Point: Explorations

            As this semester comes to an end, the time has arrived to come clean. I’ve never been a huge history buff. The information just never seems to stick and I find it difficult to recognize relationships between one of the time periods to the next. This semester’s class for me was a bit of a challenge because of this. Majority of our assignments, such as these points and our counterpoints, were meant to help us make comparisons and connections to the past lessons and methods we’ve learned. How can I achieve that if I find it difficult to come across these assessments? I will say that my fellow classmates were a huge help. A simple conversation or short discussion was usually what I needed to steer my thought process in the right direction. I would also like to thank Patrick for making this experience an enjoyable one. Never have I experienced a teacher with so much enthusiasm and fondness of a particular subject. I learned that in every class, expect the unexpected.

Our last section was entitled Explorations. If ever there was a disregard for the regurgitation of design ideas and methods, as well as, new rules and systems written, this was it by far. With all the information and visuals available to us as designers I can’t seem to understand why we’ve seem to become lazy in a sense. The artifacts, spaces, buildings and places being designed today, in this time we call modernism, don’t explore the knowledge we have from the past. The minimalism and simplicity are cop outs to what we are truly capable of. On every corner we’re surrounded by these cookie-cutter style homes that are merely stuck in a spot and described by the name “suburbia”; these homes that possess no personality or deep sense of importance.

The idea of commodity, firmness and delight are no longer in use. These new “modern” style spaces and objects ooze with delight and, with our technological knowledge, are as sturdy as a rock, but lack any sort of commodity. As a reminder; commodity referring to a specific use, firmness referring to the stability of a structure and delight referring to the overall feeling given by an artifact, space, building or place. Modernism has been described as sterile, cold and putting no thought into human beings. In class we discussed our crisis where it’s believe that design is no longer for everyone. Design has formed an eliteness intended for only certain people. The world is more interested in the individual rather than the interest of the community and because we have the power to transport goods and services from all over the world, we do it, and fill spaces with no consideration to themes. We collect items, whether they go together or not. Finally, because of this eliteness, our interest in individual vs. community and our collecting, there is no longer a specified proposed language, there is no “right way” of doing things and there’s a loss of design vocabulary. 

"Suicide by Modernism" -- Mark Kostabi (2005)

I chose this picture entitled “Suicide by Modernism” by Mark Kostabi because I feel it sums up how most people feel about this idea of modernism; where multiple ideas are thrown into one piece of work or the past ideas are left on the ground to fertilize the earth. Notice how the “old school” styles are in black and white laying on the ground while the colors and vibrancies are celebrated hovering over them. Hopefully one day, with our generation of designers, we can spin the design continuum back in the “right” direction.

rEading cOmprehension 7...

**Within the theme of the exhibit assigned to your group, select ONE work and draw a diagram of the
work, using the principles and elements of design. Write a 250-word annotation for your diagram to the
themes of the EXPLORATIONS unit and the readings assigned for this unit. In your annotation, analyze
and include at least one other work of art in the theme you have been assigned, make 3-5 appropriate
citations from the readings, and consider SCALE (artifact, space, building, and place) as you complete
your work.

--

According to dictionary.com, one of the definitions of art is “the quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance.” Although we are all people, I feel that’s the only thing majority of us have in common. We implement different personalities, difference in opinions and difference in expression.  I believe that this definition is also a characterization for the modernism movement. During this time, as we discussed during history class, our crisis is we now possess this confidence where we believe individuals to be more important than the community. Design is now for the elite and well off. We’ve lost any sort of design language.

The Town & Country theme of the Greensboro Collects show in the Weatherspoon Art Museum was an expression on how smaller towns and countries have yet forgotten about the community. Concentrating on the piece titled “Friday Night at the Ozark Airdome,” by Walter Barker, the idea of community is still relevant in this image of the town watching a movie outside. With its contrast in colors and textures, this work of art expresses the audience as almost one large form. The individual people can only be distinguished by the various colored tinctures. The simplicity and scale of the house in the background and wooden fence express how we’ve lost sight of the minimalism of the past and are more focused on how much more an individual can realize before the other. One thing is for sure, the idea of commodity, firmness and delight are present within this piece in the balance of colors and whites, repetition of similarities and scale of the piece as a whole.

The work of Deborah Grant also caught my eye. Entitled, “By the Skin of Our Teeth,” it’s a mixed media piece made of collaged paper, ink, and oil. Although multiple types of media were used it’s still a very simplistic piece. It “stresses purity of form and sleekness of surface while increasingly exploiting the expressive power of the irregular form introduced into an otherwise insistent structural grid,” (Roth, pg. 569). Richard Meier, a designer who drew influenced form Le Corbusier, concentrate the use of pure white geometric forms and pipe railings, as in the Douglass House in 1971-1973. Similar to the design style of Richard Meier, this piece expresses “minimalism and reduction of materials.” (Roth, 570)  

"By the Skin of Our Teeth #2" -- Deborah Grant (2006)

Douglass House by Richard Meier

rEading cOmprehension 6...

[1] A common theme of the early twentieth century found in Roth, Harwood, and Massey set the tone for an understanding of styles in architecture and design influenced by fine art. Selecting either Arts + Crafts or Art Nouveau, TRACE the influences of the selected style in more than two nations. In your answer, you should include evidence from the readings and at least two annotated images as support for your analysis of influences.

***

Art Nouveau explores a new style in the visual arts and architecture that developed in Europe and North America at the end of the nineteenth century. It’s a style of design attempting to create a new vision that discards any past precedents and expresses a more visual language. Primarily a style of line and ornament, it’s mostly seen in architecture, interiors, furniture, graphic arts and the decorative arts. Designers of the Art Nouveau time believed that all arts should be creative and imaginative, work in harmony to create total works of art. This was more than a simple style, it was a way of thinking about modern society and new methods of production.

In Germany, there is a strong urge for a new style after industrialization. Munich becomes the major concentration of the arts. This movement began with the works of Hermann Obrist, Auguste Endell, Peter Behrens, Bruno Paul and Richard Riemerschmid.  The use of strong, asymmetrical geometry, extreme curves and an emphasis on decoration were popular. The style had a small impact on architecture but significantly influenced textiles, jewelry and furniture. This style movement was spread across Germany and into Belgium. It is credited for the advance design that thrived in Belgium during that time period. An example of Art Nouveau in Germany would be the Majolika Haus by Otto Wagner in Austria. Named after the weather proof, painted ceramic floral designs on the façade, with its decorative iron balconies and flexible S-shaped linear embellishment, this structure is most definitely considered Art Nouveau.

Majolika Haus by Otto Wagner in Austria

In Spain, Art Nouveau appears majorly in Barcelona. In Harwood (pg. 484),  in mentions two trends that were revealed, “ The mainstream Art Nouveau, called Moderismo or Arte Moderno, which follows the artistic lead of Belgium and France. The second trend is inspired by the Catholic Church’s view of contemporary life, which seeks to mold society both theologically and aesthetically.” A popular dominance of this trend is Antoni Gaudi. His forms were a display of twisted features, decorative details and attention to ergonomics. Materials included iron, stone, and ceramic tile often used to convert objects into renditions of flowers, trees and waves to create a surreal sense of place. An example of Art Nouveau in Spain is the Casa Batllo in Barcelona, Spain, with its undulating line movement made possible by a curvilinear metal frame and concrete, and it’s arches in relation to body’s skeleton.

Casa Batllo by Antoni Gaudi in Barcelona, Spain

 Influenced by the Arts and Crafts movement which drew attention to the return to nature, beautiful designs, graceful shapes and waves, in which are represented by vegetables, flowers, insects and colored birds. The Art Nouveau period communicates its expression in different art shapes, like stone front walls, ceramics, and iron, interiors with curved walls, frequently with an enthusiastic ornamentation.

[2] Originating at the Bauhaus and in the work of LeCorbusier, the so-called Modern movement deeply influenced design and architecture of the twentieth century. The great debate raised by this new approach to design involved the presence of the machine in the design process and final products.

SPECULATE about the implications of “machines for living” and the famous dictum “less is more” on design today. Use at least one ARTIFACT, SPACE, or BUILDING in your answer, providing a salient image (cited) and annotation to help bolster your argument.

**

The Modern Movement, also known as the International Style, was classified by three broad principles, “emphasis upon volume rather than mass; regularity arising from standardized elements rather than axial symmetry; and emphasis on proportions and materials rather than arbitrarily applied decoration.” (Harwood, pg. 617) Modernized structures demonstrate simplicity and clean lines, not masked by embellishment. It concentrates on purity of forms such as cubes, cylinders or rectangles. Structurally sound using frames of steel and reinforced concrete, free and open floor plans are likely. Because of this, interior spaces are free flowing and lightly furnished with often moveable partitions. The famous dictum “less is more” is apparent in modernism because, “interiors are created primarily by architects who emphasize function, flexibility, efficiency and practicality. Form and proportion are more important than ornament and decoration are.” (Harwood, pg. 628)

The presences of machines are a major influence on interiors during this period. “Kitchens and baths are models of machine-like efficiency because designers plan them according to principles developed by the new discipline of domestic science or home economics.” (Harwood, pg.629) Majority of these decisions are made in the building of public housing where space is limited.

Pavillon de l'Espirit Nouveau interior by Le Corbusier and Pierre Jeanneret

The Pavillon de l’Espirit Nouveau which is described as a "machine for living in" and compared to similar descriptions of automobiles, suggested that the basis of design for modern living was found in the effectiveness and economy of the workplace rather than in the extravagance and eccentricity of the traditional home or apartment, and relied more upon the skills of the engineer than those of the artist.

[3] From the assigned pages in Roth, Harwood, and Massey, SELECT an image that you believe explodes the notion that Modern interiors and objects were black and white. Fully RENDER your own design exploration of that image through color, material, and light and appropriately annotate and cite the image to prove this point.

The Johnson House interior by Phillip Johnson (Harwood pg. 605)

 Although the use of color within this house of glass designed by Phillip Johnson is monochromatic, it's not in black and white. The simplicity of colors compliments the structure of the building itself. With the warm colors and materials, this space seems to be comfortable, until you notice the no privacy part.

rEflections sUmmary: mOre cOnversations

Kayla McDonagh started her point essay for reflections with reference to a cartwheel.  I found this to be extremely true. She says, “First, you start off in a box, meaning you are following the rules. Second, you step out of the box, exploring different possibilities. Third, you turn upside down, breaking the rules. And finally forth, you revert to the box, creating a new set of rules.” It’s a cycle that continues to repeat itself within multiple time periods. There were reflections on the past as well as from other countries. The west began to borrow precedents from the east. A great example of this would be the Royal Pavilion with its obvious exterior influence from the Middle East in India and its Chinese interior influence, also known as chinoiserie.

                “The 19^th century was a time in history where design not only blossomed through advancements in production of new materials but also where design struggled to make one solid identity.” (Dajana Nedic) The Industrial Revolution played a major role in the design style and techniques of this reflections time period. With the wider variety of transportation, large and heavy materials could be easily transported to locations bringing the introduction of cast iron, glass and steel.

                During this period there was a lot of confusion about what is the right way to do things. What is the “right” design language that everyone should follow? Daniel Salgado explained how this controversy led to designers and architects to this state of mind where the concept was “everything goes.” With the opening of the trade routes the influences were massive.This brought about the World's Fair of 1851 at the Crystal Palace, an exhibition of the world's arts and designs.

                Again, these three point essays were very fantastic. Each discussed a new idea and broadened my mind about the reflections period. I can now gain a sense of what it was all about.

Spinning wheel illusion; the cycle of design

Crystal Palace; exhibition of the world

aLternatives sUmmary: mOre cOnversations

”The alternatives unit was in sense a rebellious one,” Dajana Nedic so very well puts into words. Concentrating on the structures of the Gothic, Renaissance and the Baroque time periods, these buildings were focusing on unity and harmony of architectural details through repetition, geometric patterning and separation of spaces by boundaries. During the Gothic period there was much emphasis on verticality and storytelling through dematerialization of materials, as in the Cathedrals. The Renaissance main focus was the idea of revamping everything. AS for the Baroque period, Daniel Salgado states that “the main goal was to cram everything they knew, into one building and it was mostly in the façade.” This period was recognized for its design experimentations and challenging of authority. Baroque tested the limits of design. Kayla McDonagh touches on how the Baroque period was about replicating real life as done in the theatre and creating optical illusions. It was not until the Renaissance and Baroque periods that pushing these boundaries made a noteworthy statement in design.

Reading these three post has helped me remember some of the things i may have forgotten from the alternatives unit. It was a sort of friendly reminder and i enjoyed all three very much. These three students continue to produce to work that i appreciate and will continue to follow.

Michelangelo's David (maintaining rules)

Bernini's David (Breaking rules)

Point: Reflections

                The reflections unit was concentrated during the period of time after the Renaissance and the time we now know as Modern. It’s described as a diverse adaptation of multiple design styles from across the world, as well as, across time. Few designs have exploded out from the past or previous prototypes, and it’s almost safe to say that nothing that we produce nowadays is new causing a struggle to create and follow one solid design identity. Majority of the time and effort spent is now focused towards bettering ideas and taking them to the next level. Designers have become more interested in the potential of materials and are less focused on tastefulness and refinement.

                In class, we discussed a comparison throughout different design cycles. Illustrated by a web graph, the Revolution, a drastic change in ways of thinking and behaving, is positioned in the center and an assortment of subcategories surrounds it. These categories include Renaissance; rebirth, transition, revival of learning and culture, Revival; coming again into activity, Rotation; uniform variation in a sequence, Cycle; a recurring sense of events, a phase, and Reform; a change for the better.  Because I’m a visual learner, this illustration helps me to realize how things respond to the past and continue to build upon that. There will always be an inkling of the previous within the present. Attempts to decode and make sense of the cacophony of design languages are near impossible.

Technology has had a major impact on the world of architecture. Now that heavy and not easily transported material can be transported by railways, there’s a rise of mass production and new materials have been extended to cast iron, steel  and large pieces of glass. Because of these materials, the bones of structures are improved and sturdier. The use of machines rather than hard hand labor caused an important change in industry. With the introduction of machines capable of performing repetitive tasks, mass production of consumer good started. “The result was a dynamic increase in production and a lowering of production costs, meaning that goods formerly available to only aristocracy became available to the growing middle class and even eventually to the workers themselves.” (Roth, pg. 462) Now it was easier to reproduce any design style and possibly making up your own adding to the design controversy.

During the World’s fair of 1851 at The Crystal Palace an international exhibition of manufactured products was held showcasing the ideas and styles of eastern countries. The silk trade routes were a far-reaching network of trade routes across the Asian continent connecting Asia with the Mediterranean world and Europe. Because of these routes Europeans were able to witness alternate styles to their own and began to develop these approaches and techniques. The Chinese style influence came to be known as chinoiserie. This style is characterized by the use of far-fetched imagery, whimsical contrasts of scale, asymmetry in format and the attempt to imitate Chinese porcelain and lacquer-like materials and decoration. As Roth explained, “one newly fashionable style was Chinese—or more correctly, what eighteenth-century architects and landowners imagined as Chinese.” (pg. 456) This interest in Chinese style lasted through the end of the century leaving behind structures like that of the Pagoda built by Sir William Chambers in Kew Gardens outside London.

Even though England was a major design influence during this period, it did not stop the eastern forces, like China, Japan and Indi, from marking their stamps on the world through the power of the trade routes. After this influential time period where the multiple design styles all meshed together we have no other choice but to press forward and expand, always keeping an eye out on the past. 

The World's fair of 1851 at The Crystal Palace was a grand exhibition of international design that started the eastern influence on the west. The reflection of the east on west.

rEading cOmprehension 5...

1. Here is a mid - to late 19^th century furnace popular in England and in the United States. Although wood-burning fireplaces are still quite common, even today, other forms of heating begin to appear in this century. I believe the emergence of this artifact revolutionized the heating of multiple rooms, which allowed spatial planning to broaden and be more flexible. Instead of having a fireplace in every room, where over half the heat was lost through the chimney and you had to be standing only a few feet away to experience the heat, that space can be used for other purposes. A furnace was more widely used in residential homes with open floor plan arrangements. These heating sources heated quicker and required less fuel.

Harwood, Architecture and Interior Design from the 19^th Century, pg. 21 (1-33)

2. During the nineteenth century a lot of borrowing of ideas was taking place by Europe with China, Japan, India and the Middle East. With the silk trade routes in action the world got a view of an alternate design style and ran with it.

Chinoiserie Corner Cupboard by Chippendale, 1768. Pine, with painted chinoiserie decoration.

Artifact: This artifact shows influences made by the Chinese on the western world referred to as chinoiserie. This influence is expressed clearly in the fine Asian inspired painted garden pattern in green and also the fact that it’s raised off the ground with legs. In earlier times this piece would have sat directly on the ground, but elevating it is a sign of purity. Normally Chinese ornament and decorative forms were found to be useful by furniture makers with the pagoda roof, bamboo framing, and fretwork all being easy on the eye and just as easy to apply on furniture. Chinoiserie type decoration was most often seen in single rooms, usually a female’s bedroom, a dressing room, and occasionally a tea room. 

The Royal Pavilion in Brighton, interior

Space: The interior of The Royal Pavilion also shows eastern influence. As trade routes from china become more popular, colorful textiles and surface coverings become more widespread. The design ideas of the eastern world are very fantasy like.  This space was designed for entertainment and social gatherings to specifically showcase the wealth and worldliness of the hosts.

The Royal Pavilion is remarkable for its exotic oriental appearance both inside and out (1787-1823)

Building: The Royal Pavilion, also known as the Brighton Pavilion, shows the eastern influence on western design mimicking the Indo-Saracenic style that was widespread in India. The large dome, recessed archways, spires and focus on symmetry are visible in the Pavilion, these being apparent signs of Indian design with Islamic influence. 

Responsible for the world's largest collection of living plants is Kew Gardens in London, England. (1759)

Place: Kew Gardens is an ideal example of a western take on Japanese design. With the large pagoda surrounded by a reconstruction of a traditional Japanese garden, man-made water ponds and plant collections, people were able to experience things they wouldn’t normally get to experience.  This eastern take on design brought much interest to people of the west. The attention to detail and oneness with nature made these areas idealistic for those who have never been exposed.