Design

It’s extraordinary that it took civilisation so very long to discover the benefits of putting little wheels on suitcases. We knew how to fly before we realised it was no longer necessary to huff-and-puff baggage by hand. Even odder, steam and electricity were well understood before anyone got around to developing the ingeniously simple pedal-and-crank mechanism, an invention of decisive importance, which turned the ludicrous, wobbly old hobbyhorse into today’s smooth and sensible bicycle. Its eventual triumph over all our sensibilities can be seen today when, at some practical cost to the general mobility of the capital, London is being effortfully retrofitted with cycle lanes while oil-fired traffic is perpetually

Thomas Heatherwick is the most famous designer in the United Kingdom today and has an unquestionable flair for attention-grabbing creations. Before 2010 he was mostly known for a splashy public sculpture in Manchester, ‘B of the Bang’ (2005). Within weeks bits started to fall off. In 2009 it was dismantled. This was his most celebrated failure. But he has had others. An even earlier commission, ‘Blue Carpet’ (2002), a showy repaving of a miserable part of Newcastle city centre, lost its colouring completely within a decade (despite assurances from Heatherwick that its colour would last for a 100 years). He was propelled to global celebrity in 2012 when an audience

Peter Mandelson, in his moment of pomp, had his portrait taken by Lord Snowdon. He is sitting on a fine modern chair. Mandy would no doubt have been aware of the ancient historic associations, through bishoprics and universities, that chairs have with power. Since it is a chair much admired by architects, Mandy also looks quite cool, although these things are relative. The chair and its footstool are known as Eames Lounge 670 and Eames Ottoman 671, and they were first manufactured in 1956 by Herman Miller of Zeeland, Michigan. Curved plywood shells are veneered with Brazilian rosewood, upholstered with shallow black leather-studded cushions and supported, at a meaningful tilt

When I went to visit Edward Bawden he vigorously denied that there were any modern painters in Essex. That may not have been true then — this was in the 1980s — or even now. What is indisputable, however, is that there have been plenty of artists in the county. They are the subject of two small but delightfully jam-packed exhibitions at the Fry Art Gallery, Saffron Walden. Bawden (1903–1989) is at the heart of both of them, even if the second point he made to me — equally emphatically — was that he called himself a designer rather than an artist (‘out of self-defence, mainly’). That distinction, and the

Different concepts of luxury may be inferred from a comparison of the wedding feast of Charles Bovary and Emma Rouault with the habits of their contemporary the Duke of Wellington. At the Bovary wedding were served four sirloins, six chicken fricassées, stewed veal, three legs of mutton, four chitterlings (with sorrel), brandy, wine, foaming sweet cider, yellow custards, tarts and sweets with an architectural cake comprising angelica, oranges, nuts, jam and chocolate. The austere Duke’s ‘conception of duty’, David Piper wrote, ‘did not provoke popularity at all times’. His daily routine was tea with bread and butter in the morning, no lunch and an unvaryingly simple dinner of a joint

Imagine for a moment Harley Earl, head of design at General Motors, Detroit’s wizard of kitsch. Standing before him, in his studio, is the cetacean bulk, nipple-coloured pink paint, churrigueresque chrome ornaments and rocket-ship details of his 1959 Cadillac Eldorado Brougham Seville Convertible. He is talking to his acolytes, as attentive as Rubens’ studio assistants in Antwerp 300 years earlier. Earl is describing his stylist’s art, the astonishing formal achievement of the pink Caddy. He says, pointing perhaps to a tail fin: ‘I want that line to have a duflunky, to come across, have a little hook in it, and then do a rashoom or a zong.’ Our language lacks

In 1915 D.W. Griffith’s Birth of a Nation was premièred, Henry Ford manufactured his millionth Model-T (‘a million of anything is a lot’, he said), Kafka’s Metamorphosis was published and so, too, was one of Einstein’s critical contributions to his own general theory of relativity. Mixed into this modernist cocktail of extreme achievement and harrowing perceptions was something more banal, but just as enduring: the Coca-Cola ‘contour’ bottle. A century old this year, it is, in a disputed field, an undisputed ‘design classic’. And, like any classic in any genre, it can be read in many ways. Long before Apple and the Messianic Steve Jobs, Coca-Cola developed a business model

Now that the conference season is over, we can compare not just the party policies, but their logos too. Last week’s Tory conference taught us the patriotic adaptation of their tree — now draped in the Union Flag — doesn’t work any better than the original green-tree symbol. The old symbol demonstrated Conservative values as imagined by the Innocent smoothie design team. It said ‘Tradition’. It said ‘the Environment’. It said, ‘Look what I can do with my crayons, Mummy.’ Stephen Bayley, design expert and Spectator colleague, was one of the hapless advisers tasked with picking the old logo. ‘Not so great,’ he told me, ‘but you should have seen

Titles can be misleading, and in case you have visions of microwave ovens running amok or washing machines crunching up the parquet, be reassured — or disappointed. Disobedient Objects, the new free display in the V&A’s Porter Gallery, is about objects as tools of social change. It’s a highly politicised exhibition and contains a great deal of fascinating material, from films to how-to guides (not quite ‘how to make a bomb’, but nearly). The gallery was packed when I went along. An admission charge might have made a difference. However, this is the kind of exhibition that should be free in a democratic country — if only to remind as

A day trip to the Towner Art Gallery in Eastbourne is a summer pleasure, and two concurrent shows are proving a considerable draw, with their focus on design and applied art. Designing the Everyday is in some ways just an excuse to get out all the best Ravilious china and show it with his working drawings, but where’s the harm in that? Ravilious continues to be one of the most popular of 20th-century British artists, and his applied art is not as well known as his pellucid watercolours, so here’s a chance to remedy that. And to put it in context, the surrounding rooms examine work from both earlier and