We each spend three years of our lives on the toilet, but how happy are we talking about this essential part of our lives? This film challenges that mindset by uncovering its role in our culture and exploring the social history of the toilet in Britain and abroad - as well as exploring many of our cultural toilet taboos. Starting in Merida, Spain with some of the the earliest surviving Roman toilets, we journey around the world - from the UK to China, Japan and Bangladesh - visiting toilets, ranging from the historically significant to the beautiful, from the functional and sometimes not-so-functional to the downright bizarre. Leading the journey is Everyman figure, Welsh poet and presenter Ifor ap Glyn, who has a passionate interest in the toilet, its history and how it has evolved over the centuries, right up to the development of the current design. Finally, there's a glimpse of the future and a possible solution to the global sanitation issues we now face.
The story of design enters the 50s and 60s, when a revolutionary new material called plastic combined with the miracles of electronic miniaturisation to allow designers to offer post-war consumers something new: liberation.
Picking up the story of design from the drab days of the late 70s, the final episode tracks the explosion of wild creativity that defined the 'designer decades' of the 80s and early 90s. By addressing wants rather than needs and allying themselves to the blatant consumerism of 'retail culture' designers emerged from the backrooms to claim a starring role in the shaping of modern life.
This [film] is about patient and dedicated teaching, about learning to look and visualize in order to design, about the importance of drawing. It is one designer’s personal experience of issues that face all designers, expressed with sympathy and encouragement, and illustrated with examples of Inge [Druckrey]’s own work and that of grateful generations of her students. There are simple phrases that give insights into complex matters, for example that letterforms are ‘memories of motion.’ Above all, it is characteristic of Inge that in this examination of basic principles the word “beautiful” is used several times.”
2012 • Design
In the crisis-stricken decades of the 1920s and 1930s, with the world at the tipping point between two global wars, design suggested dramatically different ideas about the shape of things to come, from the radical futurism of the Bauhaus to the British love affair with mock-Tudor architecture and the three-piece suite.