The History of Design in the 1970s and 1980s. Part One: Industry and Architecture

Contents:

• A Premature Farewell to Modernism
• "White" and "Gray"
• The Italian School
• Things for People
• Soviet Design

In the history of architecture and product design, the 1970s represent a period of calm between the dynamic 1960s and 1980s. The oil crises of 1973 and 1979 dealt a serious blow to the European and American economies, leading to economic hardship and social instability in the Western world. This period is characterized by a weakening of the creative impulse and a decline in the optimism that characterized previous decades. Architecture and design during this period reflected changes in public sentiment, moving toward more restrained and functional solutions.

A Premature Farewell to Modernism

Major trends and movements that emerged in the 1960s, such as Metabolic architecture, Brutalism, and Radical design, continued to exert a significant influence on architecture and design in the 1970s. These movements not only shaped the unique style of the time but also became an important foundation for subsequent changes in architectural practice. Metabolism, with its emphasis on adaptability and growth, Brutalism with its massive forms and honesty of materials, and Radical design, striving for experimentation and reinterpretation of traditional forms, all defined the characteristic visual language of the 1970s. These movements remain relevant today, inspiring contemporary architects and designers to create bold and innovative solutions.

In 1977, American architectural critic Charles Jencks published The Language of Postmodern Architecture, which became a key architectural manifesto of the 20th century. This work laid the theoretical foundation for further discussions of architecture and its historical context, becoming an essential resource for researchers and practitioners. The book analyzes the core principles of postmodern architecture, its aesthetics, and cultural elements, providing a better understanding of the evolution of architectural thinking. The influence of Jencks's work is felt to this day, and he continues to inspire a new generation of architects and designers.

In this work, Jencks He proclaimed the end of the modernist era and analyzed emerging trends, viewing them as various forms of architectural "language." He presented his viewpoint as an adherent of poststructuralist theory, according to which linguistic methods can be applied to understanding any cultural phenomena. All these phenomena are interpreted as systems of communication, which opens new horizons in the study of architecture and design.

Charles Jencks seems to have prematurely declared the death of modernist architecture, and his book does not answer all the questions that arose. Nevertheless, this work has been reprinted many times, and each new edition has been supplemented with fresh material. Our tendency to lump together disparate architectural movements of the 1960s–1990s, which are often loosely connected and sometimes even contradictory, under the general term "postmodernism" is a consequence of the perception established by this book. It's important to note that postmodernism, as an architectural movement, continues to generate interest and debate, underscoring its significance in the history of architecture.

The 1970s became an era of remarkable architectural achievement, when masters such as Carlo Scarpa and Louis Kahn completed their most significant projects. In 1976, Louis Kahn completed the government complex in Dhaka, the capital of Bangladesh, which he began work on in the early 1960s. This complex became not only an architectural masterpiece but also a symbol of the desire for modernity and functionality in architecture. The projects of these architects continue to inspire and influence contemporary urban planning and architectural solutions.

Both architects significantly departed from the concept of the "international style", but they cannot be called postmodernists. The architectural movements that Jencks characterized as postmodern emerged in response to the challenges of modernity. In contrast, Scarpa and Kahn sought to create buildings that not only reflected their era and culture, but also resembled megaliths, ziggurats, and cave temples. Their architecture possesses a monumental and timeless character, freed from random elements.

"White" and "Gray"

In the early 1970s, the Museum of Modern Art in New York hosted a series of meetings with young architects, organized by Arthur Drexler, who served as head of the museum's department of architecture and design. As a result of these meetings, the book "Five Architects" was published in 1972, which included the names of such outstanding architects as Michael Graves, Peter Eisenman, Charles Gwathmey, John Hejduk, and Richard Meier. The following year, Architectural Forum magazine published a discussion involving not only the book's subjects but also five other architects. The discussion was organized by Robert Stern, who represented the second group of architects. These events became an important milestone in the development of architectural thought and had a significant influence on contemporary art.

The buildings of the "New York Five" are characterized by a minimalist style and usually white color, which led to their being labeled in the press as "white" architects. In contrast, their brutalist opponents were called "gray." Conflicts between the "whites" and the "grays" played a significant role in the formation of postmodern architectural theory in America, but their influence on the subsequent fates of the participants in the debate turned out to be insignificant.

Most representatives of "gray" architecture leaned toward passéism and order architecture. Some, like Allan Greenberg, took it seriously, while others, like Roger Moore, viewed it with irony. In this context, Michael Graves, one of the top five architects, proved an unexpected ally. Among the "whites," the only one who remained true to the ideals of his youth was Richard Meier.

The Italian School

The exhibition "Italy: The New Domestic Landscape," held at MoMA in 1972, brought Italian radical design to the international stage. This event led to other national schools of product design remaining in the shadow of the Italian movement for a long time, until the end of the 20th century. A significant factor in this phenomenon was the establishment of Milan as the center of the global furniture industry in the 1970s, attracting the attention of designers and manufacturers from around the world. Thus, Italian design has become a symbol of innovation and aesthetics, determining the direction of development of product design in a global context.

Some Italian designers previously associated with the radical movement participated in exhibitions of the Alchemia group in the second half of the 1970s. This group was founded in 1976 by Alessandro and Adriana Guerriero. The group had no fixed membership, which contributed to a diversity of ideas and approaches. The group's first exhibition, Bau.Haus uno, held in 1978, featured such renowned designers as Alessandro Mendini, Ettore Sottsass, Andrea Branzi, and Michele De Lucchi. The participation of these masters in the exhibitions of the Alchemy group became an important stage in the development of Italian design and had a significant influence on contemporary art and architecture.

In 1980, Ettore Sottsass founded a new design association called Memphis. The group included several members of the previous collective, "Alchemy." Since then, both groups have continued to exist in parallel, making significant contributions to the development of contemporary design and architecture. "Memphis" became a symbol of postmodernism, distinguished by bright colors and unconventional forms, which attracted attention to new approaches in design.

Study also:

The Memphis Group: a postmodern revolt in

Founded in 1981 by Italian designer Ettore Sottas, the Memphis Group became a symbol of the postmodern design movement. This collective of architects and designers brought vibrant colors, unusual shapes, and experimental materials to the world, challenging traditional notions of functionality and aesthetics. Their work is distinguished by a playful approach that combines elements of pop culture, surrealism, and minimalism.

The designers of the Memphis Group sought to create more than simply functional objects. They wanted their work to evoke emotion and question conventional norms. The result was unique pieces of furniture, textiles, and accessories that continue to inspire today's generation of designers.

The Memphis style is characterized by vibrant color combinations, geometric shapes, and asymmetry, making it easily recognizable. These elements formed the basis for a unique visual language that continues to influence design and art. The influence of the Memphis Group can be seen in the work of contemporary designers who continue to explore the boundaries between art and design.

The Memphis Group remains significant in the history of design, as it opened up new horizons for creative expression and bold experimentation. The postmodern rebellion initiated by this group continues to inspire and generate interest in original and unconventional solutions in the world of design.

The key designers of the Alchemy brand are Guerriero and Mendini. Most of their creations developed under this label were originally created as exhibition pieces. These objects are not only objects of contemporary art but can also be interpreted as images and messages. At the same time, they are able to fulfill their functional purposes, which makes them unique in the world of design.

In 1982, the Mazzocchi family, owners of the famous architecture magazine Domus, opened a private design school in Milan called Domus Academy. Among the founders of the Academy were renowned designers and architects such as Andrea Branzi, Alessandro Guerriero and Alessandro Mendini, who also served as editor-in-chief of Domus magazine since 1979. Domus Academy became an important center for training and development in the field of design, attracting students from all over the world and contributing to the formation of new approaches in architecture and design.

In the 1980s, this academy was considered one of the most advanced design schools in the world. It taught design as an important aspect of contemporary art, using Marshall McLuhan's terminology and considering it as a "media". At that time, the "Ulm model" remained mainstream, but the academy successfully adapted educational approaches to new realities and demands.

The history of Italian radical design ends on an interesting note: initially emerging as a spontaneous protest and experiment, it gradually acquired a systematic character and became the basis for an entire school. This transition from chaos to methodology became an important stage in the development of design, shaping new approaches and concepts. Italian radical design not only changed the perception of art and functionality, but also had a significant influence on modern design practices.

Things for People

The Ulm School ceased to exist in 1968, but the ideal of functional, simple, and mathematically sound design that it developed remained relevant into the 1970s. Interior architecture, furniture, and lighting saw significant changes in form and typology, thanks to designers like Verner Panton and Joe Colombo, as well as other representatives of the creative wave of the 1960s. These innovators introduced fresh ideas and concepts that influenced the development of modern design.

The design of household appliances and devices continues to be rational, focusing on simplifying human interaction with devices. In Italy, Richard Sapper and Mario Bellini, a consultant for Olivetti and the creator of many of its products, worked in this direction. In Germany, in-house designers at Braun, led by Dieter Rams, as well as Hartmut Esslinger, who designed stereo systems for Wega, actively developed functional and aesthetic design. In Denmark, Jakob Jensen, who worked with Bang & Olufsen, also made a significant contribution to the creation of innovative and stylish solutions in the field of household appliances. These designers shape the modern look of technology, focusing on convenience and user experience.

In 1971, the book "Design for the Real World" by American designer Victor Papanek, who taught design at the Massachusetts Institute of Technology (MIT), was published. In his work, he provided a profound and critical assessment of commercial design typical of the United States, highlighting its shortcomings and negative consequences. Papanek emphasizes the importance of social responsibility in design, urging designers to consider the needs of society and the environment. This book has become a significant contribution to the development of design thought and remains relevant for modern designers striving to create more sustainable and ethical design.

Reading is an important aspect of our lives that enriches knowledge and develops thinking. It helps to improve analytical and critical thinking skills. In addition, reading books, articles, and other materials helps expand vocabulary and improve literacy. It is important to choose high-quality sources of information to obtain relevant and reliable data. Regular reading creates a habit that can significantly impact personal growth and professional development. Focus on a variety of genres and topics to find inspiration and new ideas.

The Best Design Books by Professional Designers

Design is not just a profession but also an art that requires deep understanding and constant self-development. Books written by practicing designers provide unique insights and valuable advice for those seeking to improve their skills and expand their horizons. In this context, seven outstanding works deserve special attention; they will help you better understand the principles of design, its history, and current trends. These books will not only inspire you but also become reliable sources of knowledge that can be applied in practice. Reading these works is an excellent step towards developing your design thinking and professional growth.

Papanek viewed design as a form of social therapy aimed at exploring the problems faced by people and communities and finding solutions with the active participation of those for whom solutions are created. Ecology, as well as the needs of the elderly and people with disabilities, should be important aspects of a designer's professional interest. This approach contributes to the creation of more inclusive and sustainable solutions that take into account the interests of all members of society.

In recent years, there has been a steady increase in interest in designing objects that take into account the real needs of users. Traditional forms of everyday objects are undergoing significant changes aimed at adhering to the principles of ergonomics. This allows for the creation of more convenient and functional products that meet the expectations and requirements of modern people. Ergonomic design is becoming an important aspect in production, contributing to an improved quality of life and increased comfort in the use of everyday items.

In 1969, Maria Bengtzon and Sven-Erik Julin founded the Design Gruppen bureau in Sweden. Their main focus was on designing everyday objects, primarily for the kitchen, including teapots, mugs, spoons, and knives. Long and meticulous research allowed them to find forms that ensured ease of use and comfort in work. This approach to design became the basis of their philosophy, focused on functionality and aesthetics, which made their products in demand and popular among consumers.

Ten years later, Bengtzon and Julin teamed up with Henrik Wahlforss, an expert in design for people with disabilities, to create a new bureau, Ergonomi Design Gruppen. In this collaboration, they explored how diseases and the aging process affect human physical capabilities. The focus was on designing everyday objects for the "future us," with an emphasis on their usability and functionality, which was confirmed through testing on prototypes.

In Norway, the Balans brand was founded in 1976. The founders of the brand were designers Hans Christian Mengeshul, Oddvin Rikken, Peter Opsvik, and Svein Gusrud. They specialized in developing chairs and armchairs for home use, offices, and public transportation. Many of their models feature a unique approach to ergonomics, offering users unusual sitting positions in European culture, such as a semi-bent leg and kneeling position. These innovative solutions are aimed at providing maximum comfort and support, making Balans products sought after by those who appreciate functional and stylish design.Each of the four designers worked individually, collaborating with their own manufacturers. The most famous among them is Peter Opsvik, who most often works with Stokke. Some of his seating concepts are so unusual that their purpose is difficult to understand without explanation. For example, pieces from the "Garden" collection, released in 1985, resemble exotic plants with large balls on metal "branches." These pieces allow for comfortable seating in various positions, supported by knees or elbows. Opsvik's designs open new horizons for the functionality and aesthetics of furniture, demonstrating an original approach to creating a comfortable space.

Soviet Design

In the Soviet Union, until the 1970s, design was viewed as a strictly rational and scientific activity, controlled by the state. VNIITE, originally a club of young enthusiasts, became an influential agency with a large staff and a complex structure, including numerous departments and branches. Internal intrigues and party leadership significantly influenced the development of design. The romantic expectations associated with the emergence of a new profession quickly dissipated. Industrial design in the USSR became a routine and bureaucratic practice, which negatively affected its creative potential and innovation.

Read also:

VNIITE: History of the "smart home" prototype and implementation Ecodesign

VNIITE, a leading research and development institute, pioneered the creation of a "smart home" prototype. This project combined cutting-edge technologies and innovative solutions to improve the comfort and efficiency of living spaces. The "smart home" concept includes the automation of various systems, such as lighting, heating, and security, making life more convenient and safe.

Furthermore, VNIITE is actively developing the concept of ecodesign, aimed at creating sustainable and environmentally friendly solutions in construction and architecture. Ecodesign involves the use of materials and technologies that minimize the negative impact on the environment. As a result, the institute's projects not only improve quality of life but also contribute to the conservation of natural resources. VNIITE thus not only shapes the future of modern housing but also actively influences the development of environmentally sustainable construction practices, making it a key player in the fields of technology and ecology. In organizations subordinate to the Union of Artists, such as the editorial board of the magazine "Decorative Art of the USSR" and the Senezh Studio, design was viewed as a form of creativity. The founder and director of the Senezh Studio, Evgeny Rosenblum, advanced a concept in which "design" became the key concept. In his view, the true essence of a designer is revealed in the process of creating a project, while questions about turning this project into an industrial product and its consumer acceptance are not decisive. This perspective emphasizes the importance of the creative process in design, emphasizing originality and innovation over commercial success.

In 1977 and 1978, two significant exhibitions featuring young designers were held at the exhibition hall of the Youth Branch of the Union of Artists in Moscow. Among the participants were such renowned names as Alexander Ermolaev, Evgeny Bogdanov, Stanislav Chermensky, Igor and Maria Maistrovsky, Irina Presnetsova, and Alexander Lavrentiev. These designers repeatedly returned to the same venue, exhibiting alongside easel painters, which contributed to the development of a creative environment and the exchange of ideas in the art world. These exhibitions of young designers became an important stage in the history of Moscow's artistic culture, drawing attention to new directions in design and strengthening ties between various artistic disciplines.

The exhibitions showcased unique works that were valued primarily as artistic statements. Art exhibition design, later called "art design," reflected practices familiar and established in the Western world since the time of the Italian radicals. However, for Moscow in the 1970s, these ideas were completely new. Art design became an important element of the cultural context of the time, opening up new horizons for self-expression and creativity.

This movement later developed into exhibition design. In the 1990s, Evgeny Rosenblum and Evgeny Bogdanov became renowned and sought-after artists in the field of museum exhibitions. Their work significantly contributed to the formation of modern exhibition design standards, combining artistic vision with functional solutions.

Learn more about design by subscribing to our Telegram channel. We share the latest news, tips, and inspiration in the world of design. Join the community to stay up-to-date with interesting materials and useful resources.

Reading is an important aspect of self-development and acquiring new knowledge. It helps improve skills, broaden horizons, and enrich vocabulary. Regardless of genre, books, articles, or research provide unique opportunities to analyze and understand various topics. Regular reading helps maintain mental activity and promotes creative thinking. In addition, reading a variety of materials contributes to a better perception of information and the formation of your own opinions. It is important to choose topics that are interesting and relevant to you so that the reading process is not only useful but also enjoyable.

• History of Design in the 1960s and 1970s. Part Two: Graphic Design
• History of Design in the 1960s and 1970s. Part One: Industry and Architecture
• History of Design in the 1950s and 1960s. Part Two: Graphic Design
• History of Design in the 1950s–1960s. Part One: Industry and Architecture
• History of Design. 1940s–1950s
• History of Design. 1930s–1940s
• Design History: 1920s–1930s — Bauhaus and VKhUTEMAS
• Design History: 1910s–1920s — Werkbund, Paul Poiret, and the Russian Avant-garde
• Design History: The Very Beginning of the Twentieth Century — Art Nouveau