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Three degrees of separation: Industrial designers find inspiration with Norman Bel Geddes

A group of Dell employees visit the exhibition "I Have Seen the Future: Norman Bel Geddes Designs America." Photo by Pete Smith.
A group of Dell employees visit the exhibition "I Have Seen the Future: Norman Bel Geddes Designs America." Photo by Pete Smith.

Scott Lauffer, an Industrial Design Director at Dell’s Enterprise Product Group, recently visited the exhibition I Have Seen the Future: Norman Bel Geddes Designs America with a group of colleagues, primarily industrial designers and engineers. The group takes occasional offsite visits to find inspiration. This is the third visit the group made to the Ransom Center over the past few years. Lauffer shares his observations from the visit.

As designers I think we all drew inspiration from the versatility that Norman Bel Geddes displayed not only in the types of work that he consulted on, but the salesmanship he exhibited to convince many of his clients to invest in creating better human experiences in a time before it was expected and demanded by consumers. His background in theater probably served him well in being a better storyteller for his vision. His approach for researching and understanding human behavior along with model building and storytelling are all techniques that we draw on heavily as designers today.

It was interesting to see how Bel Geddes not only influenced our group’s profession of industrial design, but also our industry, albeit indirectly. Elliot Noyes, who founded the Industrial Design program for IBM and pioneered the corporate design discipline in 1956, was previously employed by Bel Geddes. We later discovered there were only three degrees of separation for some of us: Bel Geddes to Elliot Noyes to Tom Hardy, with whom some of us previously worked in his capacity as design director at IBM.

The exhibition was crafted to educate a wide audience through thoughtfully selected examples that represent the breadth of Bel Geddes’s work, without overwhelming. The courage Bel Geddes showed in proposing the visionary and using this to stretch the imagination of his clients is inspirational.

From the Archivist: Creating access to the Magnum Photos collection

Photographic Archivist Mary Alice Harper works with the Magnum Photos Collection. Photo by Linda Briscoe Myers.
Photographic Archivist Mary Alice Harper works with the Magnum Photos Collection. Photo by Linda Briscoe Myers.
As is the case with any incoming collection, the Magnum Photos collection came with its own unique set of challenges. Ransom Center Curator of Photography David Coleman and I have worked to develop and implement a strategy for making the collection accessible to researchers in a timely and organized manner.

Creating the preliminary inventory
The agreement between MSD Capital, the owner of the collection, and the Ransom Center places the Magnum collection at the Center for at least five years and stipulates the photographs be made available. Desiring to open the collection as quickly as possible, the curator and I devised a two-phase approach for cataloging it.

The first phase was to translate Magnum’s original, complexly coded spreadsheet into a standardized preliminary box-level inventory. Working with Magnum’s archivist, Matt Murphy, I organized the materials in such a way that the arrangement reflects Magnum’s various filing systems and simultaneously unites them. As a result, the materials are divided into the following five series: Photographers (photographs by Magnum photographers); Personalities (photographs of persons of note, from movie stars to world leaders); Subject (a broad selection of topics designated by Magnum); Geographic (photographs arranged by geographic location); and Magnum (photographs of Magnum photographers, agency staff, newspaper clippings, and non-Magnum photographs used for special projects).

The Personalities series of the original spreadsheet provided only name ranges for these boxes (e.g., Rodgers to Roosevelt). So throughout the spring, Jillian Patrick, an undergraduate student at The University of Texas at Austin, meticulously listed the personality’s name on each folder contained within the 200 boxes. Assistant Photographic Archivist Nicole Davis and I then spent more than one month editing that list and entering the Library of Congress’s authorized form of each personality’s name when available. When not available, we devised name forms according to the second revision of the Anglo-American Cataloguing Rules. This proved challenging, given the creative spelling and reverse order of various names found on Magnum’s folders. All original folder headings were maintained in the inventory, but references to the authority form of each name are also provided.

With the six-month anniversary of the collection’s arrival fast approaching, I converted the preliminary inventory into Encoded Archival Description, making it fully accessible and searchable online. The name authority work for all personalities is not complete, but 84 percent of the boxes are currently listed at the folder-level in the online version of the preliminary inventory. In the coming months, a revised version of the finding aid, with the Personalities series completed, will be posted online.

The future
In January, I hope to begin the second phase of cataloging the collection, which should take 12 months. The end result will be a detailed archival finding aid and a searchable database enabling researchers to locate all prints by any photographer in the collection.