Industrial Designer” (which Loewy created with stage designer Lee Simonson) appeared in 1937 at the Metropolitan Museum of Art (it was actually in 1934). Later in the volume, we are told that the exhibition was held in 1934, but at The Museum of Modern Art (where it most certainly was not displayed). Three years may seem trivial, but in the development of industrial design during the 1930s it was the equivalent of a decade. In precisely that brief period, the United States pulled even with Europe, and, by 1939, the New York World’s Fair amply demonstrated that the U.S. was in the vanguard of design—just in time for war to break out with the German invasion of Poland on 1 September. As it happened, only a few Europeans had the opportunity to see that very uncanny view of the world of 1960. The author’s kernel seems to have been the Studebaker story, which takes up sixty-six pages, but for only a mixed reward. Again, the reliance on secondary sources has led to a scrambled narrative in an area where expertise is rife. We finish in the 1960s, but are then magically transported back to the 1940s: “The room also featured four rotating globes designed by Dreyfuss—one each for Josef Stalin, Winston Churchill, Franklin Roosevelt, and the Joint Chiefs of Staff” (233). I am uncertain when Churchill might have had the opportunity to visit the Situation Room of the Joint Chiefs of Staff, but I am pretty much convinced that Josef Stalin did not make that trip. With so many errors appearing on a single page, it is hard to take this book seriously as a resource that scholars can turn to, nor is it well-written enough to provide an introduction to the uninitiated in spite of its flaws. While the author’s intentions may have been good, his lack of mastery over his sources and apparent reluctance to speak to the living people, who did in fact survive Teague, Loewy, Dreyfuss and many others, is astonishing. In spite of his fourteen years to write, he has missed that opportunity.

中文翻译：

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我们能做到：社区正在应对学校种族隔离的挑战。迈克尔·T·亨格勒（Michael T.Gengler）。（纽约，纽约：RosettaBooks，2018。P.xvi，558。24.99美元。）

“工业设计师”（由Loewy与舞台设计师Lee Simonson创立）于1937年出现在大都会艺术博物馆（实际上是1934年）。后来，我们被告知该展览是1934年举行的，但在现代艺术博物馆（肯定没有展出）中举行。三年看似微不足道，但在1930年代工业设计的发展中，这相当于十年。正是在这短暂的时期内，美国与欧洲保持了一致，到1939年，纽约世界博览会充分证明了美国处于设计的先锋地位，正好赶在德国入侵波兰的战争爆发之时在9月1日。碰巧的是，只有少数欧洲人有机会看到1960年世界的怪异景象。作者的核心似乎就是Studebaker的故事，占用了六十六页，但仅获得混合奖励。再次，对次要资源的依赖导致了在专业知识盛行的领域中的混乱叙述。我们在1960年代完成工作，但随后又神奇地运回了1940年代：“房间还配备了四个由德雷福斯设计的旋转地球仪，每个分别由约瑟夫·斯大林，温斯顿·丘吉尔，富兰克林·罗斯福和参谋长联席会议”（233） 。我不确定丘吉尔何时有机会参观参谋长联席会议的情况室，但我非常相信约瑟夫·斯大林没有出差。由于一页上出现了如此多的错误，因此很难认真对待这本书，作为学者们可以参考的资源，尽管其存在缺陷，但编写得不够充分，不足以对未入门者进行介绍。尽管撰文人的意图可能是好的，但他对消息来源缺乏掌控，显然不愿同在提格，洛维，德雷福斯和许多其他人幸存下来的在世人交谈，这令人惊讶。尽管他写了十四年书，但他仍然错过了这个机会。