[EN] The consolidation of the figure of the industrial designer in the United States during the middle decades of the twentieth century is the issue raised by this investigation. This process involves the transition between craft and industry that had begun centuries ago. American designers specialized in a new profession, they set up a shared, multidisciplinary intelligence. Perhaps unwittingly they pioneered in blurring the boundaries between the creative disciplines. It is a valuable model of transformation and adaptability that you can draw conclusions and parallels with the current period, an example with which to prepare and understand the acceleration produced by the third industrial revolution, and the changes produced in the creative professions. There have always been more or less traditional way, ways to mass produce everything around us, from everyday objects to architectures. But it is the second industrial revolution, with the emergence of Taylorism and the Ford revolution, which by new machines and systematization of manufacturing processes introduced a turning point in this development. Movements in Europe as the Arts and Crafts succeeded, groups and associations were established as the Wiener Werkstätte and the Bauhaus and later Werkbunds was established, all connected and that influenced in part on the evolution of design in the young American nation. The United States gave an exceptional context: a market coupled with unprecedented scale, a company with an innovative technical comfort in energy, materials and media led to a way of life, The American way of life, with its lights and shadows. It was just the right distance from the European tradition of the elements that favored the consolidation of the industrial design profession in US territory. The historical uniqueness lies in the level of technical expertise had increased to make the knowledge to produce a well exceed the ability of a person. The pioneers of American design coordinated work of multidisciplinary teams of engineers, architects, manufacturers, advertisers... while accompanying the product until the communication process, encouraged by the needs of large companies. This allowed them to work in a variety of projects that did not happen so broadly notable examples from the Renaissance. They worked in fields such as graphic design, industrial design, interior design, architectural design, urban design, automotive design, railways, naval design, aircraft design... even aerospace design, creating new types and extending the scope of their work. The most important designers of the period were Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague and Henry Dreyfuss, from the world of stage design, illustration and window dressing. Guided by intuition helped the beauty industry from the 1920s. Speaking of the birth of industrial design assumes deepen relations between art and industry, between man and machine. It invites us to ask questions that make up what is to come. / [ES] La consolidación de la figura del diseñador industrial en Estados Unidos durante las décadas centrales del siglo XX es el tema que suscita la presente investigación. Este proceso supone la transición entre artesanía e industria que había comenzado siglos atrás. Los diseñadores americanos se especializaron en una nueva profesión, pusieron en marcha una inteligencia compartida y multidisciplinar. Quizás sin saberlo fueron pioneros en desdibujar los límites entre las disciplinas creativas. Es un valioso modelo de transformación y adaptabilidad del que se pueden extraer conclusiones y paralelismos con la época actual, un ejemplo con el que poder preparar y entender la aceleración producida por la tercera revolución industrial, y los cambios que produce en las profesiones creativas. Siempre han existido, de forma más o menos artesanal, maneras para producir en serie todo lo que nos rodea, desde los objetos más cotidianos hasta las arquitecturas. Pero es la segunda revolución industrial, con la aparición del Taylorismo y la revolución Ford, la que mediante nuevas máquinas y la sistematización de los procesos de fabricación introducen un punto de inflexión en este avance. En Europa se sucedieron instituciones, escuelas y movimientos como las Arts and Crafts, se establecieron colectivos y asociaciones como los Wiener Werkstätte y las Werkbunds y posteriormente se constituyó la Bauhaus, conectados todos ellos y que influyeron en parte en la evolución del diseño en la joven nación norteamericana. En Estados Unidos se dio un contexto excepcional: un mercado unido con unas dimensiones sin precedentes, una sociedad con un confort técnico novedoso en energías, materiales y medios de comunicación dieron lugar a un modo de vida, The american way of life, con sus luces y sus sombras. Fue la distancia justa de la tradición europea uno de los elementos que favoreció la consolidación del Diseño Industrial como profesión en territorio norteamericano. La singularidad histórica radica en que el nivel de especialización técnica había aumentado hasta hacer que los conocimientos para producir un bien excedieran la capacidad de una persona. Los pioneros del diseño americano coordinaban el trabajo de equipos multidisciplinares formados por ingenieros, arquitectos, fabricantes, publicistas¿ a la vez que acompañaban al producto hasta el proceso de comunicación, animados por las necesidades de las grandes compañías. Esto les permitió trabajar en una variedad de proyectos que no sucedía de forma tan amplia desde los notables ejemplos del Renacimiento. Trabajaron en campos como el diseño gráfico, el diseño industrial, diseño de interiores, diseño arquitectónico, diseño urbanístico, diseño automovilístico, diseño de ferrocarriles, diseño naval, diseño aeronáutico¿ incluso diseño aeroespacial, generando nuevos tipos y ampliando el espectro de sus trabajos. Los diseñadores más relevantes de esta época fueron Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague y Henry Dreyfuss, procedentes del mundo de la escenografía, la ilustración y el escaparatismo. Guiados por la intuición de la belleza ayudaron a la industria a partir de la década de 1920. Hablar del nacimiento del Diseño industrial supone profundizar en las relaciones entre arte e industria, entre el hombre y la máquina. Nos invita a plantearnos preguntas que inventen lo que está por venir. / [CA] La consolidació de la figura del dissenyador industrial als Estats Units durant les dècades centrals del segle XX és el tema que suscita la present investigació. Aquest procés suposa la transició entre artesania i indùstria que havia començat segles arrere. Els dissenyadors americans es van especialitzar en una nova professió, van posar en funcionament una intel¿ligència compartida i multidisciplinar. Tal vegada, sense saber-ho, van ser pioners en desdibuixar els límits entre les disciplines creatives. És un valuós model de transformació i adaptabilitat del que es poden extraure conclusions i paral¿lelismes amb l'època actual, un exemple amb el què poder preparar i entendre l'acel¿leració produïda per la tercera revolució industrial, i els canvis que produeix amb les professions creatives. Sempre han existit, de forma més o menys artesanal, maneres per a produïr en sèrie tot allò que ens envolta, des de els objectes més quotidians, fins a les arquitectures. Però és la segona revolució industrial, amb el sorgiment del taylorisme i la revolució Ford, la que, mitjançant noves màquines i la sistematització dels processos de fabricació, introdueixen un punt d'inflexió en aquest avançament. A Europa es van succeïr institucions, escoles i moviments com les Arts and Crafts, es van establir col¿lectius i associacions com els Wiener Werkstätte i les Werkbunds, i posteriorment es va constituir la Bauhaus, connectats tots ells i que van influir en part en la evolució del disseny a la jove nació nordamericana. Als Estats Units es va donar un context excepcional: un mercat unit amb unes dimensions sense precedents, una societat amb un comfort tècnic novedós en energies, materials i mitjans de comunicació van donar lloc a un estil de vida, The american way of life, amb les seues llums i les seues ombres. Va ser la distància justa de la tradició europea un dels elements que va afavorir la consolidació del Disseny Industrial com a professió en territori nordamericà. La singularitat històrica radica en què el nivell d'especialització tècnica havia augmentat fins a fer que els coneixements per a produïr un bé excediren la capacitat d'una persona. Els pioners del disseny americà coordinaven el treball d'equips multidisciplinars formats per enginyers, arquitectes, fabricants, publicistes¿ a la vegada què acompanyaven el producte fins al procés de comunicació, recolzats per les necessitats de les grans companyies. Allò els va permetre treballar en una varietat de projectes que no succeïa de forma tan ampla des dels notables exemples del Renaixement. Van treballar en camps com el disseny gràfic, el disseny industrial, disseny d'interiors, disseny arquitectònic, disseny urbanístic, disseny automovilístic, disseny de ferrocarrils, disseny naval, disseny aeronàutic¿ inclús disseny aeroespacial, generant nous tipus i ampliant l'espectre dels seus treballs. Els dissenyadors més destacats d'aquesta època van ser Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague i Henry Dreyfuss, procedents del món de l'escenografia, la il¿lustració i l'escaparatisme. Guiats per la intuició de la bellessa, van ajudar a la indùstria a partir de la dècada de 1920. Parlar del naixement del Disseny Industrial suposa aprofundir en les relacions entre art i indùstria, entre l'home i la màquina. Ens convida a plantejar-nos preguntes que inventen allò que està per vindre. / Silvestre Navarro, FM. (2016). PENSADO A MANO, FABRICADO EN SERIE. Pioneros del Diseño Industrial. Transformación y adaptabilidad de las profesiones creativas [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62207

<p>This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).</p><p>Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.</p><p>Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.</p><p>Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.</p><p>Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.</p><p>Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.</p>

This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”). Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson. Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist. Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society. Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press. Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.