May 15, 2025 | 1950s, Week 7
In the article, “A World of Colour and Bright Shining Surfaces: Experiences of Plastics after the Second World War,” Tom Fisher examines the transformation of plastics, ranging from wartime necessities to symbols of modernity in postwar Britain. At one point in time, plastics were associated with utility and scarcity during World War II, and plastics then became emblematic of a new era that was characterized by innovation, aesthetic appeal, and abundance. It was not only a technological shift though, it was also a cultural shift, when plastics came to represent progress, there was also a break from prewar traditions. The diverse uses of materials played a crucial role when redefining consumer expectations and experiences in the mid-20th century.
The first supporting point is the aesthetic transformation of plastics immediately following the postwar period. In the past plastics had just been valued for their functionality but then they began to be appreciated for their visual qualities such as vibrant colors, sleek forms, and glossy finishes. This change perfectly aligned with the rise of the public’s desire for optimism and modernity after the challenges of war. The people that capitalized on these qualities were designers and manufacturers, they produced household items and consumer goods that served both practical purposes and appealed to contemporary tastes for futuristic and stylish designs.
The second supporting point is how plastics served as symbols of social progress. Further than just aesthetics, plastics became a symbol of broader economic and social progress. Because plastics were so affordable and adaptable, it was very accessible for a wide range of consumers. The ease of accessibility was significant, especially in a society that was recovering from wartime challenges, it allowed for mass production of goods previously known as luxuries.
Figure 1. Molded Plastic Dinnerware
House Beautiful, October 1951, no 93 pt. 2, pg 299
This is an ad in the House Beautiful magazine for molded plastic dinnerware that is sold in a big set and in multiple different colors. This shows that these are obviously mass produced because of the range of options. This is just one example of how plastic was used for a range of purposes and how it helped many people.
Figure 2. Eames Molded Plastic Chair https://www.hermanmiller.com/products/seating/side-chairs/eames-molded-plastic-chairs/
This is the Eames molded plastic chair that is very well known and currently being sold by Herman Miller. The chair was designed after the fiberglass chair and with the intention of being comfortable for every user and it had the ability to be mass produced.
May 15, 2025 | 1950s, 1960s, 1970s, 2010s, 2020s, Week 7
Reading Summary/Takeaway: In this article, Tom Fisher explores the evolving perceptions of plastics in an increasingly consumer society after the Second World War. Plastic had a “double character” as it was both an advanced technological material and inauthentic because it could change its form and character. Postwar, manufacturers and designers saw an opportunity to change the negative connotations of plastics. Advertisements sold consumers plastic goods marketed as bright, colorful, hygienic, and modern. However, by the 1970s, consumers were disillusioned by plastic as it had become inauthentic, and there were growing fears of the toxicity of its components.
An example of plastics’ early appeal was its “smooth and transparent” characteristics that could be utilized for various household products, from hairbrushes to kitchen bowls. In contrast, plastic was later seen as a cheap, unhealthy alternative to other materials.
Application:
Historical Case: Another material that gained popularity post WWII was steel, particularly in kitchen cabinetry. Postwar, steel was readily available and affordable, allowing the opportunity for the material to gain popularity in the form of kitchen cabinetry due to its low maintenance, durability, and modern aesthetics. Figure 1 depicts bright blue steel kitchen cabinets advertised with phrases such as “custom, long life, easy cleaning, and matching your hopes and wishes in every detail.” Similar to the advertising of plastic goods, this advertisement illustrates how another material, steel, was sold to consumers as colorful, durable, and an opportunity for a better life postwar.
Figure 1. An advertisement by St. Charles Kitchens presents custom-built, colorful steel cabinetry.
House Beautiful 1951, Vol. 93, Pt. 2
“The Kitchen you’ve pictured… by St. Charles.”
Current Case: In the 21st century, we are seeing new, innovative, sustainable building materials due to growing environmental concerns. Materials such as low-carbon cement and concrete, reclaimed wood, and recycled plastic are becoming more common building materials in both research and real projects. Figure 2 depicts a house in Uganda built out of ‘Blocks.’ Block Solutions offers modular blocks of “biocomposite mix from recycled polypropylene and organic fibers from traceable origins.” These prefabricated ‘Blocks’ are environmentally friendly, durable, cost-effective, and an efficient and quick construction material.
Figure 2. “Building a model house in Uganda” using Blocks “produced from biocomposite and recycled plastics.”
“Home in Uganda.” Block Solutions, www.block-solutions.com/building-in-uganda.
Comparison: Plastic, steel kitchen cabinetry, and Block Solutions demonstrate the rise of new materials due to social, cultural, and economic trends and concerns in their respective periods. Steel kitchen cabinetry became popular post-WWII due to its availability, affordability, low maintenance, durability, and modern aesthetics. Similarly, Block Solutions is durable and cost-effective; however, it is a solution to environmental concerns of the 21st century.
May 14, 2025 | 1930s, 1940s, 1950s, 2020s, Week 7
Sum: In “A World of Colour and Bright Shining Surfaces,” Tom Fisher examines how plastics were experienced in everyday life in Britain after World War II, focusing on their cultural and emotional impact rather than just their technical or industrial aspects. His central argument is that plastics, especially in the postwar period, symbolized modernity, progress, and democratic access to consumer goods. Through their bright colors, glossy surfaces, and novel textures, plastics introduced new sensory experiences that contrasted with the natural, subdued materials of the prewar era. Fisher emphasizes that these materials were not merely functional but played a significant role in shaping people’s perceptions of modern domestic life. Plastics became associated with cleanliness, convenience, and optimism, particularly in household objects and toys. However, the article also acknowledges the later disillusionment with plastics, as they came to represent artificiality, cheapness, and environmental harm. This shift reflects broader cultural changes from postwar enthusiasm for innovation to growing skepticism about consumerism and material excess. Fisher’s main point is that to fully understand the significance of plastics, we must consider how people felt about them—their appeal, symbolism, and eventual decline in status. He calls for a sensory and experiential approach to material history, one that accounts for both the promise and the problems associated with modern materials.
Crit: I support Fisher’s claim that we must pay attention to how materials are lived and felt. His focus on the sensory and emotional experience of plastic goods is insightful, particularly in illustrating how materials became cultural symbols of progress and accessibility. However, this framing downplays the long-term social, environmental, and economic costs of plastics. The legacy of this “world of bright shining surfaces” hides the true costs, including overflowing landfills, microplastics in soil and water, and oceans filled with debris. The fact that fish and seabirds are regularly found with plastic in their stomachs illustrates how deeply this material has infiltrated our ecosystems. Perhaps that’s taking materiality too far. Perhaps thinking about materiality in a more holistic way is helpful. For example, in trauma-informed design today, material choices are crucial not just aesthetically, but in how they shape feelings of safety, comfort, and care. Informed design must balance emotional resonance with ecological and bodily health, not just aesthetics.
Ex: A current example of material design can be seen in the use of biophilic design in modern architecture. Biophilic design focuses on creating environments that reconnect individuals with nature, using natural materials and elements like wood, stone, natural light, and plant life. This design philosophy is rooted in psychological research showing that natural elements can reduce stress, improve mood, and enhance cognitive function, which is crucial in trauma-informed spaces like hospitals, mental health clinics, and schools. For example, The Maggie’s Centre in London, a cancer support center, is designed with natural materials such as wood paneling, stone floors, and greenery to create a warm, healing environment. The center’s design emphasizes a calming, non-clinical atmosphere that encourages comfort and emotional support, which is essential for patients undergoing trauma or illness. The materials and spatial design foster a sense of safety and connection to nature, helping individuals feel less overwhelmed and more grounded in difficult times. Historically, materials like asbestos and lead-based paint were celebrated for their performance and widely promoted in popular publications like House Beautiful. Asbestos was used in insulation, flooring, and roofing for its fire-resistant properties and marketed as durable and safe. However, over time, it was linked to severe respiratory diseases, including cancer, due to prolonged exposure to airborne fibers—resulting in a major public health crisis. Similarly, lead-based paints were prized for their rich color and long-lasting finish, especially in high-traffic areas like kitchens and children’s rooms. Despite their popularity, the health risks of lead exposure—particularly for children—were not fully acknowledged until much later. Lead poisoning can cause neurological damage and developmental delays. Both materials were once symbols of innovation and modern living but were eventually banned or heavily restricted when their dangers became undeniable. These cases highlight the critical need for material awareness in design—especially in contrast with today’s trauma-informed and health-conscious approaches, which prioritize safety, sustainability, and long-term well-being. They serve as reminders that materials must be evaluated not just for function or appearance, but for their impact on human health over time.
Figure 1. Colored film is sandwiched inside the curtain wall. Photography by NAARO.
Interior Design, 2018
https://interiordesign.net/projects/at-steven-holl-s-maggie-s-barts-support-center-in-london-cancer-patients-find-uplift/
Figure 2. Asbestos product referenc3
House Beautiful 1926-09: Vol 60 Iss 3 269
John Manville Product
Figure 3. Lead product reference
House Beautiful 1923-11: Vol 54 Iss 5 554
Cabot’s Stains
May 14, 2025 | 1950s, 2020s, reaction paper, Week 7
Summary
When plastics were introduced to the mass market, consumers perceived the material as futuristic, hygienic, and a fun alternative to natural materials —largely because of its bright and shiny colors and smooth textures. Manufacturers used plastic for a variety of products such as kitchenware, textiles, furniture, and surfaces. Gradually, market research began to show that the public was losing faith in plastics as their products began to age. Plastics lost their novelty, they acquired stains, their colors faded, and public chemical skepticism grew —partially due to the emerging information on the harm caused by DDT. What was once an accessible technological advancement for the middle class became indicative of deteriorating quality and design standards, putting the public and planet at risk of hazardous chemical exposure. There was a notable decrease in advertisements from chemical companies of plastic as a material. The content of the ads began to focus on the products themselves, like kitchen surfaces.
Historical Case
This advertisement from House Beautiful is promoting a particular brand of plastic flooring. Specifically, it is advertising the fact that it is plastic, its numerous colors, and its durability. It is representative of early consumer consensus on plastics and showcases it around modern furnishings, signifying plastic as a futuristic and technologically advanced material. It is emblematic of the era’s attitudes regarding plastic.
Figure 1. Advertisement from Armstrong Cork Company showcasing plastic flooring for its colors and durability. House Beautiful 1953, vol. 52 pt. 2, pg. 10.
Current Case
This article on the online blog and eCommerce site eartheasy goes over numerous alternatives to plastics consumers encounter in daily life. The content focuses exclusively on natural and reusable materials and encourages sustainable consumer habits. This is indicative of the altered perception of plastics in mass culture, and reflects the growing environmental concerns discussed in the journal article A World of Colour and Bright Shining Surfaces: Experiences of Plastics after the Second World War.
Figure 2. Blog article detailing the ways consumers can avoid plastics. Image courtesy of: eartheasy.
Comparison
These two sources offer drastically different opinions on the role of plastics in consumer goods and daily-use products. While the House Beautiful advertisement praises plastic for its multitude of colors and durability, the eartheasy article provides alternatives that do not produce environmental waste. Their contrast in tone mirrors the thesis of the article, that the public gradually became disillusioned with and skeptical of the idea of plastics, in part due to environmental reasons. The pressing issue of climate change has amplified consumers’ concerns, with many people coming to learn about plastic pollution and the infiltration of microplastics into our diets. In the House Beautiful source, plastic is advertised as a miracle material, with numerous styles and longevity. Now, a substantial portion of the public understands plastic as an omnipresent harmful technology of the past and something we need to evolve away from.
Apr 30, 2025 | 1990s, Week 5
In ‘Leaving Traces’: Anonymity in the Modernist House,” the main argument focuses on how modernist architecture tried to erase all aspects of personal identity in favor of universal ideals, but failed to achieve full anonymity. The ideas that built up the modernist house made it to be a space of hygiene, rationality, and minimalist lifestyles, which reflects broader aspirations for social reform and technological progress. There was a lingering tension between the realities of lived experiences and the desire for abstract purity, which meant that traces of personalities, belongings, and habits persisted in the spaces that are meant to be anonymous.
The first supporting point is that the architectural forms used in modernist homes were selected in order to standardize living and minimize ornamentation. One example of this was in the Rietveld Schroder house, which is set up embracing the De Stijl aesthetic principles. Utilizing a strict geometry of planes and lines, movable walls, and the use of primary colors against white. All of these elements were successful in expressing an impersonal and abstract aesthetic which aimed to keep the spaces free from individual and historical references.
The second supporting point is that despite all efforts, inevitably, inhabitants left their marks of domestic life, going against the modernist ideal. Architects are unable to control the placement of personal items, modifications to furniture, and memorabilia. One interesting quote from the reading was that “making a home is a continuous process that requires a lot of effort and work and that is obviously never finished” (125). This shows that while the goal can be for a space to have aspects of anonymity, people will always have elements that take away from that aesthetic.
This is a photo of a hotel that was designed in a very modern way with pops of primary colors and standardization.
Figure 2. Living Room Space
House Beautiful, 1991, No. 9-12, pg. 107
These photos show a house that overall is very modern but specifically the use of white walls and adding in pops of color connected to this reading. The way the house is arranged is very clear with the spaces being separated by the ceiling hanging down lower.
