基本信息出版社：Firefly Books
页码：336 页
出版日期：2007年09月
ISBN：1554073103
International Standard Book Number：1554073103
条形码：9781554073108
EAN：9781554073108
装帧：精装
正文语种：英语
内容简介
Essential facts, authoritative opinions and a provocative list of the most influential designers.
Design: The Definitive Directory of Modern Design is a dynamic and comprehensive guide to the subject. Global in scope, this book includes architecture, industrial design, furniture, fashion, cars, clothing, graphics, consumer products, signs and much more -- all complemented by 300 color photographs. There are also up-to-date profiles of the innovators and visionaries past and present whose achievements have forever changed the way we view ourselves and the world.
A series of essays outlines the role of design in modern cultural history and includes Terence Conran's definition of design. The main section of the book is an A-Z directory of the most influential people, products and processes of the past and present centuries and includes biographies of leading designers. The authors also share their personal views on today's newest achievers.
Among the topics examined:
Art, industry and the beginnings of design The consumer age and mass consumption The craft ideal of old values The Modern movement and the romance of the machine America of the thirties Italy since the fifties Symbolism, the language of objects and consumer psychology Postmodern design, and looking to the future.Up to date, provocative and completely original, Design will be a sourcebook for professional designers, an essential guide for students of design, and a revelation for general readers hungry for information about design and designers.
Highlights:
100-page A-Z directory for easy look-up 300 full-color illustrations with detailed captions Biographies of designers past and present Corporate histories and product appraisals The influence of management, cultural and social theories Michelin-style ratings of today's up-and-coming designers Brand identity and assessing brand value The newest types and categories of design.The featured subjects include, among many others:
Bauhaus IBM Sony Benetton iPod Tom Wolfe Charles Eames Italy's Autostrade Victorinox Eric Gill Philippe Starck Vogue Ferrari Porsche Walt Disney Frank Lloyd Wright. (20071215)作者简介
Stephen Bayley is a regular contributor to art and design magazines. He lectures worldwide, is frequently interviewed and quoted by the media, and judges international design competitions.
Sir Terence Conran is one of the world's leading designers, furniture makers and retailers. His architecture and design practice is responsible for prestigious projects around the world. His books, including the ground-breaking The House Book, have sold more than 20 million copies worldwide.
(200802)媒体推荐 Trace[s] the history of various artistic movements, bringing order to what might seem like an avalanche of design concepts (Grand Magazine 20081001)
Conran and Bayley ... have seamlessly orchestrated a history of design that is as eclectic as it is evocative. (Jon Alain Guzik Miami Modern Living 20071231)
This is a brilliant book. (Bill Robertson Star Phoenix (Saskatoon) 20071214)
Fantastic photographs and lively, Conran-esque text.... If you found the 1985 volume useful, you'll want this useful update. (Azure Magazine 200712)
Smartly written and gorgeously illustrated.... It's the kind of book you'll dip into repeatedly just for fun. (The Week 200711)
Hundreds of large gorgeous photos make this a useful resource and a fun browse. (Metropolis 20071124)
This essential read for designers, or anyone who wants to know more, includes more than 300 colour photographs. (Globe and Mail 200712)
Richly illustrated and elegantly packaged, the book is beautiful enough for the coffee table and encyclopedic in its scope. (Kimberley Brown House and Home 200712)
This hefty tome is a swell start to building your arsenal of cool facts. Conran and Bayley know their stuff. (The Globe and Mail 20071013)
By carefully limiting the number of entries ...the authors [have] lots of room left over for pictures. (Michael Lassell Metropolitan Home 20071209)
Provides an encyclopedic portfolio of iconic modern design, from Johan Vaaler's paper clip to Jonathan Ive's iPod. (Elle Design 20071001)
An opinionated, comprehensive history of industrial design ... an encyclopedic survey of the best 19th and 20th century industrial designers. (Zahid Sardar San Francisco Chronicle 20071007)
A comprehensive directory of just about everything related to design and those who create it.... A lovely and valuable book. (Linda Turk Chronicle-Journal (Thunder Bay) 20080531)
This is an eclectic, stylish guidebook of design through the ages. (Martin Cash The Winnipeg Free Press 200803-1)
[Bayley and Conran] offer readers a crash course in design.... This is no staid or simplistic survey. (Publishersweekly.com 200804)
A lively and opinionated history. The bygone age of enlightened corporate sponsorship gets loving treatment. (Piladas Viladas The New York Times - City Edition 20080401)
[A] delightful survey of designers. Nothing about design escapes the critical gaze of Bayley and Conran. (Reno & Décor )
A thought-provoking read for design aficionados, techies, and pragmatic consumers alike. (Charleston Magazine )
Nothing about design escapes the critical gaze of Bayley and Conran. (Patrick Tivy Reno and Décor )
Best feature: A stage-setting series of essays...by Conran and Bayley probing the evolution of design since the 19th century. (Jennifer David House & Home )
This is a solid purchase, especially for its reasonable price and international scope. Summing Up: Recommended. (R. T. Clement, Northwestern University Choice )
专业书评 From Publishers Weekly
Design experts Bayley (Imagination, General Knowledge) and Conran (Ultimate House Book, Designers on Design, etc) offer readers a crash course in design in this impressive, coffee-table-ready resource. After a brief narrative history of design from the 18th century to the present (the rise of consumerism and mass production, the Arts and Crafts movement, the Bauhaus ethic, etc.), the design and pop culture heavyweights delve into an alphabetical listing of design figures, themes and products. The artful confluence of the societal, artistic and architectural is what sets the book apart: rather than relying on key figures, Conran and Bayley's wide net enables the reader to see both the forest and the trees, no small achievement. Though the sheer number of subjects restricts most entries to a paragraph or two, this is no staid or simplistic survey; Conran and Bayley inject plenty of colorful editorial comments, characterizing fashion icon Pierre Cardin, for example, by his "monomania," which can "infuriate or bore." The book assumes a familiarity with most styles and designers, though movements such as surrealism and modernism are well-explained. Bayley and Conran's experience with and enthusiasm for the material, coupled with up-to-the-minute coverage (the iPhone is included), make this a thoughtful contemporary look at an often mercurial subject. Color photos and illus. throughout.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
目录
A note on good design by Terence Conran
A note on disegno by Stephen Bayley
An industrious love of art The beginnings of design
Lawful prey Mass-consumption
A kilogram of stone or a kilogram of gold? Survival and revival of craft values
Hygiene of the optical The romance of the machine
The cash value of art America
La Ricostruzione Italy since the Fifties
Ugly, inefficient, depressing chaos Symbolism and consumer psychology
All that is solid melts into air Design since the Eighties
National Characteristics
Museums and Institutions
Index
Acknowledgments
……
序言 A note on good design
Terence Conran
What is good design? This is a question asked very often, but rarely answered successfully. The answer is that it is immediately visible: something that has not been intelligently designed will not work properly. It will be uncomfortable to use. It will be badly made, look depressing and be poor value for money. And what's more, if it doesn't give you pleasure, it is bad design. You would be stupid to want bad design. Good design really is intelligence made visible.
Everything that is made betrays the beliefs and convictions of the person who made it. Everything has been designed. Conscious or unconscious decisions have always been made which affect the way a product is manufactured, how it will be used and what it looks like. This applies to a flint arrowhead or a cruise missile. Even arranging food on a plate is a design decision. As is your signature, a very important one in fact as it shows how you want people to perceive you.
My answer about good design, or thoughtful design as I'd prefer to call it, is that it comprises 98 per cent commonsense and 2 per cent of a mysterious component which we might as well call art or aesthetics. A good design has to work well, be made at a price the consumer finds acceptable and it must give the consumer practical and aesthetic pleasure. It also must be of a quality that justifies the price paid. If the design has some innovatory qualities then, at least in my opinion, it becomes an even better design. In addition, well-designed products tend to have a long lifespan and usually acquire an attractive patina of usage. Which is to say, it gets better as it gets older: old Levis, a legible printed page, a leather club chair, good shoes, table and chairs would all be examples.
I believe a designer has to research his subject before he puts pen to paper or mouse to computer. The car designer Peter Horbury pins-up photographs of all his inspirations before he starts work. On a new Ford pick-up truck, for instance, he used archive shots of Airstream trailers and steam locomotives. He says 'you need to tell a story'. You need to know history. Not least because those who do not know history are condemned to repeat it. You learn from history; but you aim for the future. The designer's job is not to repeat history; but to make it. It is also essential in my opinion to know your market: how people live, where they live, their income and their aspirations. You must also have a clear idea of why and how what you are designing will improve their lives.
All this relates to the manufacturing process, the materials you use and the methods of distribution. No designer can work effectively if he does not understand the capability of the machinery he must use. The same can be said of cost structure and the humdrum facts of distribution and sales. How the product will be sold, displayed and packaged are all vital parts of the designer's task and must be fully understood at the beginning of any project.
Innovation is a defining characteristic of good design. The capacity to see a new solution to an existing problem is what a designer does. But that is not the same as saying good design involves a restless search for novelty; Good design tends to be enduring. It's this tension between finding effective innovations and achieving lasting values that, so far as I am concerned, gives the designer so much of his creative energy. The designer always needs a proper working relationship with the engineer, the materials technologist. This sort of collaboration is going to be ever more important in future, as established definitions and distinctions about design, art and architecture become ever more blurred in a world where the most significant activity is the invisible organization of electrons in the information economy.
In a changing world, some things remain the same. I firmly believe it is the designers responsibility to help improve the quality of people's lives through products that work well, are affordable and look beautiful.
That seems to me an intelligent solution.
--
A note on disegnoStephen Bayley
In the Renaissance, draughtsmen did what was called disegno. For Leonardo da Vinci, the greatest draughtsman of them all, disegno meant not just the art and craft of drawing itself, but the ability to communicate ideas graphically. Leonardo's broad interpretation of disegno was very close to what we call 'design': an ability to conceptualise an idea, express it in materials and prove it by demonstration. When the word disegno migrated into English in the sixteenth century; it came to mean not merely 'drawing', but intention.
Today, design has both these senses: a useful mixture of creative expression and intellectual purpose. Leonardo knew that already. In his letter of application to Lodovico Sforza, Duke of Milan, he listed his talents and achievements, putting the design of useful canals far in front of mere decorative painting or sculpture. Design is an art that works.
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