List of Figures
List of Tables
List of Contributors
Preface
Introduction, Jeremy Aynsley (University of Brighton, UK), Alison
J. Clarke (University of Applied Arts Vienna, Austria) and Tania
Messell (University of Applied Sciences and Arts Northwestern
Switzerland)
Part One: Professions – Rules – Institutions –
Personalities
1. Professional Graphic Design and Cold War Politics: National and
Transnational Design Organizations, Dora Souza Dias (Brunel
University, UK)
2. One Step before Organizations: Networks, Actors and Trajectories
in Argentine Design (1938-1962), Verónica Devalle (University of
Buenos Aires, Argentina)
3. International Design Organizations and Emigré Identity: Peter
Muller-Munk and American Representation in ICSID, 1950-1967, Tania
Messell (University of Applied Sciences and Arts Northwestern
Switzerland)
4. International Design Organizations as Global Design Advocates:
Romance, Reality and Relevance? Jonathan M. Woodham (University of
Brighton, UK)
Part Two: National - International – Transnational
5. Becoming the International Design Conference in Aspen, Robert
Gordon-Fogelson (University of Southern California, USA)
6. ALADI, a Latin American Voice of Design, Juan Buitrago
(University of the Valley, Colombia)
7. Internationalizing Japanese Graphic Design: From the Pre-War
Period to Today, Yasuko Suga-Ida (Tsuda University, Japan)
8. Shaping National and International Design Policies: the
Transnational Trajectory of the Belgian Policymaker Josine des
Cressonnières (1926-1985), Katarina Serulus (KU Leuven,
Belgium)
Part Three: Design Definitions - Epistemologies -
Differences
9. Negotiating Graphic Design between National and International
Design Organizations: the Case of the Associazione per il Design
Industriale in Milan, Chiara Barbieri (ECAL, Switzerland)
10. Tööstuskunsti Komitee: a Case Study of an Invisible Design
Organization in Soviet Estonia, Tr’in Jerlei (Estonian Academy of
Arts, Estonia)
11. Design for Development, ICSID and UNIDO: the Anthropological
Turn in 1970s Design, Alison J. Clarke (University of Applied Arts
Vienna, Austria)
12. No “Good Design” Would Come of It: The International Design
Conference in Aspen, 1977–2004, Penelope Dean (University of
Illinois at Chicago, USA)
13. XIN, A Message with Strategic Vision - An Analysis of the
Meaning of the 2009 Icograda Bei-jing Congress, Yun Wang (China
Design Museum, Republic of China)
Select Bibliography
Brings together leading design historians to explore and evaluate the role, purpose and success of a wide range of national and international design organizations.
Jeremy Aynsley is Professor of Design History and
founding Director of the Centre for Design History at the
University of Brighton, UK.
Alison J. Clarke is Professor of Design History and Theory
and founding Director of the Papanek Foundation at the University
of Applied Arts Vienna, Austria.
Tania Messell is Researcher in Design History at the
University of Applied Sciences and Arts Northwestern Switzerland
(FHNW) in Basel, Switzerland.
International, regional and national organizations have been
essential in negotiating the political, economic and social
standings and functions of the design professions since the
mid-twentieth century. This volume brings together an impressive
array of new research on these networks and their role in the
consolidation of the culture and practice of design as we know it
today.
*Kjetil Fallan, Professor of Design History, University of Oslo,
Norway*
In the past 80 years, international organizations have greatly
shaped discourse and practice in industrial and graphic design.
International Design Organizations provides a refreshingly diverse
array of critical perspectives into the designers’ interactions
with and through international organizations, with a focus on lived
experience and the political ramifications of the ideal of the
‘international’, within design communities. Chapters clearly
demonstrate how international design organizations are constituted
both by regional and local ways of working brought into dialogue
and by an often-illusory proposal for ‘universal’ design
approaches, values or standards, showing how the resulting
communities of practitioners, researchers and educators both link
design culture across geographical and cultural divides and reflect
deeper political inequalities between continents and nations.
*Sarah Teasley, Professor of Design, RMIT University,
Australia*
This new edited volume presents pioneering research in
predominantly postwar design histories and successfully applies
network research methods onto yet unexplored design history
material. Thirteen essays analyse histories of institutions
transnationally and reveal the complex functioning of design
institutions and their contributions to the narrative of design
history as a whole. This fascinating and engaging book will
captivate its readers but should also become a useful teaching tool
for understanding this net of stories and histories.
*Helena Capková, Associate Professor of Art History, Ritsumeikan
University, Japan*
An invaluable retrospective for students of design management and
design history and a rare treat for graphic design students,
tracing the historical underpinning of paradigm shifts that have
informed a century of design. This volume provides a unique insight
and perspective on the evolution and impact of key international
design organizations and influential personalities instrumental in
shaping the international discourse on design. This is a timely
reminder of the importance of international collaboration in a time
of resurgent nationalism.
*Sara Ekenger, Course Leader, MA Design Management, London College
of Communication, UAL, UK*
International Design Organizations is a much-awaited collection
that offers new perspectives on the entanglement of design cultures
and networks during a historical period of heightened
internationalism and exchange. Drawing on a plurality of expert
views and deftly edited, this book contributes to our understanding
of design and designing as a multifaceted, ever-shifting activity
negotiated through professional and institutional rules, national
and transnational interests, and resulting from diverse epistemic
structures. A timely read for anyone invested in advancing global,
transnational and decolonial approaches to design.
*Livia Rezende, University of New South Wales, Australia*
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