An evolving reading list highlighting critical voices in art and design
Make this chair.
The first of a series of writings from Ian Anderson analyzing the history, development, and significance of DIY practices. Anderson argues that DIY is fundamentally a reaction against modernity, and a tool often used to repair and respond to the forceful “progressive” effects of modernity.
Autoprogettazione, a manual for producing easy-to-assembly furniture with rough boards and nails, is a widely referenced work to this day. Influencing infinite projects over the years, including Self-assembly, Mari’s motivations for presenting these instructions were not simply to provide cheap and open-sourced designs. Mari understood that through making furniture, one would gain a better understanding of how that furniture is made, be proud of what one has made, and think critically about how furniture is generally made (and made from).
How to Construct Rietveld Furniture
Rietveld was a major designer and architect in the Dutch De Stijl art movement of the early 20th century. This volume documents his best-known and most typical furniture designs down to the smallest detail. The book contains working plans, measurements, detail drawings, lists of materials and instructions for the assembly of each piece, as well as historical information about each one.
Design for The Real World
One of the first criticisms of design to reach a major audience, Design for The Real World has been in print every year since the day it was released over 40 years ago. Papanek describes countless sins of the designer and proposes infinite ways to change the destructive path of not only the designer but the world’s dependency on unsafe, unnecessary, and irresponsible products. Not without its flaws, Papanek’s criticism is not complete and at times misguided, yet most of his criticisms are largely valid and give us a place to start.
Stamberg provides instructions to assemble numerous low-cost, well-designed, easy-to-assemble tables, chairs, couches, beds, desks, and storage systems designed by Rietveld, Scarpa, Takahama, Mari, Saltz, and Stamberg himself.
The Condition of Postmodernity
Harvey describes the major underlying social-cultural and economic motivations behind modernism and postmodernism in a way that is thoroughly eye-opening. All fans of postmodern art and design should read this to understand why you are drawn to postmodernism and how the ideals of the movement still permeates our lives in a major way. The weight of Harvey’s logic helps to counteract the seemingly radical nature of his explanations and force us to reflect on the origins, motivations and implications of our cultural ways.
Design as Art
Munari insisted that design be beautiful, functional, and accessible, and this enlightening and entertaining book sets out his ideas about visual, graphic, and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars, and chairs—these are just some of the subjects to which he turns his illuminating gaze. How do we see the world around us?
Papanek and Hennessey offer simple instructions for making beds, chairs, sofas, stools, and tables, using inexpensive and recycled materials. This manual succeeds years of Papanek's design criticism and is a logical response to problems stemming from over-consumption. Nomadic Furniture attempts to address the increasingly dire need to identify sustainable approaches to living and enjoying life.
Design and Democracy
In his 2005 lecture, Gui Bonsiepe outlines the content of Design and Democracy: "I shall present a few thoughts about the relationship between democracy and design, and about the relationship between critical humanism and operational humanism. This issue leads to the question of the role of technology and industrialization as a procedure for democratizing the consumption of goods and services, and finally to the ambivalent role of esthetics as the domain of freedom and manipulation."
Donald Judd Writings
Judd’s writings give his art a voice to dispute the public’s shallow understanding of his “minimalist” work, and shed light on his motivations for art-making. A thorough critic of consumer culture and capital’s negative influences, Judd is one of many political voices in the world of art and one of surprisingly few political voices in the world of design.