The three most influential design philosophies of the past century have been Modernism, American Industrial Design and Postmodernism. Each broke with precedent in its own way but the enduring legacies of these pioneering movements mean that contemporary designers are struggling to articulate a stylistic philosophy of their own.
The Modernist movement arrived on the world scene in the late 19th century at a time when the world was being swept by forces of industrialization. Electricity, the automobile, skyscrapers, relativity, mechanised warfare, appliances - all confirmed that we were living in an age that had no parallel before it. And that required a design language that broke with the past and embraced new forms of production, new materials and above all else - rejection of everything that came before it.
The Eiffel Tower was arguably the first Modern monument. Designed by Gustave Eiffel to be the centerpiece of the 1889 Paris Universal Exposition, it was a marvel of engineering and construction of the kind that the world had never seen. At a time when steel production was only just beginning to ramp up thanks to the Bessemer process, it was one of the earliest architectural attempts at revisiting how structures were constructed using the metal. It prompted wonder and disgust in equal measure. Parisian critics in particular were scathing in their observations: Where was the ornamentation? The gargoyles? The carvings? And what was its purpose? It was not a museum. It was not a church. It was not a place to live. It was "an odious column of bolted metal". Despite the initial criticism, the Eiffel Tower grew to be one of the modern wonders of the world and continues to evoke wonder among those who visit. Shortly after 1889, Louis Sullivan, the American architect, is credited with articulating what became the foundational philosophy of Modernism.
"Form follows function."
Three simple words became the rallying cry of modernists everywhere, eager to revolutionize design and architecture. And revolutionize is the right word. Because these three words might as well have been the "Liberty, Equality, Fraternity" of the Modernist age, in terms of the impact they had on how we lived in and interacted with the world around us ever since. The Guggenheim Museum in New York (designed by Louis Sullivan's mentee Frank Lloyd Wright) is perhaps the best representation of the philosophy. Visitors start at the top and walk down in a continuous spiral designed to mimic the art viewing experience.
The challenge of course in applying the maxim of “form follows function” is its inherent contradiction in applying it to product design. Core principles of product marketing such as planned obsolescence and differentiation would be at risk if simplicity and substitutability became buzzwords instead. As Frank Lloyd Wright himself said, “'Form follows function' is mere dogma until you realize the higher truth that form and function are one.”
Despite the inherent contradictions, the wave of Modernism swept the creative scene with a force never seen before. Art, Philosophy, Architecture, Design - none were immune to the forces of Modernism willing to challenge every precedent with a simple question - Why? And in many ways the Mart Stam cantilever chair is the definitive design of the Modernist movement. Why must a chair have four legs? Why must it be made of wood? Why can't it be instead a single metallic tube moulded to support a seat?
American Industrial Design
If modernism prioritized function over form, it can be reasonably said of American Industrial Design that its main objective was to prioritize sales. At the height of the Great Depression in the 1930s, demand for new consumer goods had essentially dried up. High unemployment and stagnant wages meant disposable income was low and there was no “need” to buy anything new. In such a stagnant and oppressive environment, Raymond Loewy first hit upon the underlying concepts of American Industrial Design.
"For American designers the conception of aesthetics consists of a beautiful sales curve, shootin