Industrial Revolution & Its Impact on Design

THE INDUSTRIAL REVOLUTION and its impact on design

THE “INDUSTRIAL REVOLUTION”

The Industrial Revolution was a period from the late 18th century to the 19th century

when MAJOR changes in

AGRICULTURE, MANUFACTURING, TRANSPORTATION

and COMMUNICATIONS

took place.

These changes resulted in a profound effect on the socio-economic and cultural conditions of the world.

Almost EVERY aspect of daily life was eventually influenced in some way.

The Industrial Revolution was a shift from:

- “hand” production to “machine” production

- “individual” production to “mass” production

Origins of the assembly line: a “dis-assembly line” – Pork Packing in Cincinnati, 1870s

By 1916, this would increase to 2,000 per day. In 1926, the factory hit an all-time high producing 9,000 in one day.

August 1913: One day’s production at Henry Ford’s Highland Park (Michigan) factory – 1,000 completed Model-T bodies [without engines]

AND . . .

-!from “country / village” living to “city / urban” living

from “slow” living to “fast” living

“Coney Island Beach & Boardwalk Scenes,” 1898

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Such changes also brought about a shift in our understanding of TIME and SPACE:

- Train and Steam-Ship Travel (Later, the Automobile and the Airplane)

- Transportation Infrastructure: Canals, Roads, Bridges, Subways, etc.

- Communication Networks: Telegraph, Telephone, Phonograph (Later, Radio & TV)

- Standard World Time Zones ( and “Summer Time” / Daylight Savings Time)

- The “Work Week” (Monday-Friday) and “Weekend” (Saturday and Sunday)

- Still Photography and the Cinema (“the movies”)

- Rise of “the media” (Newspapers, Magazines, Radio) and publishing/broadcasting on a regular basis

SPREAD OF THE INDUSTRIAL REVOLUTION

The Industrial Revolution

began in England, Scotland and Ireland (1820s-30s),

and then spread throughout Northern

Europe (1850s-70s),

to Southern Europe and North America (1870s-1914),

and the rest of the world

(1914-1930s and beyond).

“THE GREAT WAR,” 1914 - 1918 ( World War One )

Coming as it did after the technological advances of the 19th century,"World War One, was the first major “industrialized” conflict.

The main instigator in Industrialization was

the creation and harnessing of human-made power sources:

Steam and Electricity

created by either

Water-Power or Burning Coal

Philipp Jakob Loutherbourg the Younger, “Coalbrookdale by Night,” 1801 “blast” furnaces light the iron-making town at night and release a HUGE amount of smoke and pollution

Thomas Pritchard, “Coalbrookdale Bridge,” Coalbrookdale, Shropshire, ENGLAND, 1781

John Fowler and Benjamin Baker, “Firth of Forth Railway Bridge,” near Edinburgh, SCOTLAND, 1882-1889

John Augustus Roebling, “Brooklyn Bridge,” New York City, USA, 1870-1883

The Brooklyn Bridge, as seen on a postcard from 1900

The main instigator in Industrialization was

the creation and harnessing of human-made power sources:

Steam and Electricity

created by either

Water-Power or Burning Coal

George and Robert Stephenson, “Locomotion No. 1,” 1825

The Liverpool-to-Manchester Railway, 1830 the world’s first inter-city passenger railroad service.

“Map of British Coal Exports to the World, 1864,” made by Charles Joseph Minard in 1868

Nikola Tesla demonstrating “wireless” transmission of energy, New York, 1891 (would later lead to radio wave transmission)

Nikola Tesla in his laboratory, 1899

PERCENTAGE OF THE WORLD’S POPULATION LIVING IN URBAN AREAS!!

1800: 3% "1900: 20% "2010: 50%#"

(Great Britain: 90%, USA and Continental Europe: 80%)"

Gustave Doré, “Over London by Rail,” 1870"

Gustave Caillebotte, “Street in Paris; A Rainy Day,” 1877 "

Central Park South, New York,1890s"

Philadelphia,"late 19th century"

THE GROWTH OF CITIES

"LONDON PARIS " NEW YORK "ISTANBUL "TOKYO""1800: "860,000 550,000 60,500 570,000 1.0 million"1900: "6.7 million 3.3 million 4.2 milion 1.2 milion 1.5 million"2010: "7.4 million 9.2 million 16.2 million 11.4 million 8.6 million

Interior views of“Au Bon Marche” Department Store,

Paris, FRANCE"late 19th century"

Interior views ofHarrod’s Department Store,

London, ENGLAND"late 19th century"

Sample pages#from Sears Catalog No. 110"

(1914)"

Late 19th century / Early 20th century

“WORLD EXHIBITIONS”!

1851: London, ENGLAND 1897: Brussels, BELGIUM 1855: Paris, FRANCE 1900: Paris, FRANCE 1862: London, ENGLAND 1901: Buffalo, USA 1867: Paris, FRANCE 1904: St. Louis, USA 1873: Vienna, AUSTRIA 1905: Liège, BELGIUM 1876: Philadelphia, USA 1906: Milan, ITALY 1878: Paris, FRANCE 1907: Dublin, IRELAND 1879: Sydney, AUSTRALIA 1909: Seattle, USA 1884: New Orleans, USA 1910: Brussels, BELGIUM 1888: Barcelona, SPAIN 1911: Turin, ITALY 1889: Paris, FRANCE 1913: Ghent, BELGIUM 1893: Chicago, USA 1915: San Francisco, USA

Joseph Paxton, “The Crystal Palace,” for the Great Exhibition of the Works of Industry of All Nations, London, ENGLAND, 1851

Joseph Paxton,“The Crystal Palace,” for the 1851 Great Exhibition, London

Joseph Paxton inspecting “The Crystal Palace” during construction, 1851

Joseph Paxton,“The Crystal Palace,” for the 1851 Great Exhibition, London

Joseph Paxton, “The Crystal Palace,” for the 1851 Great Exhibition, London

Joseph Paxton, “The Crystal Palace,” for the 1851 Great Exhibition, London interior views

Joseph Paxton, “The Crystal Palace,” for the 1851 Great Exhibition, London, UK 100,000 objects by over 15,000 contributors: machines, textiles, furniture, musical instruments, crafts, etc.

George Henry Corliss, “The Corliss Steam Engine,” as exhibited in Centennial Hall, Philadelphia, for the 1876 World Exposition

“The Universal Exposition,” Paris, FRANCE, 1889

“The Eiffel Tower”

Gustave Eiffel, Tower for the 1889 Paris Universal

Exposition (“The Eiffel Tower”)

Caricature of Gustave Eiffel in the form ofthe Eiffel Tower by Edward Linley Sambourne

(Punch Magazine, vol. 96, p. 32, June 29, 1889). "

“The Hall of Machines” at the Universal Exposition, Paris, FRANCE, 1889

“The Hall of Machines” at the Universal Exposition,

Paris, FRANCE, 1889

“World's Columbian Exposition,” Chicago, USA, 1893 "

D. H. Burnham and F.L. Olmsted, “World's Columbian Exposition,” Chicago, USA, 1893 "

“Transportation Building” for the World's Columbian Exposition, Chicago, USA, 1893

George Washington Gale Ferris, Jr. , “Observation Wheel” at the World's Columbian Exposition, Chicago."

SOME “FIRSTS” OF THE 1893 WORLD’S COLUMBIAN EXPOSITION"

Electrical pioneer and inventor Nikola Tesla demonstrated phosphorescent lights, a precursor to fluorescent light bulbs.

“Elongated Coins” (flattened or stretched coins embossed with a new design with the purpose of creating a souvenir).

Engineer and inventor Whitcomb L. Judson demonstrated “the clasp locker," a forerunner to “the zipper”

MORE “FIRSTS” OF THE 1893 WORLD’S COLUMBIAN EXPOSITION"

F.W. Rueckheim introduced a mixture of popcorn, peanuts and molasses, renamed “Cracker Jack” in 1896

William Wrigley Jr. introduced “Juicy Fruit” gum

The American Cereal Company introduced “Quaker Oats”

A small flour mill from Grand Forks, North Dakota, introduced a “breakfast porridge” called “Cream of Wheat”

Lawyer and businessman Henry Perkey introduced a breakfast cereal called “Shredded Wheat”

ARTS and CRAFTS MOVEMENT(England, 1860–1910)

ART NOUVEAU(Europe, 1890–1905)

DER DEUTSCHER WERKBUND (DWB)

(Germany, 1907-1938)

FUTURISM (Italy, 1909-1918)"

“ARTS and CRAFTS MOVEMENT”

An artistic movement in England that was a reaction to the mass production of the Industrial Revolution

The movement was not totally against mass-production

they were just concerned with how to combine the economics of mass-production and the “joy of making” for a factory worker."

Name: from the “Arts and Crafts Exhibition Society”

formed in London in 1887, which held annual exhibitions at the New Gallery

in the 1880s and 1890s.

“ARTS and CRAFTS MOVEMENT”"

“The New Gallery,” 121 Regent Street, London, as seen in 1890.

Walter Crane,pages from Line and Form, 1900"

William Morris,first page of The Nature of Gothic (written by John Ruskin)

and colored sketch for initials, 1853 "

William Morris (1834-96), wallpaper designs, 1875-80"

William Morris (1834-96),carpet designs, 1875-80"

William Morris (1834-96), furniture designs, 1860s"

typical 19th century furniture"

Philip Webb and William Morris, “The Red House,” Bexleyheath, ENGLAND, 1859"

Philip Webb and William Morris, “The Red House,” 1859"

typical 19th century interiors"

ART NOUVEAU

Meaning “New Art” in French, Art Nouveau, popular between 1890–1905, was both a reaction to the

Neoclassicism and nostalgia of the 19th century andan attempt at embracing, rather than rejecting, industrialization.

Art Nouveau was also known as:Jugendstil (Youth Style) in Germany

Liberty Style in EnglandSecession in Austria

Arte Joven (Young Art) in SpainArte Nuova (New Art) in Italy

Nieuwe Kunst (New Art) in the Netherlandsмодерн (Modern) in Russia

"

THE GOALS OF ART NOUVEAUThe unity of arts and crafts.The interpenetration of all the arts to be realized in a space of a totality, as elements of a single design whole(also known as Gesamtkunstwerk or “total art”)Art Nouveau artists believed that they should work on everything from architecture to furniture, making art part of everyday life.It was seen as a liberation from history and the from the problems of modern society. The grand coordination to be provided by the “repertoire of nature” "!

Henri van der Velde (1863-1957)""“It is clear that machines will eventually have to make good all the misery they have caused, and atone for the atrocities they have committed ... ""They produce beautiful things and ugly things indiscriminately. But the mighty power of their iron arms will produce beautiful things as soon as they are governed by beauty.” (1894)"

Henry van de Velde“Tropon Advertisement,” 1898"

Henri van der Velde, 1890s#desk, piano bench, lights, chairs, candelabra, cutlery"

Henri van der Velde, “Tea Dress,” 1901"

Hector Guimard, “Metro Entrances,” Paris, FRANCE, 1899-1904 "

Hector Guimard, “Metro Entrances,”Paris, FRANCE, 1899-1904 "

Hector Guimard,furniture and object designs, 1890s-1900s"

Art Nouveau doors and doorways in Paris and Brussels"

Art Nouveau lettering inthe sign for Moninger Brewery,Karslruhe, GERMANY, 1896 "

Louis Comfort Tiffany,“Laburnum Pendant Lamp”, 1910"

Charles Rennie Mackintosh, “Willow Tea Room Window”, Glasgow, SCOTLAND, 1904"

Victor Horta, ”Tassel House,” Brussels, BELGIUM, 1892-93"

Otto Wagner, “Majolikahaus,” Vienna, AUSTRIA, 1898

Otto Wagner, “Majolikahaus,” 1898

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“TO THE AGE ITS ART, TO ART ITS FREEDOM”

Antonio Gaudi,“Parc Guell,”

Barcelona, SPAIN, 1898-1914"

Antonio Gaudi, “Parc Guell,” Barcelona, SPAIN, 1898-1914"

DER DEUTSCHER WERKBUND (The German Work Federation), 1907-1938

A state-sponsored association of architects, designers and industrialists, whose aim was to integrate traditional crafts and industrial

mass-production techniques, and put Germany on a competitive level with England and the United States.

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Walter Gropius and Adolph Meyer, “Model Factory for Werkbund Exhibition,” Cologne, 1914

Bruno Taut, “Glass Pavilion,” Cologne, 1914

Fritz Hellmut Ehmcke, “Werkbund Tobacco Boxes,” 1914"

Fritz Hellmut Ehmcke,“Crefeld Werkbund Poster,” 1911"

Fritz Hellmut Ehmcke,“Deutsches Reich Postage Stamps,” 1922"

Peter Behrens,“Werkbund Packet for Bahlsens Biscuits,” 1914"

Peter Behrens,“Approximately One Watt per Candle,”

poster for Allegemeine Elektricitäts Gesellschaft (General Electric Company),”

1911"

Peter Behrens,“Posters for Allegemeine Elektricitäts Gesellschaft (General Electric Company),” 1913"

Peter Behrens,“AEG Logo,” 1907"

Peter Behrens,“AEG Calendar,” 1913"

Peter Behrens, various electrical household appliances for AEG, 1907-1910"

Peter Behrens, AEG Turbine Factory, Berlin, GERMANY, 1908-9"

FUTURISM

A total rejection of tradition and “the past.”

In keeping with the “Machine Age,” the Futurists saw technology as the basis for a new culture. Speed, noise, machines, transportation, communication,

information, and all the transient impressions of life in the modern city excited and intoxicated the Futurists."

Boccioni: “We must split open the figure and place the environment inside it.”

Umberto Boccioni, “Unique Forms of Continuity in Space,” 1913

Umberto Boccioni, “Fist,” 1915

Anton Bragaglia, “The Cellist,” 1913"

Anton Bragaglia, “The Typist,” 1911"

Giacomo Balla,“Abstract Speed and Sound,” 1915"

Giacomo Balla,“Passing Car,” 1913"

Giacomo Balla,“Futurist Suit,” 1914"

Giacomo Balla,“The Anti-Neutral Suit – A Futurist Manifesto,” 1914"

Giacomo Balla,“Sketches for Anti-Neutral Suits,” 1914"

Giacomo Balla,“Sketch for Anti-Neutral Handbag,” 1916"

F. T. Marinetti,“Zang Tumb Tumb”

(On the Battle of Adrianopolis)1912-14"

Filippo Marinetti, Bruno Corra and Emilio Settimelli, “Manifesto of Futurist Theatre,” 1915:

“With color, forms, sounds and noises, it will, like the works of Futurist painters and musicians, assault the nerves . . . The spectators will be made to “forget the monotony of everyday life” through a

labyrinth of sensations characterized by the most exasperating originality combined in unexpected ways.”

Luigi Russolo and Ugo Piatti,“Laboratory of the Noisemakers,” 1913"

http://reaktorplayer.wordpress.com/2011/07/18/the-art-of-noises-luigi-russolo-audio-works/

Antonio Sant’Elia,“La Città Nuova”

(The New City), 1913"

Antonio Sant’Elia,“La Città Nuova” (The New City), 1913"

Antonio Sant’Elia,“La Città Nuova” (The New City), 1913

"

“airplane and train station with funicular rail lifts on three roadways”

P H O T O G R A P H Y

(photo = light, graphos = writing)

Inventing Photography:

The phenomenon of the camera obscura (literally “dark room”) is that a small hole in a dark room projects the image of the outside on the opposite wall.

The phenomenon had been known since the Ancient Egyptians (2,500 years ago).

Mo-Ti, the Chinese founder of Mohism, mentioned the phenomenon

in his writings in the 4th century BCE.

Rainer G. Frissuis, “Camera Obscura,” 1544 Rainer G. Frissuis, “Camera Obscura,” 1557

Selected Paintings by Jan Vermeer, 1660s"

Possible “dark room” used by Jan Vermeer

By the 18th century, portable camera obscura with lenses became available that allowed artists, and anyone else handy with a pencil, to trace the projected images from the camera obscura.

G. F. Brander, “Camera Obscura as Table with Mirror Reflex for Comfortable Tracing,” 1769

In the 19th century, further devices were invented that allowed this “tracing of nature” without the use of a room or even a boxbox.

However, these images were one-of-a-kind and required drawing skill.

The Frenchman Joseph Niépce invented a process using silver, iodine and bitumen to “fix” the camera obscura image onto a piece of metal,

but this proved to be too time-consuming and the materials too expensive.

Joseph Niépce, “View from the Window at Le Gras,” 1827 "

About the same time as Niépce, Englishman William Talbot, developed a method of making negative prints.

William Talbot, “Laycock Abbey Oriel Window, Wiltshire,” 1835

Louis-Jacques Daguerre, “Paris Street,” 1839"

Niépce then teamed up with another Frenchman, Jacques Daguerre, to perfect the process, but it was still complicated, used expensive materials, required dangerous

chemicals, and took a long time to expose each shot in the camera .

William Talbot then developed a method to produce multiple copies of that fixed image: the negative

In addition, Talbot also shortened the amount of exposure time to five seconds.

William Talbot, “Open Door,” (left: negative original; right: positive print), 1843

The camera can reveal aspects of motion that can not be seen with the human eye.

For this reason, it was initially embraced by scientists in the 19th century.

Eadward Muybridge, “Horse Galloping: Daisy with Rider,” 1878

Later, artists began to understand the advantages of photographing their subjects as a tool to aid them in painting.

Henri Toulouse-Latrec,“At the Café La Mie,” 1891"

Edgard Degas,“Blue Dancers,” 1895"

Henry P. Robinson, “Fading Away,” 1858

Many 19th century photographers aimed to create photographs that looked like paintings.

In the early 20th century, photography became an art form itself.

Man Ray, “Rayograph,” 1926

Laszlo Moholy-Nagy, “In the Laboaratory,” 1938

In the early 20th century, photography gradually began to overtake drawings and illustrations in newspapers and magazines.

The New York Times, 1861 and 1916 TIME magazine, 1923 and 2010

Eadweard Muybridge, “Man Ascending Stairs,” 1887"

These experiments led to the development of the cinema (or, “the movies”)

In 1891, Thomas Edison successfully demonstrated the “Kinetoscope,”which enabled one person at a time to view moving pictures.

In 1895, brothers Louis and August Lumiere were the first to present projected, moving, photographic pictures to a paying audience

of more that one person.

http://www.youtube.com/watch?v=4nj0vEO4Q6s http://www.youtube.com/watch?v=Iey9YIbra2U

Like still photography, the cinema was at first quite documentary (LEFT), but later it too developed into the art form (RIGHT).

“A Selection of Lumiere BrothersFilms from the 1890s”"

Dziga Vertov., “Man with a Movie Camera,” 1929"

“Modern Times” Charlie Chaplin, director (1936)

http://www.imdb.com/title/tt0027977/

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Industrial Revolution & Its Impact on Design

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