1 edition of Britain Can Make It Exhibition found in the catalog.
|The Physical Object|
|Pagination||xvi, 119 p. :|
|Number of Pages||70|
nodata File Size: 9MB.
Accordingly, the was founded in 1944 by theas one of the first. Exhibition Designer Misha Black's The Birth of an Egg Cup exhibit used a four-metre-high plaster egg, industry murals and a piece of machinery that produced 3,000 egg cups a day to answer the question, "who does decide the shape of the egg cup?
New Readings of Britain Can Make It Chaired by Elli Michaela Young 13. Rotha's unit combined their own stories with items from other companies, and Duncan Ross assistant-produced. The aim of the Britain Can Make It exhibition was both to bolster Britain's manufacturing industry, and, to promote a 'design consciousness' in the British public.
As such it offers the possibility of an intricate geography of national productive capacity as the country, impoverished by war, struggled to rise from its knees. Comprehensive collection of digitised photographs and digitised negatives from Britain Can Make It on the• The government decided that well-designed consumer goods for the domestic and export markets would represent British industry as modern, forward-thinking Britain Can Make It Exhibition high-quality.
Reactions of those attending the exhibition were varied between the general public, the design and the manufacturers. Restrictions on other colours would not ease until 1948. Documentary covering changes in women's lives and status between l890 and 1930. Other publications are scheduled for the exhibition's seventieth anniversary in 2016.
Unveiled at Britain Can Make It, the chair used five interchangeable cast and polished aluminium components that could be easily disassembled for packing and transport. The severe debt left behind by the Second World War, as well as continued rationing — which wouldn't ease until 1952 — meant that income generated through trade, especially international trade, was crucial to recover Britain's crippled economy. Black's design for the display was deliberately eye-catching, from a 13 feet high plaster egg at its entrance, to the continually-operating plastics moulding press making three thousand egg cups per day during the exhibition.
30 Coffee Beyond Britain Can Make It: Adaptation and Interpretation Chaired by Dr Harriet Atkinson 11. Britain Can Make It Exhibition research in this field took on a greater intensity with the arrival of the extensive Design Council Archive at the University of Brighton in 1994, its holdings containing a wealth of primary material on the 1946 exhibition never previously available to historians, complementing government archival papers at the then entitled 'Public Record Office at Kew'.
This use of a working model in particular was commented on in surveys of exhibition visitors carried out by. This image shows the front cover of the exhibition catalogue. 50 Lunch Design and Anxiety? Focusing on specific themes, we ask how could Britain make it as the world realigned and reconfigured politically, economically and culturally? Some displays were meant to be educational, explaining the stages of the design process a fairly abstract concept for many including mass-production techniques, raw materials and aesthetic considerations such as proportion, utility, colour, texture, decoration.
Film appealing for funds towards the Royal Air Force Benevolent Fund. Left to right: wall clock, designed by Christopher Nicholson, manufactured by Ferranti Ltd, 1946, UK.
The audience was two-fold: the general public who were as yet unused to the notion of design as a distinct process, and also the existing manufacturers who clung to pre-war, if not Victorian, notions of how to run manufacturing industry.
Indeed, so great was demand that the original closing date was extended to the end of November, and then December: a total of fourteen weeks.
By the 1930s, innovative plastics such as Bakelite phenol-formaldehyde allowed industrial designers and manufacturers to experiment with more modern designs.