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Designing the present: The Cole Circ...

Dutta, Arindam.

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Designing the present: The Cole Circle, and the architecture of (an) imperial bureaucracy, 1851--1901 (Great Britain).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Designing the present: The Cole Circle, and the architecture of (an) imperial bureaucracy, 1851--1901 (Great Britain)./
作者:	Dutta, Arindam.
面頁冊數:	791 p.
附註:	Adviser: Mark Wigley.
Contained By:	Dissertation Abstracts International62-03A.
標題:	Architecture. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3007208
ISBN:	0493164715

Designing the present: The Cole Circle, and the architecture of (an) imperial bureaucracy, 1851--1901 (Great Britain).
Dutta, Arindam.

Designing the present: The Cole Circle, and the architecture of (an) imperial bureaucracy, 1851--1901 (Great Britain). - 791 p.

Adviser: Mark Wigley.

Thesis (Ph.D.)--Princeton University, 2001.

The dissertation studies a fifty-year period m the history of the Department of Science and Art (DSA), based in South Kensington, London. The DSA was founded in the aftermath of the Great Exhibition, where prominent commentators had remarked on the unfavourable light in which the aesthetic quality of objects from the industrialized countries compared with those from the non-industrialized or “uncivilized” peoples of the world. Answering the ensuing call for design reform in industrial manufactures, the DSA assembled a pedagogical apparatus for design education that eventually stretched across the breadth of the British empire.

ISBN: 0493164715Subjects--Topical Terms:

523581
Architecture.

Designing the present: The Cole Circle, and the architecture of (an) imperial bureaucracy, 1851--1901 (Great Britain).
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520 $a The dissertation studies a fifty-year period m the history of the Department of Science and Art (DSA), based in South Kensington, London. The DSA was founded in the aftermath of the Great Exhibition, where prominent commentators had remarked on the unfavourable light in which the aesthetic quality of objects from the industrialized countries compared with those from the non-industrialized or “uncivilized” peoples of the world. Answering the ensuing call for design reform in industrial manufactures, the DSA assembled a pedagogical apparatus for design education that eventually stretched across the breadth of the British empire.
520 $a Comprising under its administration 120 Schools of Design in Britain alone, the foundational premises of the Department were liberal, even radical. Headed by Henry Cole, a feisty bureaucrat, it aimed at improving the pernicious effects of industrialization in the metropole through the palliative inculcation of aesthetic “taste” in the industrial worker. At the core of its “reform”-minded ideology was the dyad between the worker and the traditional artisan, the latter being the foil through which this reformative aestheticism was legitimized.
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