Mid-Century Molecular: The Material Culture of X-ray Crystallographic Visualisation across Postwar British Science and Industrial Design

This thesis investigates the use and significance of X-ray crystallographic visualisations of molecular structures in postwar British material culture across scientific practice and industrial design. It is based on research into artefacts from three areas: X-ray crystallographers’ postwar practices of visualising molecular structures using models and diagrams; the Festival Pattern Group scheme for the 1951 Festival of Britain, in which crystallographic visualisations formed the aesthetic basis of patterns for domestic objects; and postwar furnishings with a ‘ball-and-rod’ form and construction reminiscent of those of molecular models. A key component of the project is methodological. The research brings together subjects, themes and questions traditionally covered separately by two disciplines, the history of design and history of science. This focus necessitated developing an interdisciplinary set of methods, which results in the reassessment of disciplinary borders and productive cross-disciplinary methodological applications. This thesis also identifies new territory for shared methods: it employs network models to examine cross-disciplinary interaction between practitioners in crystallography and design, and a biographical approach to designed objects that over time became mediators of historical narratives about science. Artefact-based, archival and oral interviewing methods illuminate the production, use and circulation of the objects examined in this research. This interdisciplinary approach underpins the generation of new historical narratives in this thesis. It revises existing histories of the cultural transmissions between X-ray crystallography and the production and reception of designed objects in postwar Britain. I argue that these transmissions were more complex than has been acknowledged by historians: they were contingent upon postwar scientific and design practices, material conditions in postwar Britain and the dynamics of historical memory, both scholarly and popular. This thesis comprises four chapters. Chapter one explores X-ray crystallographers’ visualisation practices, conceived here as a form of craft. Chapter two builds on this, demonstrating that the Festival Pattern Group witnesses the encounter between crystallographic practice, design practice and aesthetic ideologies operating within social networks associated with postwar modernisms. Chapters three and four focus on ball-and-rod furnishings in postwar and present-day Britain, respectively. I contend that strong relationships between these designed objects and crystallographic visualisations, for example the appellation ‘atomic design’, have been largely realised through historical narratives active today in the consumption of ‘retro’ and ‘mid-century modern’ artefacts. The attention to contemporary historical narratives necessitates this dual historical focus: the research is rooted in the period from the end of the Second World War until the early 1960s, but extends to the history of now. This thesis responds to the need for practical research on methods for studying cross-disciplinary interactions and their histories. It reveals the effects of submitting historical subjects that are situated on disciplinary boundaries to interdisciplinary interpretation. Old models, such as that of unidirectional ‘influence’, subside and the resulting picture is a refracted one: this study demonstrates that the material form and meaning of crystallographic visualisations, within scientific practice and across their use and echoes in designed objects, are multiple and contingent.

Are we asking the right questions? Rethinking post-graduate design education towards sustainable visions for the future

Our society is currently facing complex challenges, such us climate change, loss of biodiversity, ageing population, unemployment, to name but a few. This has created growing expectations on designers and engineers to explore, experiment and implement innovative solutions to such issues. At this critical time, if we want design to be part of the solution, we need to wonder whether we are asking designers suitable and sustainable questions. Both in post-graduate design education and in business, the brief still overwhelmingly requires designers to follow a linear problem-solving approach that focuses on product rather than strategies, services and systems. Traditional design briefs result no longer appropriate to face the challenges of our unsustainable world, as they relate to market, growth economy and human needs rather than society, business models and the needs of nature. Instead, we need to be asking questions about, for example, how we create sustainable business opportunities, how we overcome the barriers for change, or how we facilitate the process of innovation through design methodology. If the role of design is to create new visions and outline strategic directions towards a sustainable future world - for policy makers, businesses, communities and individual citizens – we need those stakeholders to create briefs for designers that allow them to do that. This paper will explain how the reframing of questions has been embedded into SustainRCA’s teaching practice in post-graduate design, art and engineering, leading to the development of new tools and methods, as well as some innovative outcomes

The Elastic Octopus: A Catalogue of Failures for Disrupting Design Eduction

Elastic Octopus was inspired by a perceived increased reluctance in student attitudes towards taking risks and failure in design innovation. In particular, recent trends in funding and risk-aversion in earlier phases of education where failures are discouraged has limited the potential for ground breaking innovative thinking. This experimental design project was conceived to tackle the failure reluctance trend by developing a team based cross-disciplinary masters level design innovation studio module where students would succeed in relation to their capacity to demonstrate failure. Principally this involved creating a permission giving process where ambitious design experiments are developed in order to encourage the transgression of edges and boundaries. This was achieved by adapting a number of creative design methods including blue-sky thinking, back casting and design exorcisms to challenge and de-programme failure aversion. Succeeding through failure involved transitioning from meta-themes through to experimental contexts where failures could be attempted as a way of exploring the limits of technologies, structures, mental models, human engagement and other factors critical to success. We hope that insights gained from this disruptive educational module can offer unexpected benefits for students ranging from increased failure resilience, through to narrative generation and context forming skills while at the same time providing wider value in discussing how designers deal with failure.

Graphic design and modernisation in Greece, 1945-1970

The primary aim of this work is to give voice to the silent history of graphic design in Greece, long uncharted and undocumented in both the international forum and the local design community. This study focuses on the professional modernisation of graphic design and its role in providing the means for change in Greek society. The research is supported by interdisciplinary analysis of commercial advertisements, posters, leaflets and magazines, as well as other supporting documentation, in the historical and cultural context of Athens, Greece from 1945 to 1970. The time examined was a transitional and vociferous period in the history of Greece, one of intense and rapid economic modernisation during the post-Second World War decades from the mid-1940s to 1970. This was a time when, along with broader changes in the social, economic and political life of Greece, important developments in design education, print technology, and professional organisation marked a new age for graphic design, as a profession emerging from the broader ‘graphic arts’ field (inclusive of both technological and creative processes) and claiming autonomy over the more established fine arts sector. All four chapters deal with modernisation in relation to the assumed divisions of traditional/modern, continuity/change, centre/periphery. Main areas of investigation are: trade organisation, graphic design education, advertising and urbanisation, electricity and tourism promotion. This research offers a view of the ways the ‘modern’ and the condition of modernity were experienced in the case of Greece through certain applications of graphic design and its agents of influence: graphic designers, artists, managers, publishers, the state and private entrepreneurs. The research benefited significantly from a number of interviews with design professionals and related individuals. The present endeavour has a modest aim: to enable understanding of how and why Greek graphic design at the time came to be, and to stress the validity of the visual as a means of historical documentation.

The Structure of Design Processes: ideal and reality in Bruce Archer’s 1968 doctoral thesis

The paper centres on a single document, the 1968 doctoral thesis of L Bruce Archer. It traces the author’s earlier publications and the sources that informed and inspired his thinking, as a way of understanding the trajectory of his ideas and the motivations for his work at the Royal College of Art from 1962. Analysis of the thesis suggests that Archer’s ambition for a rigorous ‘science of design’ inspired by algorithmic approaches was increasingly threatened with disruption by his experience of large, complex design projects. His attempts to deal with this problem are shown to involve a particular interpretation of cybernetics. The paper ends with Archer’s own retrospective view and a brief account of his dramatically changed opinions. Archer is located as both a theorist and someone intensely interested in the commercial world of industrial design.

Design Without Borders: A Multi-Everything Masters

Design is increasingly a global activity: addressing issues that challenge and affect people and populations other than our own, involving stakeholders from many cultures, realized through borderless networks of knowledge, services, materials, manufacturing and distribution. There is an appetite among graduates, especially in design and engineering, to broaden horizons and raise ambitions, to tackle big issues through innovation to bring about life-changing or world-changing impact. Employers demand such thinkers and doers: culturally attuned, multidisciplinary and T-shaped, unafraid to shake things up. In 2013, twelve postgraduates embarked on a new joint Masters course in London; students from eight different nations, studying together in three capital cities over two years. This programme is a collaboration between four centres of academic excellence in UK, USA and Japan; these students soon become its first graduating cohort, having experienced differing teaching styles, perspectives and specialisms around design, technology and innovation from four world-class institutions; immersion in three very different cultures; collaboration with students and faculty from many diverse disciplines and cultures; forming friendships and networks spanning the globe. This paper outlines the rationale and philosophy of the course, the challenges in its realisation and development so far, and its likely future evolution.