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week12-Pop to Post-modernism - PoptoPostModernism Lecturer...

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Introduction to Industrial Design Pop to Post Modernism Pop to Post Modernism Lecturer Hyeon Jeong Suk ([email protected]) TA Mokryun Baik ([email protected]) Class Monday, 2pm~5pm (#109, N8) Office hour Thursday, 10am~12pm (#406, N8) Designer reviews V. Panton, V. Magistretti, G. Pesce, A. Mendini, E. Sottsass, S. Kuramata, P. Starck, R. Sapper, J. Dyson © Dr. Hyeon Jeong Suk, CED Lab. | Dept. of Industrial Design, KAIST 2
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Pop to Post Modernism Changing values: (monolithic) Fordism model: Post modernistic aesthetic: manufacturing for the mass market catering adequately for the variegated tastes and desires of th 소품종 대량생산 the consumer 다품종 소량생산 3 Pop to Post Modernism Emerging issues of design in late 1950s Changing values: Production Consumption An emergent market sector: the growth of youth culture and the potential economic significance of the teenage consumer “Throwaway society 한번 쓰고 버리는 사회 the vibrant and youthful market place The modernist design organizations, COID(UK), MOMA(USA), were seen as outmoded, ideological stance New materials, new manufacturing technologies (see V. Panton ) © Dr. Hyeon Jeong Suk, CED Lab. | Dept. of Industrial Design, KAIST 4
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British Pop The Independent Group (IG), the genesis of Pop Art A London based designer group, established in the context that the postwar h ld b lt d d d t h l era should embrace mass culture and advanced technology A strong belief in the liberating force of technology and futurism Interested in America’s popular culture, advertising and the media Hosted an exhibition, “This Is Tomorrow”, 1956; see the similar work, “House of the Future” by A. & P. Smithson, 1956. © Dr. Hyeon Jeong Suk, CED Lab. | Dept. of Industrial Design, KAIST 5 British Pop Archigram A London based designer group, embraced notions of expendability, b l d h i f ib t h lth i t obsolescence, and change as a sign of a vibrant, healthy society
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