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Since the 1990s, in response to dramatic transformations in the worlds of technology and the economy, design - a once relatively definable discipline, complete with a set of sub-disciplines - has become unrecognizable. Consequently, design scholars have begun to address new issues, themes and sub-disciplines such as: sustainable design, design for well-being, empathic design, design activism, design anthropology, and many more. The Routledge Companion to Design Studies charts this new expanded spectrum and embraces the wide range of scholarship relating to design - theoretical, practice-related and historical - that has emerged over the last four decades. Comprised of forty-three newly-commissioned essays, the Companion is organized into the following six sections: Defining Design: Discipline, Process Defining Design: Objects, Spaces Designing Identities: Gender, Sexuality, Age, Nation Designing Society: Empathy, Responsibility, Consumption, the Everyday Design and Politics: Activism, Intervention, Regulation Designing the World: Globalization, Transnationalism, Translation Contributors include both established and emerging scholars and the essays offer an international scope, covering work emanating from, and relating to, design in the United Kingdom, mainland Europe, North America, Asia, Australasia and Africa. This comprehensive collection makes an original and significant contribution to the field of Design Studies.
Based on an exhibition held at the Museum of Modern Art in 1955.
Compiling various strands of the dis/enchantment with development discourse in contemporary South Asia, with specific focus on the cases from India, this edited book brings together anthropologists, sociologists, economists, and historians to refresh the understanding of development. It introduces ways of thinking “otherwise” about development discourse and what the contributors term “developmentalism”—the social enchantment with development. The cultural discourse of development in contemporary South Asia manifests not only in the official programs of state agencies, but in cinema, television, and mass media. Dear to various stakeholders—from government leaders and manufacturers to consumers and the electorate—is the axiom of a “development(al) society.” Organized to bridge familiar understandings of development with radical ways of thinking through developmentalism, this book holds value for those engaged in the anthropology and sociology of development, development studies, South Asian studies, as well as for development professionals working for state and non-governmental organizations.
Extreme poverty, which intensified in India during colonial rule, peaked in the 1920s—after decades of imperialist exploitation, famine, and disease—a time when architects, engineers, and city authorities proposed a new type of housing for India’s urban poor and industrial workers. As Farhan Karim argues, economic scarcity became a central inspiration for architectural modernism in the subcontinent. As India moved from colonial rule to independence, the Indian government, business entities, international NGOs, and intergovernmental agencies took major initiatives to modernize housing conditions and the domestic environment of the state’s low-income population. Of Greater Dignity than Riches traces multiple international origins of austerity as an essential ingredient of postcolonial development. By prescribing model villages, communities, and ideal houses for the working class, this project of austerity eventually reduced poverty into a stylized architectural representation. In this rich and original study, Karim explains the postwar and postcolonial history of low-cost housing as an intertwined process of global transferences of knowledge, Cold War cultural politics, postcolonial nationalism, and the politics of economic development.
The richness of the arts of India is overwhelming, and perhaps most noticeably so in its architecture. This innovative volume reveals the exquisite detail of the decorative compositions, their finesse, precision, and creativity. It also highlights the skill, patience, and pictorial imagination of the many thousands of craftsmen and their patrons. The timeline runs for almost two thousand years, from the Buddhist stupa at Sanchi of the first century BC/AD to Rajput palace interiors of c. 1900. Hundreds of atmospheric photo- graphs are juxtaposed with graphic transpositions of the designs, patterns, and ornamentation to reveal the nature of the architectural detail, where stone, wood, mirror work, and plaster are transformed into masterworks of decorative art.
Beginning with 1953, entries for Motion pictures and filmstrips, Music and phonorecords form separate parts of the Library of Congress catalogue. Entries for Maps and atlases were issued separately 1953-1955.
"Published to accompany the exhibition The Fabric of India at the Victoria and Albert Museum, London, from 3 October 2015 to 10 January 2016"--Title page verso.