Design History in London

The goals of the course is a deeper understanding of design and design history achieved through study of actual historical objects which are available in museums and archives and to put this understanding of history in the context of contemporary design culture.

About the Research Paper: The emphasis of the course is on producing a research paper on a topic related to design history (see the list of areas that you can research above on the left).

You will select a topic to research in consultation with your instructor before you go on the trip. This will enable you to better focus your research efforts since you can do some preliminary catalog searches on line before you leave. The topic you select should have some connection to London or to sources that are available there.

The final paper has to be fifteen to twenty pages long, not counting footnotes. It must follow standard MLA format in style. The grade on the paper will constitute 85 percent of your course grede. Fifteen percent will be awarded for participation in class discussions and activities. In other words, you will not get an A if you do not give something back to the class in form of participation and discussion.

The paper will be evaluated on thoroughness of research, originality of concept or connections, quality of writing, and initiative in seeking sources.

Some key points in developing the paper:
Before the December 12 2003:
  •  Submit a brief statement of the topic of your intended research.
  •  Meet with the instructor and discuss your topic and resources you intend to use.
  Jan 14 :
  • Submit Bibliography
  •  Meetings to discuss both privately and in class, progress on your research
  Jan 28
  •  Outline of Paper
  Feb22
  •  Draft copy of paper
  March 15
  •  Final copy of paper

Textbook and Reading List:
If you are taking this class without having had Art 240, Design Survey, you will need to have a copy of History of Graphic Design, by Phil Meggs. If you are taking this as an advanced class, after an initial consultation with the instructor, you will be given a customized reading list.

A good start for the clas would be to visit the web links below for the major museums and libraries. Try using the on-line catalogs. Look at what is in the special collections and archives.

Tentative Schedule for the Class:

Jan 3: Leave Chicago

Jan 4: Arrive London; Orientation to the London; underground and buses.

Jan 5 Bus tour of London; Class meeting.

Jan 6. Class meets at Victoria and Albert Museum; Orientation to National Art Library and talk by design curator

Jan 7. Orientation to British Library; talk on manuscripts and printing

Jan 8. Visit Intro Design Studio and British Museum (both near hotel)

Jan 9 Class meets at the Design Museum and the Type Museum
Lecture on Type and Printing History

Jan 10 Independent Research

Jan 11 Visit Gefffrye Musuem and William Morris Museum (optional)

Jan 12 Class meets at Kelmscott House for talk by William Morris expert

Jan 13 St Paul's Cathedral and Tate Modern (optional) Milk Design Studio visit;

Jan 14 Possible excursion from London; possible destinations: Canterbury, Oxford, Salisbury and Stonehenge..

Jan 15 Class meeting (report on progress with research)Saatchi and Saatchi Design visit (optional)

Jan 16 Independent Research

Jan 17 Independent Research

Jan 18 Return to US

P L A C E S of I N T E R E S T for R E S E A R C H

THE VICTORIA AND ALBERT MUSEUM
http://www.vam.ac.uk

Perhaps the best way to start is with a quote from Richard Saul Wurman’s book Access London, in which he describes the Victoria and Albert Museum. He writes:
If you have a curious mind and a receptive heart, and if your like stuff, this fascinating institution will become one of your favorite places on earth. It is one of the most addictive and rewarding museums in the world, covering 12 acres with items of enchantment and delight.

This large museum in South Kensington is home to one of the largest collections of decorative art objects in the world. It also is home to resident scholars.

THE BRITISH LIBRARY

http://www.bl.uk/
One of the greatest resources is the British Library, which holds a copy of every book ever published in English, going back to the Middle Ages. It has the Lindesfarne Gospel, books by Aldus Manutius, John Baskerville, and William Morris. It is a research library and readers must apply for a readers card, presenting evidence of need to research in the Libary. Among their special collections are special exhbits on sucht topics as the history of the book, history of printing and and manuscripts.

THE NATIONAL ART LIBRARY
http://www.nal.vam.ac.uk
The National Art Library has a huge collection of books and periodicals on and by artists. An extensive catalogue of holdings is available on-line, allowing you to search and request items before you leave for London. Special collections include a book-arts collection, featuring one-of-a-kind or limited edition books by artists, showing unique binding, printing, and content.

Extensive historic archives are available also, Currently on their web site are informative surveys of a number of relevant topics, such as "Selling Modernity–Art Deco and the American Magazine Cover".

THE BRITISH MUSEUM

http://www.thebritishmuseum.ac.uk

The British Museum is located only a short walk from the hotel and features exhibits of ancient through modern artifacts, including the famous marble statues from the Parthenon, the hoard so Sutton Hoo, and wonderful carvings from ancient Persia and Asia.

THE DESIGN MUSEUM
http://www.designmuseum.org/

This museum specializes in design - pure and simple. It has changing exhibits of work by contemporary designers as well as permanent displays of classic designs. It covers graphic design, product design, interaction design. This museum is located on the Thames in the Bankside area, with great views of the Thames and the TowerBridge from its third-floor gallery.

GEFFRYE MUSEUM
http://www.geffrye-museum.org.uk
The Geffrey Museum has an excellent survey of domestic interiors from the 1500's to the present. Each is exhbited in the context of the arts and production methods of the time. The museum also contains an specialized reading room with resources on furniture and interior styles .

THE TATE MUSEUM
http://www.tate.org.uk/modern/

.
This is really two museums - the TATE BRITAIN and the TATE MODERN. The Modern is perhaps the more interesting of the two, located south of the Thame, the this museum of contemporary and modern art is five very large floors of a renovated power station.More devoted to fine art than design, it is still worth visiting.

Logistically, it is convenient to combine a visit to St. Paul's cathedral with a visit to the Tate Modern. St. Paul's affords a wonderful panoramic view of London from the top of its Dome. A foot bridge crosses the Thames and puts you squarely in front of the Tate Museum which is housed in a huge converted electric generating plant

THE TYPE MUSEUM
A museum-in-progress is the best way to describe the state of the Monotype collection. Its best resource is the director, Piers Rodgers, who is more than happy to demonstrate every step of the process of making lead type. Here he shows how to use a type mold - the kind that Gutenberg himself would have found familiar. Director Rodges is well-versed in type history and can tell you exactly what happened to John Baskerville's original types.

a portrait of type designer William Caslon III.

THE WILLIAM MORRIS GALLERY
http://www.lbwf.gov.uk/wmg

The Gallery's internationally important collections illustrate William Morris's life, work and influence. There are permanent displays of printed, woven and embroidered fabrics, rugs, carpets, wallpapers, furniture, stained glass and painted tiles designed by Morris himself and by Edward Burne-Jones, Philip Webb, Dante Gabriel Rossetti, Ford Madox Brown and others who together founded the firm of Morris, Marshall, Faulkner & Company in 1861.

DESIGN STUDIO VISITS
Intro Design (Adrian Shaunessey – principle designer)
"Intro Design" is one of london'is leading design studios, serving clients in the entertainment and financial sectors. It is situated just a short walk from the Hotel, near the British Museum. Employing about ten people in graphics, writing and multimedia, the firm has made a name for itself designing for the music industry. This requires keeping in close touch with trends in popular culture.

During a recent visit in May, I noticed a wall covered with sketches. I asked about this and Adrian Shaunessey, one of the principle designers, underscored the need to plan carefully on paper before working on the computer as a way of saving time and effort.

Milk Communications:Dave Smith – Principle Designer

In January 2001 the multimedia class in London visited Dave Smith at his studio and heard him discuss a series of televison commericals and ba coffee table book he was working on for Nike. This summer, when I visited him, he had just returned from Prague where he was researching an article for the British design press on the state of design in the former eastern block countries.