Editing Industrial design (section)

==History==

===Precursors===
For several millennia before the onset of [[industrialization]], design, technical expertise, and manufacturing was often done by individual [[Craft production|crafts people]], who determined the form of a product at the point of its creation, according to their own manual skill, the requirements of their clients, experience accumulated through their own experimentation, and knowledge passed on to them through training or [[apprenticeship]].{{sfn|Noblet|1993|p=21}}

The [[division of labour]] that underlies the practice of industrial design did have [[precedents]] in the pre-industrial era.{{sfn|Heskett|1980|pp=10-11}} The growth of trade in the medieval period led to the emergence of large workshops in cities such as [[Florence]], [[Venice]], [[Nuremberg]], and [[Bruges]], where groups of more specialized craftsmen made objects with common forms through the repetitive duplication of models which defined by their shared training and technique.{{sfn|Heskett|1980|p=11}} Competitive pressures in the early 16th century led to the emergence in [[Italy]] and [[Germany]] of [[pattern books]]: collections of [[engravings]] illustrating decorative forms and motifs which could be applied to a wide range of products, and whose creation took place in advance of their application.{{sfn|Heskett|1980|p=11}} The use of [[Technical drawing|drawing]] to specify how something was to be constructed later was first developed by [[architects]] and [[shipwrights]] during the [[Italian Renaissance]].{{sfn|Baynes|1991|p=108}}

In the 17th century, the growth of [[artistic]] patronage in centralized monarchical states such as [[France]] led to large government-operated manufacturing operations epitomized by the [[Gobelins Manufactory]], opened in [[Paris]] in 1667 by [[Louis XIV]].{{sfn|Heskett|1980|p=11}} Here teams of hundreds of craftsmen, including specialist artists, decorators and engravers, produced sumptuously decorated products ranging from [[tapestries]] and [[furniture]] to [[metalwork]] and [[Coach (carriage)|coaches]], all under the creative supervision of the King's leading artist [[Charles Le Brun]].{{sfn|Heskett|1980|pp=11-12}} This pattern of large-scale royal patronage was repeated in the court porcelain factories of the early 18th century, such as the [[Meissen porcelain]] workshops established in 1709 by the [[Grand Duchy of Saxe-Weimar-Eisenach|Grand Duke of Saxony]], where patterns from a range of sources, including court goldsmiths, sculptors, and engravers, were used as models for the vessels and figurines for which it became famous.{{sfn|Heskett|1980|p=12}} As long as reproduction remained craft-based, however, the form and artistic quality of the product remained in the hands of the individual craftsman, and tended to decline as the scale of production increased.{{sfn|Heskett|1980|pp=12–13}}

===Birth of industrial design===
The emergence of industrial design is specifically linked to the growth of industrialization and mechanization that began with the [[Industrial Revolution]] in Great Britain in the mid 18th century.{{sfn|Heskett|1980|pp=10–11}}{{sfn|Kirkham|1999}} The rise of industrial manufacture changed the way objects were made, [[urbanization]] changed patterns of [[consumerism|consumption]], the [[imperialism|growth of empires]] broadened tastes and diversified markets, and the emergence of a wider [[middle class]] created demand for fashionable styles from a much larger and more heterogeneous population.{{sfn|Benton|2000|p=380}}

The first use of the term "industrial design" is often attributed to the industrial designer [[Joseph Claude Sinel]] in 1919 (although he himself denied this in interviews), but the discipline predates 1919 by at least a decade. [[Christopher Dresser]] is considered among the first independent industrial designers.<ref name=dresser>{{cite web|title=Christopher Dresser|url=http://design.designmuseum.org/design/christopher-dresser|website=Design Museum|access-date=9 April 2015|archive-url=https://web.archive.org/web/20140920154512/http://design.designmuseum.org/design/christopher-dresser|archive-date=20 September 2014|url-status=dead|df=dmy-all}}</ref> Industrial design's origins lie in the industrialization of consumer products. For instance, the [[Deutscher Werkbund]] (a precursor to the [[Bauhaus]] founded in 1907 by [[Peter Behrens]] and others) was a state-sponsored effort to integrate traditional crafts and industrial mass-production techniques, to put Germany on a competitive footing with Great Britain and the United States.

The earliest published use of the term may have been in [[The Art Journal|''The Art-Union'']], 15 September 1840.

{{Blockquote|Dyce's Report to the Board of Trade, on Foreign Schools of Design for Manufactures.<br>
Mr. Dyce's official visit to France, Prussia, and Bavaria, for the purpose of examining the state of schools of design in those countries, will be fresh in the recollection of our readers. His report on this subject was ordered to be printed some few months since, on the motion of Mr. Hume; and it is the sum and substance of this Report that we are now about to lay before our own especial portion of the reading public.

The school of St. Peter, at Lyons, was founded about 1750, for the instruction of draftsmen employed in preparing patterns for the silk manufacture. It has been much more successful than the Paris school; and having been disorganized by the revolution, was restored by Napoleon and differently constituted, being then erected into an Academy of Fine Art: to which the study of design for silk manufacture was merely attached as a subordinate branch.

It appears that all the students who entered the school commence as if they were intended for artists in the higher sense of the word and are not expected to decide as to whether they will devote themselves to the Fine Arts or to Industrial Design, until they have completed their exercises in drawing and painting of the figure from the antique and from the living model. It is for this reason, and from the fact that artists for industrial purposes are both well-paid and highly considered (as being well-instructed men), that so many individuals in France engage themselves in ''both'' pursuits.<ref>{{cite journal |title=Dyce's Report to the Board of Trade, on Foreign Schools of Design for Manufacture |journal=The Art-Union: A Monthly Journal of the Fine Arts |volume=2 |issue=20 |publisher=William West |location=London |date=15 September 1840 |pages=144–143 |url=https://archive.org/details/sim_art-journal-us_1840-09-15_2_20/page/142/mode/2up}}</ref>}}

''The Practical Draughtsman's Book of Industrial Design'' by [[Jacques-Eugène Armengaud]] was printed in 1853.<ref name=practical>{{cite web|title=The practical draughtsman's book of industrial design: forming a complete course of mechanical, engineering, and architectural drawing by Armengaud, aîné (Jacques-Eugène), 1810–1891|url=https://archive.org/details/practicaldraught00arme|website=Internet Archive|access-date=14 April 2015}}</ref> The subtitle of the (translated) work explains, that it wants to offer a "complete course of mechanical, engineering, and architectural drawing." The study of those types of technical drawing, according to Armengaud, belongs to the field of industrial design. This work paved the way for a big expansion in the field of drawing education in France, the United Kingdom, and the United States.

[[Robert Lepper]] helped to establish one of the USA's first industrial design degree programs in 1934 at [[Carnegie Institute of Technology]].<ref name="Carnegie Mellon magazine - Winter 2002">[http://www.cmu.edu/magazine/02winter/newsbriefs.html "Newsbriefs: Lepper show runs at Warhol."] {{Webarchive|url=https://web.archive.org/web/20161011165435/http://www.cmu.edu/magazine/02winter/newsbriefs.html |date=2016-10-11 }} Carnegie Mellon Magazine. Winter 2002. Retrieved January 17, 2014.</ref>