How Did Dorothy Draper Contribute To Society

The bungalow design was influenced by a variety of social and economic trends that expanded the middle class and became a powerful means of transformation in American society. Arts and Crafts promoters associated the bungalow design with creative manual work, independence, and a way to return to manhood of common work practices. The bungalow

Jarena Lee was born in the late 18th Century as an African American slave into a society that was against her from the start. After becoming free and struggling through suicidal thoughts for years, Lee finally set out to accomplish what she felt God had called her to do: to preach and spread God’s word. Despite having no real religious background and encountering obstacles that would cause many to simply give up their goals, Jarena strived to preach and eventually broke through and spoke her first sermons, one of many to come. Over time she started to garner a following of hundreds of listeners, all keen to listen to Lee as she proclaimed God’s gospel. This achievement helped to weaken the barrier that originally separated women from fully participating in religious societies and would serve as a focal point of women’s rights, even in modern times.

“Her elegantly casual designs inspired women of fashion to abandon the complicated, uncomfortable clothes that were prevalent in 19th-century dress.”

Born in 1925 in Boston, Massachusetts, Muriel Cooper was a graphic design pioneer who anticipated the digital revolution. She has long been considered to be quite revolutionary as the realm of design shifted into the digital age. Muriel was the longtime art director of the MIT Press, implementing a Bauhaus-oriented design style into its numerous publications. In 1944, she received her BA from Ohio state and a BS in education from Massachusetts College of Art, in 1951 (Brinkerhoff 63). Soon after graduating, Cooper moved to New York City for a chance to find a position in advertising. Here, she met Paul Rand who was quite influential to her design ‘way of life’. She was soon a freelance designer at the Massachusetts Institute of Technology,

Frank Lloyd Wright (1867-1959) was one of the most well-known American architects of the early modern movement. His extensive portfolio of built works around the country demonstrates the many styles that he worked in over his important career, including his Prairie Style and his Usonian houses. He is important to the spread of modern architecture because of his large collection of iconic built works. Additionally, he trained many young architects that spread his design philosophies.1 Because of his far reaching influence and impact, many of his works are considered among the most significant examples of American architecture, and he is widely known by both designers and the general public for his contributions to modern design. Wright’s career began in Chicago, which is where many of his early significant works are located.

Her designs defined an era of style for many women around the world in the 60’s, and still do today. The 1960's were a maelstrom of fashion. Many of the trends from the late 1950’s followed into the next decade with a continuation of a conservative clean cut appearance, for both males and females. However,

In a Time cover story done about the most influential designer, Coco Chanel, a brief history was given about the designer. She made her name first in the 1920’s and 1930s, then

Charles Rennie Mackintosh , architect, interior designer and watercolourist, was one of the most enigmatic personalities contributing to the rise of Modern Architecture during the early 20th Century. ‘Mackintosh saw things differently, he was a modern man, ahead of his time.’ As an architect he applied his sense of three-dimensional form to create distinctly sculptural works including buildings and furniture. A terrific draughtsman, the young Mackintosh sketched the architectural tradition of Scotland, England and Italy. He was a man of great genius and a pioneer of the Modern Movement; yet he was virtually forgotten even before his death.

The atypical circumstances of women as patrons of architecture according to Friedman, challenged architects to reconsider traditional spatial divisions between public and private, individual and community, male and female. According to Friedman this house constituted a "creative breakthrough" for its architect.

The 50’s were the most revolutionary years for design. The war had ended and there was economic stability, only to bring out the quirkiest side of designers and artists. More people were curious about modernism and were extremely welcoming to the way designers were experimenting. The trend of bubblegum, neon and pastel colors, space based and atomic themes and abstract art dominated architecture, clothes, crockery, furniture, cars, etc. Smaller post war houses demanded light, stackable and compact furniture, thus leading to the rise of Formica, chrome, vinyl, plywood, fiberglass, aluminum and plastic furniture. But that didn’t stop designers from experimenting with wood and leather. Charles and Ray Eames and Robin and Lucienne Day were the pioneers of modern architecture and design. What separated these couples from other designers was the brilliant combination of art and form in their creations, which

Sometimes, when people decide they want to get serious about decorating their homes, the choose a particular artistic style or period to use as a model. Styles come and go as the years pass, but there is one particular style that gained prominence during the first half of the twentieth century which has stood up well to the test of time. In the twentieth century, art deco took the artistic world by storm during the latter half of the roaring twenties through the 1930s. Although there was a brief period when it lost its popularity, art deco interior design is back in favor with people today.

In 1960s retro, the designs gravitate towards more of a groovy feel, with swirling lines and interesting patterns. The colors used can be complimentary or contrasting, and the textiles will include obscenely large prints. The furniture is very surreal, with odd lines, and often an utter lack of symmetry. Pop art and posters are found on the walls, tastefully framed. Lighting will have bold cloth lamp shades, or even colored glass globes as an accent.

“Design is for living”. The adage fashioned a widespread shift in design during the 1940s and 1950s. It revolutionized the form by creating an electrifying visual language that signaled a new age and a fresh start- two of the powerhouses were Charles and Ray Eames. The Eameses were a husband and wife team whose unique synergy led to a whole new expression in furniture and architecture. The couple advocated the principles of Modernism through the adaptation of innova¬tion from wartime technology .Their design style can be branded as “California Modernism,” a term that is often used interchangeably with “Mid-Century Modernism.” This distinct style embodied an approach to design that opposed the “social conscience” of the Bauhaus in order to embrace looser, warmer design which was both more expressive of local character and in touch with the realities of commerce and salesmanship. With the west-coast coming-of-age, economy shift from making goods to producing information and the global expansion of American culture; their lives and work embodied some of America’s defining movements. They contributed to architecture, film, industrial and graphic design. They were known as pioneers of affordable mass production and residential constructions. The evolution from furniture designers to cultural ambassadors validated their bents and overlaps with country’s interest and projected how design can enhance the lives and practical needs of ordinary people and not just the elite.

Modernism in Art, Design and Architecture was written in 1999 by Christopher Crouch, an Australian writer and artist. The author’s literal intention is to demonstrate the hidden ideas behind images and objects of the twentieth century, more than it is about their visual details. Crouch introduces the

“Modern Architecture: International Exhibition” is the title of an exhibition that took place in 1932 at the Museum of Modern Art in New York City. Organized by Philip Johnson and Henry-Russell Hitchcock, the exhibition introduced an emerging architectural style characterized by simplified geometry and a lack of ornamentation; known as the “International style,” it was described by Johnson as “Probably the first fundamentally original and widely distributed style since the Gothic.” The exhibition, became like a catalogue,that laid the principles