Essay Prompts

Now the man who first chose glass instead of clay or metal to hold his wine was a ‘modernist’ in the sense in which I am going to use that term. That is, the first thing he asked of this particular object was not ‘How should it look?’ but ‘What must it do?’ and to that extent all good typography is modernist.” These lines from Beatrice Warde’s essay “The Crystal Goblet or Printing Should be Invisible” offer one concise definition of modern design. Taking Warde’s essay as a starting point, analyze three works of design to explore the range of approaches to modern design between 1910 and 1940, paying particular attention to how the term “modern” and its variations were defined. You may discuss any works of design that we have considered in the class, and you must use primary source readings to support your analysis.

In Beatrice Warde's essay "The Crystal Goblet or Printing Should be Invisible," she emphasizes the functional purpose of design over aesthetic considerations, indicating that a truly modernist approach prioritizes utility. When analyzing works of design between 1910 and 1940, one can consider how various design movements, such as Bauhaus, Art Deco, and Modernism itself, interpreted the term "modern".

1. **Bauhaus**: This movement emphasized the union of art and technology, aiming to produce functional designs that would serve the needs of modern life. The Bauhaus approach often merged craftsmanship with industrial production, leading to designs that were not only practical but also aesthetically forward-thinking. Here, the term "modern" relates to the integration of new materials and techniques. The "Programme of the Staatliches Bauhaus in Weimar" by Walter Gropius supports the Bauhaus movement's principles by outlining its core belief in the unity of art and technology. Gropius emphasized the need for functional design that serves the necessities of modern life, advocating for a holistic approach where craftsmanship intersects with industrial production. This framework directly contributed to the creation of practical and aesthetically progressive designs, aligning with the modern interpretation of integrating innovative materials and techniques.

2. **Art Deco**: Erik Magnussen “Lights and Shadows of Manhattan” coffee service 1927. In contrast, Art Deco embraced decorative elements and luxury, often emphasizing geometric shapes and bold colors. While it modernized aesthetic approaches, it was often criticized for being superficial compared to the functionality prioritized by Bauhaus. The modernity here reflects a blend of traditional craftsmanship with contemporary innovation and glamour.

3. **Modernism**: Paul Frankl, Skyscraper Bookcase, 1927-1928. Modernist design was characterized by minimalism and a rejection of ornamentation, focusing instead on simplicity and functionality. Designers in this movement sought to create objects that were efficient and straightforward in their forms without superfluous detail, hence applying Warde's philosophy directly. By examining these three distinct approaches, one can see that the definition of "modern" in design varies significantly based on the context of functionality, aesthetics, and the socio-economic conditions influencing these design movements.

Beginning in the mid-1920s, with the approaching saturation of the automobile market, product design and advertising became an increasingly important concern for manufacturers and retailers in the US. One of the most significant outcomes of that development was the rise of streamlining as a visual language for modern design. Explain the origins of streamlining and examine the reasons for its popularity in the US during the 1930s, using at least three works of design from the period to support your argument. Be sure also to consider the discussion over the status of streamlining as “modern” design among authors such as Norman Bel Geddes, Earnest Elmo Calkins, Harold Van Doren, and George Nelson.

The origins of streamlining can be traced back to the late 1920s and early 1930s, which was a period marked by rapid technological advancements and a fascination with speed and efficiency. Streamlining was largely influenced by the aerodynamic shapes of airplanes and automobiles, aimed at reducing air resistance and enhancing performance. As consumer culture grew in the United States, manufacturers began adopting this design approach to reflect modernity, mobility, and progress, which resonated with the optimistic spirit of the time. The popularity of streamlining in the 1930s can be attributed to several factors:

1. **Technological Advances**: The rise of automobiles and aviation pushed designers to create forms that not only looked futuristic but also improved functionality.

2. **Economic Factors**: The Great Depression influenced manufacturers to differentiate their products. Streamlined design suggested efficiency and modernity, appealing to consumers' desire for hope and innovation during hard times.

3. **Cultural Shifts**: The aesthetics of the Jazz Age and the Art Deco movement laid the groundwork for a style that embraced the dynamic and the sleek. Streamlining merged decorative elements with practicality, making it visually appealing yet functional.

Three notable works of design that exemplify the streamlining movement in the 1930s include: - **Norman Bel Geddes' "Futurama" at the 1939 New York World's Fair**: This exhibit showcased a vision of the future with streamlined vehicles and infrastructure, promoting the idea of progress through modern design.

- **The Chrysler Airflow (1934)**: One of the first mass-produced cars to utilize a streamlined design, the Airflow emphasized aerodynamics and was marketed as a modern vehicle, enhancing consumer perceptions of performance and luxury. -

The Magic Chef range by American Stove Co. is generally considered to be part of the streamlining movement. Streamlining in design was characterized by smooth, flowing shapes and an emphasis on both aesthetics and functionality, often influenced by advancements in technology and a desire for modernity. The Magic Chef range featured elements of this design philosophy, promoting an image of efficiency and modern conveniences in the kitchen, which aligned with consumer preferences during the 1930s.

Authors such as Norman Bel Geddes and George Nelson debated the status of streamlining as modern design. Bel Geddes viewed streamlining as a necessary evolution in design towards efficiency, while others, including Earnest Elmo Calkins and Harold Van Doren, expressed concerns that it focused too much on external aesthetics rather than underlying functionality. Overall, streamlining emerged as a defining element of modern design in the 1930s by merging aesthetic allure with a focus on performance and innovation.