Contemporary Design Culture

The main difference between the 1925 Exposition des Arts Decoratifs et Industriel (Paris) with the 1939 World's Fair (New York) was:

1925 Exposition des Arts Decoratifs et Industriel wanted to re-establish France's prestige in the decorative arts whereas the themes of the 1939 World's Fair were the major developments like: transportation, science and communications.

The stylistic difference between technological products and domestic architecture/interiors in the USA in the 1930s and 1940s was:

Although Americans were embracing the modern kitchen equipment and automobiles, they still maintained their home decor in a traditional style.

The main design idea of Peter Behrens and his work with the Allegemeine Elektrizitats Gesellschaft (AEG) was:

Behrens designed a modern corporate identity for the company through the graphics, appliances, factories, and workers' housing using clean efficient lines.

The Third German Applied Arts Exhibition in Dresden (1906) and the Deutscher Werkbund Exhibition in Cologne in 1914 are significant to design history because:

Both exhibitions emphasized on modern design tendencies and functional aesthetic.

The Modernist design aesthetic can be explained as:

Clean and geometric forms. Emphasis on white, off-white, grey and black. Abstract aesthetic.

"The moral dimension of Modernism," according to author Jonathan Woodham was that:

Designed products that still had ornamental elements were examples of bad design.

The forms of the "Art Deco" style can be BEST described as:

Flat, geometric abstract elements used in a decorative manner.

The major difference between the Futurists (Italy) and the Arts and Crafts Movement (England) with regards to their attitude towards industrialization was:

Futurists embraced the innovation of industrialization while the Arts and Crafts Movement feared for the "joy of making" for the factory worker.

The BAUHAUS design idea of "Art and Technology: A New Unity" meant:

It was a firm rejection of the handicraft ethos in 1923. Instead, it wanted to establish links with the industry.

The design goals of the Dutch "De Stijl" and Russian "Constructivist" art and design movements were:

The De Stijl designers explored an elemental design vocabulary for a modern and harmonious aesthetic. The Constructivists geared to the needs to society, touching on modern mass-production technology.

While both 19th century department stores and mail-order businesses sold large amounts of consumer goods, one of the major difference between them was:

The clientele of the department stores was more well-to-do than the clientele of the mail-order businesses.

The design ideas of Grete Schütte-Lihotsky's "Frankfurt Kitchen" were:

The layout of the Frankfurt Kitchen was determined by time-and-motion studies. Psychological considerations were incorporated into the design.

The contributions of the radio and science-fiction comic strips towards consumer consumption in the 1920s in the USA were:

The radio brought the formation of national networks. Fiction of the 1920s contained extravagant future, so industrial designers shared faith in technological innovations and transportation.

The design idea of "planned obsolescence" is:

The shortening of the cycle of consumption by analyzing the life span of these products.

"Taylorism" and "Fordism" are important to the history of industrialization because:

Their emphasis on time-saving and efficiency contributed to mass-production.