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plastic) all of which combine the advantages of two or more materials into one new material.

Maximizing characteristics such as safety, resistance to strain and abrasion, flexibility and temperature resistance as well as minimizing weight, cost and density are some of the criteria which also play an important role in the development of materials. Materials with one or more of these "optimal" properties can open up new markets and provide a product with additional functionality.

Simultaneously new technologies enable faster processing, less waste and pollution and reduce the expense of machinery and tools. All of which increases flexibility and enables faster responses to rapid market changes and demands, quicker assembly of prototypes and even custom-made products being manufactured individually. In the rubber industry the trend is to use thermoplastic elastomers (TPEs) because of their fantastic mechanical properties, such as shock absorbtion and above all their haptic feel and flexibility.

In the future, and this is not a fantasy but something you can already see developing if you look into laboratories and research institutes all over the world, biodegradable and intelligent biomimetic materials will replace less ecologically sound materials.

Task 2. Read the text once again and create own text entitled “Materials important in industrial design”.

Text 5

Task 1. Read the text ant tell about Peter Behrens, his life and creative work.

Peter Behrens

Hamburg 1868 - Berlin 1940

Peter Behrens is one of the most influential 20th-century German designers. At the beginning of the century, he brought forth outstanding works in painting, architecture, graphic design and industrial design, which exerted a paramount influence in all these various fields, opening up uncharted territory for the generations to come. He is viewed as the founder of modern objective industrial architecture and modern industrial design.

Born in Hamburg in 1868, Peter Behrens studied at the Hamburg Kunstgewerbeschule [School for the Applied Arts] from 1886 to 1889 before attending the Kunstschule in Karlsruhe and the Düss eldorf Art Academy. From 1890 he worked as a painter and graphic artist in Munich, where he joined the Jugendstil movement; in 1893 he was a founding member of the Munich Secession.

He produced woodcuts, coloured illustrations, designs for book bindings and crafts objects entirely shaped by the Jugendstil formal language. In 1897 Behrens joined forces with Hermann Obrist, August Endell, Bruno Paul, Richard Riemerschmid and Bernhard Pankok to found the Vereinigte Werkstätten für Kunst und Handwerk in Munich to produce handmade utilitarian objects. In 1898 Peter Behrens collaborated on designing the Berlin journal "Pan" and produced his first

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furniture designs. In 1899 Peter Behrens was appointed by Grand Duke Ernst Ludwig of HesseDarmstadt to the Mathildenhöhe artists' colony the Grand Duke had just established in Darmstadt. There Behrens designed and built his first house, his own dwelling. Designed as a total work of art, "Haus Behrens" caused quite a stir; Behrens himself designed the architecture and the interior with all its appointments and furnishings down to the last detail. In 1901-02 Peter Behrens taught at the Düsseld orf Kunstgewerbeschule. In 1903 he left Mathildenhöhe, serving until 1907 as the di rector of the Düsseldorf Kunstgewerbeschule. In 1906 Peter Behrens received his first commission from AEG (Allgemeine Elektricitäts-Gesellschaft) to design a dvertizing material. Emil Rathenau hired Behrens as an artistic consultant to work on a wide range of projects. In 190809 Behrens designed the AEG Turbinenhalle in Berlin, a concrete, steel and glass factory building with an outspoken agenda. In addition to architecture (housing for working men and their families), Behrens also designed household electrical appliances, standardizing the forms of their components and thus making them interchangeable, which rationalized production. Further, he was in charge of designing sales rooms, catalogues, price lists, etc, thus using design for the first time to create a unified appearance as the sign of corporate identity. This collaboration lasted until 1914. In October 1907 Peter Behrens joined Peter Bruckmann, Josef Maria Olbrich, Fritz Schumacher, Richard Riemerschmid, and Hermann Muthesius to found the Deutscher Werkbund. Like the Munich Vereinigte Werkstätten (see above), the Werkbund was inspired by the British Arts and Crafts movement. Its aim was to promote crafts skills while leading into industrial production, where standardization and an objective formal language were to achieve the same high quality standard as that of handmade goods. That same year, 1907, saw Peter Behrens founding a large architectural and design practice in Berlin. Walter Gropius (up to 1910), Ludwig Mies van der Rohe (190811), and Le Corbusier (1910-11) also worked there. This joint studio was very productive and numerous architectural commissions were realized, including the German embassy in St. Petersburg (1911-12) and the IG Farben Höchst headquarters in Frankfurt (1920-25), which showed the influence of Expressionism. In 1926 Peter Behrens designed "New Ways", a private dwelling in Northampton, which is regarded as an early example of the International Modern style. Further, Peter Behrens designed china, glass objects and patterned linoleum flooring for various companies. One of his last commissions, in 1938, was to plan new AEG headquarters in Berlin. Peter also continued to teach, heading the architecture department of the Vienna Akademie der Bildenden Kün ste from 1922 to 1936. For the rest of his life he was head of the architecture department at the Preußische

Akademie der Künste in Berlin.

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Text 6

Task to the text. Read the text ant tell about modern design in the United States.

Modern design in the United States

Despite what is often seen as German leadership in creating industrial design as a profession, the United States has an equally compelling claim to being industrial design’s parent country. The United States emerged from World War I (1914–18) physically undamaged; in contrast, many European cities and industrial facilities were not only damaged but in some cases downright decimated by those years of war and by the subsequent socialist and communist revolutions. In some ways the radical sociopolitical change of the interwar years catalyzed equally radical changes in attitudes toward design, as can be seen in the growing popularity of the Bauhaus within Weimar Germany. European society was in a state of turmoil and radical reform, but the United States, despite its share of social unrest, was somewhat more stable. During the war the country had established a reputation for large industrial production, and afterward its wartime factories were adapted for the civilian consumer economy. With this great output capability, most probably, came a tendency toward planned obsolescence. This term was supposedly coined after World War II by American industrial designers and writers to indicate industry’s desire to produce consumer items that would be replaced even before their actual utility expired. Although the concept is often linked with the second half of the 20th century, it is likely that American industrialists saw this profit-making opportunity well before then.

The United States at this time was thus ripe for the development of the industrial design profession. In fact, the U.S. Patent Office recognized the term industrial designer in 1913, and, as in Europe, organizations were formed to unite the visual arts professionals who helped create consumer products and environments. The American Union of Decorative Artists and Craftsmen (founded in 1927), for instance, was followed by the American Designers Institute (1938) and the Society of Industrial Designers (1944), all of which eventually merged to form the Industrial Designers Society of America (1965). As with the Deutscher Werkbund and most professional organizations, these served to validate the profession in the view of the public and to facilitate communication among their members.

One of the first major public expressions of the newfound commitment to showcasing well-designed consumer products was Macy’s department store’s Art in Trade Exposition (1927), which was designed by the scenic designer and Theatre Guild founder Lee Simonson and owed a major conceptual debt to the Arts Décoratifs exposition that had taken place in Paristwo years earlier. Throughout the rest of the interwar years, other exhibitions were likewise mounted to inform the public and endorse the objects and artists exhibited as well as to promote well-crafted consumer items. Even museums such as the new Museum of Modern Art (MoMA) in New York began to recognize the field; MoMA established a department of architecture and design (1932) and organized important exhibitions of industrial design, such as “Machine Art” (1934).

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Moreover, department stores and direct-mail merchants, including Montgomery Wardand Sears, Roebuck and Company, created corporate design departments to control the look of their merchandise. Montgomery Ward was probably the first store in the United States to do so (1934), hiring design educator Ann Swainson to be their first woman executive and architect Dave Chapman to be the head of product planning. Sears followed soon afterward, scooping the competition by hiring noted German Modernist architect Karl Schneider, a Gropius and Behrens protégé, to design furniture and furnishings for the company’s line (1938–45). In 1926 Walter Paepcke founded theContai ner Corporation of America, and in 1936 he hired Egbert Jacobson to establish a consistent design identity for its products and advertising, a development that had far-reaching consequences in the American graphic design and advertising worlds.

At this time several outstanding industrial designers were at work in the United States—among them Donald Deskey, Henry Dreyfuss, Wa lter Dorwin Teague,Raymond Loewy, and Norman Bel Geddes, who are often considered to be the founders of the industrial design profession in the United States. They created iconic items, ranging in scale from large (locomotive engines) to small (table lamps), that typify great moments in American design. These designers came from a variety of professional backgrounds, mostly in the visual arts. For instance, Donald Deskey was a furniture and interior designer who used an elaborate Art Deco style in his product design; his masterpiece was the interior of Radio City Music Hall in New York’s Rockefeller Center (a contract he was awarded in 1932). Henry Dreyfuss is best known for his interest in ergonomics, particularly in his design of Bell telephones (1930 and later), but he is equally acclaimed for his bullet-shaped Hudson J3a locomotive (1938) for the New York Central Railroad, his interiors for Lockheed Aircraft and American Airlines, and his products for Thermos and Hoover. Engineer Raymond Loewy designed appliances for Sears, Roebuck and Company, but he is perhaps best remembered for his transportation design, from the S1 locomotive (1937) for the Pennsylvania Railroad and the Scenicruiser bus (1944 and later) for Greyhound to Studebaker automobiles (1953 and later). Packaging and advertising specialist Walter Dorwin Teague is best known for his design work on Kodak Brownie cameras (1927–30 and later) and on ga s stations and corporate imagery for the Texas Fuel Company (1935–36; later renamed Texaco), as well as his long-term work on Boeing airliner interiors, from the Stratocruiser (1945) through the 707 (1957–59). His firm, Walter Dorwin Teague Assoc iates, continued to design Boeing airliner interiors into the 21st century. Joining those active and important practitioners was the more theoretically minded Norman Bel Geddes, a set designer best known for the futuristic transportation designs featured in his General Motors Pavilion and Futurama exhibit at the New York World’s Fair (1939–40) and in his books Horizons (1932) and Magic Motorways (1940). The streamlined teardrop shape of his Motor Car No. 8 (1931) prefigured the similarly shaped Dymaxion car of American inventor R. Buckminster Fuller, unveiled at the 1933 Century of Progress Exposition in Chicago. Clean lines and streamlined shapes, suggestive of movement and speed, were characteristic of American design of the time and paralleled the

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design work produced by the aviation industry’s wind-tunnel research of the 1920s and ’30s.

During World War II (1939–45) industrial designers came into their own, creating design solutions and products to help win the war, such as the WalkieTalkie, a two-way FM radio invented by Galvin Manufacturing (later called Motorola, Inc.) in 1943 and used by the U.S. Army. These designers also helped to usher in a postwar consumer society after the long hiatus in individual spending that had begun with the Great Depression of the 1930s. Henry Dreyfuss, for example, worked for the Consolidated-Vultee Aircraft Company during the war; he proposed (1944) to convert the company’s B-24 bombers into postwar airliners, and he planned and tested the Convair car (1947), a flying vehicle whose wings could be unbolted and whose fuselage could then function as an automobile, with that same company. Walter Dorwin Teague worked on converting the C97 military transport for Boeing into the double-decked Stratocruiser (1945) airliner, the conceptual forerunner of that company’s jumbo jets. Buckminster Fuller reshaped his military Airbarac (1946), designed to serve as a metal barracks for the members of the army and air corps, into the all-aluminum Dymaxion House for the Beech Aircraft Company in Wichita, Kan. (today on exhibit at the Henry Ford Museum in Dearborn, Mich.). The war years catalyzed something else that had started during theGreat Depression: architects’ and designers’ use of new and plentifully available materials, from aluminum and plastic to wood laminates. The postwar era witnessed a boom in industrial design throughout the world, as factories accustomed to churning out tens of thousands of machines for war transitioned to making mass-produced consumer goods. This was particularly so in the United States, where factories were not damaged or destroyed by wartime bombing. In a way, this circumstance guaranteed that American designers would be at the forefront of making consumer products immediately after the war.

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APENDIXES

APPENDIX 1

Expressing Opinions

APPENDIX 2

Preparing presentations

I. Introducing yourself

1. Good morning everyone. On behalf of ourselves and “Stone treasure”, we’d like to welcome you. Our names are Laura Larsen and … We ar e professionals in the sphere of architecture and town building.

II. Introducing the topic

Today we are going to tell you about.... (Сегодня мы собираемся рассказать вам…)

We’d like to outline (обрисовать в общих чертах) our company concept we’ve developed (разработали) for you.

We are going to give you an idea of … ( дать некоторое представление о проекте будущего здания)

The subject of the presentation is the future building design

III. Giving background information (сведения общего характера)

We have divided (разделил) our presentation into 4 parts: introduction, the building design, the building location, and the structures that will surround the building, and conclusion.

Presenting Information

I.Introduction: To start with, II.The main part:

Student : My name is Laura Larsen and I am going to speak about … Now I want to give the floor to my professional partner, John Philips.

Student 2: Thank you, Laura. Now I am moving to the next point (пункт, вопрос) which is devoted to … ( теперь я перехожу к следующему вопросу, который посвящён)…

Student 3: I’d like to draw your attention to (мне бы хотелось обратить ваше внимание к…)

Student 3: Turning now to.... (Обращаясь к), I will tell you about the structures that will surround the building. Now I’d like to give the floor to my professional partner

…

Student 4: What I’d like to talk about now is concerned with.... (То, о чём я хочу говорить сейчас, связано…)

Student 5: Now I would like to describe.... (теперь мне бы хотелось описать…) Now I’d like to give the floor to my professional partner…

III. Summarizing and concluding

Student 6: I’d like to conclude (сделать вывод) by saying…

IV. Ending a presentation

Thank you for listening to us. If there are any questions, we’ll be pleased to answer them.

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APPENDIX 3

Six hats of thinking

3.1 Useful lexis

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3.2 Useful phrases to comment on the presentation

Useful words and word-combinations, questions and phrases

The white hat gives factual information about the presentation

1.What was the subject of the presentation?

2.How long did it last?

3.How many parts did it consist of?

4.Was it computer or paper presentation?

5.Was it coloured or black-white?

6.Was it joined or single-handed work?

7.How many people took part in the presentation?

The yellow hat states positive points of the presentation

1.to manage to develop a successful professional report;

2.to cope with the job task professionally;

3.to do something in the original professional way;

4.to express one’s own professional view concerning …;

5.to cover significant professional issues;

6.to professional knowledge/skills;

7.to deliver a speech like professionals (выступать как);

8.to raise important professional issues;

9.to cover all the points of the presentation;

10.to be rich in professional lexis;

11.to be worthy of special attention;

12.well-prepared, thought –provoking, informative, cognitive , thought-out;

13.to touch upon the topical issues

14.to manage to develop a professional detail project;

12.to hold a special place

13.to get message across to

14.It is painstaking work (Это кропотливый труд);

15.It is of great interest to us.

16.It aroused our professional interest …

17.Your presentation is beyond comparison/words.

18.According to your point of view…

The black hat states negative points of the presentation

1.to fail to develop design concept;

2.sloppy and sketchy work – небрежная и поверхностная работа;

3.ill-considered (необдуманный); unsuccessful; confusing moment;

4.limited professional lexis;

5.to fail professional knowledge and skills;

6.to come apart with design requirements;

7.to specify the blind sides;

8.to fail to represent the graphical part;

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9. to fail to specificate selection of needed materials ;

10.to leave out cost of works;

11.to communicate thoughts clearly;

12.to overlook the main project parts; 13.to torpedo a project;

14.to get message across to;

15.to have an obscure view of;

16.Your presentation failed.

17.Your report leaves much to be desired.

18.You failed to cover all the points of the presentation

The Red Hat expresses all the feelings which the presentation arouses

1.experience different/ contradictory feelings;

2.to create a feeling of surprise/admiration/disappointment– вызывать чувство удивления/восхищения/разочарования;

3.to arouse a professional interest;

4.to put into a business-like mood;

5.to have the personal touch;

6.to get to like the project;

1.I fail words to express my respect for your professional skills/ professionalism.

2.There was a disappointing/ confusing moment.

3.There was a moment that gladdened us very much.

4.You speak by the book.

The Green Hat suggests constructive ways to improve the presentation

1.to improve considerably;

2.to make it more professional;

3.to specificate the project summary;

4.to meet requirements;

5.to analyse the building location; 6.to add building floor plans;

7.to specificate building materials;

8.I would suggest (doing) …

The blue hat generalizes the points of view of all the hats and expresses the overall impression of the presentation

1.to create a favourable/ unfavourable impression;

2.to develop a successful project

3.to fail to consider siting and site analysis

4.to create a feeling of admiration

5.to improve considerably and add unconsidered issues

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