Word: designators
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Dates: during 1990-1999
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Indeed, the goal of making stores inviting and confusion free has been reflected in store design. The notion of austere, open space--all the rage in chic urban boutiques during the '80s and early '90s--is now coming to an end, in the opinion of Paul Bennett, a retail architect who has designed shops for DKNY and Anne Klein. "Now the design has to be more welcoming, more intimate," he says. Bennett, who is working on shops for Calvin Klein's CK division, has helped popularize the concept of "zoning"--the creation of a series of small spaces within...
...that for too long they worked on only one model. Although people told him to diversify, Henry Ford had developed tunnel vision. He basically started saying "to hell with the customer," who can have any color as long as it's black. He didn't bring out a new design until the Model A in '27, and by then GM was gaining...
...sense Henry Ford became a prisoner of his own success. He turned on some of his best and brightest when they launched design changes or plans he had not approved. On one level you have to admire his paternalism. He was so worried that his workers would go crazy with their five bucks a day that he set up a "Sociological Department" to make sure that they didn't blow the money on booze and vice. He banned smoking because he thought, correctly as it turned out, that tobacco was unhealthy. "I want the whole organization dominated by a just...
Instead of representation, instead of abstract beauty, Weimar visual cultural does...what? It is political, but it is more than simple propaganda--Heartfield and Georg Grosz each have their Hitler caricatures, but the meat of Weimar thought is elsewhere. Technology is everywhere: in the medium of photography, in Bauhaus design, in the mannequins of Josef Albers and Oskar Schlemmer, in the pipes and puppets in the portraiture section. The noisy whirligig of modern technology is both embraced in dada photo-montages of basketball-headed humanoids and controlled through the neat, organized designs of Herbert Bayer's movie house and exhibition...
...mannequins, the frightened dada, the busy montage, the cold Bauhaus design: All this could be funneled into some superficial critique of the continuities between Weimar culture and fascism. But such an approach would ignore peculiar versatility Weimar artists showed in reacting to and using these new modern themes...