scholarly journals Aesthetics of 1950s and 1960s interiors presented in Polish comedy films from that period

2019 ◽  
Vol 22 (31) ◽  
pp. 81-90
Author(s):  
Joanna Wojciechowska-Kucięba
Keyword(s):  
Interior Design ◽  
Epoxy Resins ◽  
Furniture Design ◽  
Living Space ◽  
Romantic Comedies ◽  
Desirable Feature ◽  
Private And Public ◽  
The 1960S ◽  
Distinguishing Features ◽  
Source Of Information

This article is an attempt at outlining key aesthetic standards of interior design of the 1950s and 1960s on the basis of examples exhibited in the Polish and foreign romantic comedies of that time. Some distinguishing features of 1960s Polish aesthetics were the characteristic abstract language, organic form, asymmetry, diagonal lines, arrangements based on “A” and “X” letter outlines and lively colours. Furniture design used new materials mostly plywood and plastics such as polyvinyl chloride and epoxy resins. The 1960s, called “small stabilization” by design historians, were slightly different. Shops offered a variety of new products designed by Polish creators – such as furniture, home appliances, tools and machines. New Polish industrial design of 1960s is represented by the RAMONA and EWA radios and the BAMBINO record player, whereas sectional furniture – especially SYSTEM MK designed by Bogusława and Czesław Kowalski, better known as “the Kowalskis’ furniture” – became the icon of the decade. Polish and foreign romantic comedies from 1950s and 1960s are an excellent iconographic source of information on how interior design changed in the second half of the 20th century, and specifically on how living space was organized and adapted for private and public purposes. In Poland, attempts were made to use all the “design innovations” coming from the west, however, the immutably closed Polish borders prevented them from spreading freely. We had to use local designers. In the 2nd half of the twentieth century, a period which Prof Irena Huml called “the invasion of modernity” started. The doctrine of socialist realism was rejected and the focus was on modernity. Innovation became the most desirable feature of a work of art, and modernity the most important concept.

INTERIOR DESIGN AND ARCHITECTURE THROUGH THE PRISM OF TIME: FROM CONFLICT TO COOPERATION

2020 ◽  
Vol 1 (1) ◽  
pp. 32-37
Author(s):  
I. Naydenova
Keyword(s):  
Interior Design ◽  
Mutual Influence ◽  
Time Frame ◽  
Research Area ◽  
Point Of View ◽  
Living Space ◽  
Self Sufficiency ◽  
Functional Zoning ◽  
Architecture And Design ◽  
Xix Century

As a research area, interior design took shape in the 20s of the last century, despite the fact that the practice of decorating living spaces dates back many hundreds of years. However, the "self-sufficiency" of design and its connection with architecture to this day is the subject of scientific discussions of urban specialists, historians, art historians, and anthropologists. The article discusses the leading artistic styles and trends that prevailed in architecture and design from the point of view of their mutual influence on each other. Time frame of the research: from the middle of XIX century to the first half of XX century. As a result of the research of foreign experience in the formation of interior design, the main stages of the movement development and its relationship with architecture in two formations were identified: activities directly dependent on architectural decisions, activities that determine the entire design process to a large extent: from the functional zoning of the premises to the features of the placement of utilities in the building. Entering the information era in art as a whole is characterized by the rejection of slogans that clearly delineate stylistic boundaries and determine the role of a designer in creating the living space. The determining factor influencing the integrity of the building’s appearance in a modern view is the harmony of the facade and the internal content, which was made possible thanks to the equal interaction of the architect and designer, starting from the first half of the 20th century.

scholarly journals Crop Insurance and the New Deal Roots of Agricultural Financialization in the United States

2020 ◽  
Vol 21 (3) ◽  
pp. 648-680
Author(s):  
SHANE HAMILTON
Keyword(s):  
United States ◽  
Risk Management ◽  
Social Insurance ◽  
Crop Insurance ◽  
The United States ◽  
The Great Depression ◽  
Before And After ◽  
Private And Public ◽  
The 1960S ◽  
American Agriculture

A range of private and public institutions emerged in the United States in the years before and after the Great Depression to help farmers confront the inherent uncertainty of agricultural production and marketing. This included a government-owned and operated insurance enterprise offering “all-risk” coverage to American farmers beginning in 1938. Crop insurance, initially developed as a social insurance program, was beset by pervasive problems of adverse selection and moral hazard. As managers and policy makers responded to those problems from the 1940s on, they reshaped federal crop insurance in ways that increasingly made the scheme a lever of financialization, a means of disciplining individual farmers to think of farming in abstract terms of risk management. Crop insurance became intertwined with important changes in the economic context of agriculture by the 1960s, including the emergence of the “technological treadmill,” permanently embedding financialized risk management into the political economy of American agriculture.

scholarly journals Between liberty and control: citizens’ attitudes towards Romanian state surveillance

2021 ◽  
Vol 19 (1) ◽  
pp. 183-205
Author(s):  
Paul Tap
Keyword(s):  
Demographic Factors ◽  
Public Institutions ◽  
Individual Level ◽  
Level Data ◽  
State Surveillance ◽  
Private And Public ◽  
Original Survey ◽  
Socio Demographic Factors ◽  
And Control ◽  
Source Of Information

Surveillance was extensively analyzed in the literature from multiple standpoints. Some studies looked to the temporal development of surveillance, while others analyzed the traditional theories that influenced many of the contemporary surveillance studies. All these studies define surveillance as an activity that is ubiquitous and performed globally, by multiple private and public institutions, through the involvement of specific technologies. However, little attention was paid to the perceptions of citizens about surveillance. This article addresses this gap in the literature and analyses how state surveillance is perceived by the Romanian citizens according to the socio-demographic factors (i.e., age, education, income, gender and medium of residence). The aim of the study is to explain how socio-demographic factors influence the acceptance of state surveillance. It also controls for the left-right self-placement, and the use of Facebook as source of information. The statistical analysis uses individual level data from an original survey conducted between October-November 2020. The survey was completed by 1,140 respondents, and the article uses correlation and linear regression to analyze the data. The findings illustrate that the acceptance of state surveillance is influenced by the gender, level of education and medium of residence of the individuals. The age and income of the citizens have no effect on the acceptance of state surveillance.

A Methodology for Interior Design

2021 ◽  
pp. 161-178
Author(s):  
Ervin Garip ◽  
Ceren Çelik
Keyword(s):  
Design Process ◽  
Interior Design ◽  
Design Methodology ◽  
Design Practice ◽  
Direct Proportion ◽  
Overall Design ◽  
Living Space ◽  
Variable Environments

The notion of designed space often comes up with the tendency of perfection. This approach, which connects the design to perfection, is mostly reflected in the overall design, even in the representations. In this approach, the power of representation advances in direct proportion to its perfection and perfection is expected in the designed spaces. The situation created by this perfect representation and the reflection of perfection to the design also emerges in the “home” where daily encounters and routines are most intense. Rather than a flawless photogenic object, interiors are dynamic and variable environments containing daily encounters. The interior design practice can be handled from this context and actively influence the design methodology itself. The study shows that as the concept of “home” moves away from a photogenic object, the potential of designing a multi-layered and flexible living space in interior design studios increases. This situation provides alternative spatial articulations in the final product and representations as well as in the interior design process.

Texture Aspects of Deformation Processes under Equal-Channel Angular Pressing of Metals

2007 ◽  
Vol 561-565 ◽  
pp. 835-838
Author(s):  
Yuriy Perlovich ◽  
Margarita Isaenkova ◽  
Vladimir Fesenko ◽  
M. Grekhov
Keyword(s):  
Plastic Deformation ◽  
Equal Channel Angular Pressing ◽  
Structure Condition ◽  
Angular Pressing ◽  
Grain Fragmentation ◽  
Deformation Processes ◽  
Distinguishing Features ◽  
Source Of Information ◽  
Mechanisms Of Plastic Deformation ◽  
Loading Scheme

The texture of Ti and Zr rods, subjected to equal-channel angular pressing (ECAP) by routes C and BC, is considered as a source of information about the actual loading scheme, operating mechanisms of plastic deformation, the structure condition of material. Processes of grain reorientation under rolling and ECAP are compared and distinguishing features of the latter are revealed. Effects of grain fragmentation and dynamic recrystallization on the texture are discussed.

INTERIOR DESIGN IN THE 1960S: ARENAS FOR PERFORMANCE

Art History ◽  
1987 ◽  
Vol 10 (1) ◽  
pp. 79-90
Author(s):  
Nigel Whiteley
Keyword(s):  
Interior Design ◽  
The 1960S

scholarly journals The making of a community: The making of a photo collection in a rural community in Italy

2016 ◽  
Vol 9 (4) ◽  
pp. 915
Author(s):  
Michele F. Fontefrancesco
Keyword(s):  
Rural Community ◽  
Sense Of Community ◽  
Sense Of Belonging ◽  
Internet Archive ◽  
The Past ◽  
Private And Public ◽  
Photo Collection ◽  
The 1960S ◽  
The 19Th Century ◽  
Public Collection

Photos are by their very nature evocative objects (Turkle 2007). This paper investigates the ability of a photo's capacity to trigger narratives about the self and the past. It argues that the collection of historic, private photos and the creation of a public photographic archive build a sense of community. The paper is the result of an ethnographic work conducted in Lu (AL) between 2010 and 2012. In this village, the local museum curetted a public collection of private and public photos dating from the late decades of the 19th century to the 1960s, in order to create a freely accessible internet archive. In a few months, in a village of about 1000 people, over 1000 photos were donated. On the basis of the collected photos, the museum organized periodical exhibitions that attracted many hundreds of visitors. The research investigates the entire process of photo collection, collective organization of a new photographic archive, its use for the organization of photo exhibitions, and the participation in these initiatives by local and foreign visitors. Focusing on exhibitions as an arena of social interaction in particular, the paper investigates how the evocativeness of a community's past can create a sense of belonging in the community, and that the very sense of community is negotiated and re-shaped.

scholarly journals ‘A New Order is Being Created’: Domestic Modernism in 1930s Britain

2016 ◽  
Vol 11 (3) ◽  
pp. 409-428
Author(s):  
Daniel Moore
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
Interior Design ◽  
Le Corbusier ◽  
Small Scale ◽  
New Order ◽  
World War Two ◽  
World War ◽  
Living Space ◽  
Standards Of Living

This article addresses the attempts in Britain in the 1930s to integrate modernist aesthetics with the home. A number of initiatives during this period were directed towards improving both standards of living and the public's taste: arising from exposure to continental modernism (Adolf Loos, Le Corbusier) and with a fervent belief in the democratisation of the living space, innovators such as Wells Coates, Jack and Molly Pritchard, and Maxwell Fry sought to re-invent the home for the twentieth century. The results were often short-lived, and in some cases, abject failures. Yet the negotiations that these designers, architects, and visionaries made between high-minded aesthetics and the practicalities of quotidian British life reveal much about standards of taste during the 1930s. This article takes two case studies in detail: The Lawn Road Flats – the Isokon Building – in Hampstead, London, and the activities of the Design and Industries Association (DIA). In doing so, I chart the ways in which interior design developed in Britain during the decade before the outbreak of World War Two, and explore how small-scale, short-lived activities in this period laid the foundations for a flowering of new modes of living post-1945.

scholarly journals Forgotten Furniture Designers of the Khrushchev “Thaw” Era

2020 ◽  
Vol 16 (1) ◽  
pp. 114-143
Author(s):  
Artem Dezhurko
Keyword(s):  
Research Literature ◽  
Furniture Design ◽  
Single Family ◽  
Historical Sources ◽  
Visual Material ◽  
Advice Literature ◽  
Decorative Art ◽  
Personal Archives ◽  
The Subject ◽  
The 1960S

Summary: Few names could be found in the research literature on the Soviet furniture design of the 1950–60s. Neither they are present in the most important historical sources on the subject – the catalogues of all-Union furniture exhibitions, where, as a rule, the mention is made of design organizations that presented certain pieces of furniture to the exhibition, and not the designers themselves. The article offers a method of processing sources that makes it possible to solve this problem. The method is based on the systematization of visual material: numerous photographs of interiors published in the late 1950s and 1960s in various specialized Soviet editions – exhibition catalogues; magazines on architecture and decorative art; advice literature on furnishing a house aimed at a wider public. The article refers to 36 sources (books and articles) with several hundred illustrations. It has been established that the visual material in the advice literature considered consists almost entirely of shots of the four largest furniture exhibitions held in Moscow at the turn of the decade – displays in the mock-up models of the apartments at the Permanent All-Union Exhibition of Construction and Architecture, the Exhibition of All-Union Competition of Furniture for Single-Family Apartments (both 1958), the exhibition “Iskusstvo – v byt” [Art to the Household] and the Second All-Union Furniture Competition (both 1961). The view of one and the same fragment of the display (sometimes even the same picture) in the 1960s publications is reproduced repeatedly. In addition, some pieces of furniture were presented at several exhibitions. Thus, in the sources the images of same piece of furniture was often published many times. Having identified the item in the photos and collected information from various sources related to these images, we could often find evidence of authorship. In this way it is possible to stablish the names of many participants in the four exhibitions mentioned above. In the article they are indicated together with the names of participants of the All-Union Furniture Exhibition of 1956 found in its catalogue (the only exhibition catalogue providing the names of designers) – a total of 82 names. Many of these designers participated not in one, but in several of exhibitions mentioned (some – in all five), many of them were awarded prizes. The analysis of sources allowed, firstly, to identify the most “successful” Soviet furniture designers of the 1950–60s, and, secondly, to attribute to them many of the projects whose authorship previously had not been established. In particular, significant arrays of images associated with the names of Yuri Sluchevsky, Elena Orlova (Bocharova), Konstantin Blomerius (Moscow), Lygija Marija Stapulionienė (Vilnius), Irma Karakis (Kiev) were collected. Of the 82 names given in the article, most are not found in historiography. Their introduction to scientific circulation makes it possible to expand the pool of search for personal archives necessary for further research of Soviet furniture design.

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