist production and social life. Setting recent practices in historical relief, and exploring the work of Dan Graham, Rita McBride, Tobias Rehberger and Liam Gillick, Bill Roberts argues that design is a singularly valuable lens through which artists evoke, trace and critique the forces and relations of production that underpin everyday experience in advanced capitalist economies.