Tuesday, November 23, 2010
Tuesday, November 16, 2010
Tassel House by Victor Horta : Brussels, Belgium
Entrance hall for the Castel Beranger apartments by Hector Guimard : Paris, France
Atelier Elvira by August Endell : Munich, Germany
A similar sense of energy and movement can be found in paintings of the early 20th century, particularly those of the art movements fauvism, cubism, expressionism, and futurism. Like Art Nouveau, these art movements were groundbreaking and controversial. Restless lines, organic curves, and a sense of emotion are present in works such as the following:
The Joy of Life by Henri Matisse
Les Demoiselles by Pablo Picasso
Yellow-Red-Blue by Wassily Kandinsky
Dynamism of a Dog on a Leash by Giacomo Balla
Nude Descending a Staircase by Marcel Duchamp
These interiors and paintings are evidence that designers and artists were seeking a new and fresh style to characterize the 20th century and set it apart from everything that had come before. The feelings provoked by these works were considered just as important as the works themselves.
2) Le Corbusier's Villa Savoye (1929-31) is a superb example of a "machine for living."
According to Roth, "The house is a square, lifted up on what Le Corbusier called pilotis … An elaborate retreat, it incorporated all of the five points that Le Corbusier had stipulated in an article published in 1926" (Roth, 532). The house's open plan is made possible by a structural frame of concrete rather than supporting walls. Roth explains that "the turning radius of an automobile determined the curvature of the glass wall of the ground floor, for there, under the shelter provided by the raised living level, is a covered driveway, a three-car garage, a reception area, and other auxiliary spaces" (Roth, 532). Like a machine, there is nothing superfluous about the building; there are no unnecessary elements, only whatever is functional and purposeful. Le Corbusier believed that because ornamentation served no true functional purpose, it had no place in design.
International modernism was controversial from its beginning. Not surprisingly, a common complaint was that it lacked warmth and feeling. Massey explains that, in response to Wells Coates's "Minimum Flat" at the 1933 Exhibition of the British Industrial Arts in Relation to the Home, "The response of critics and public alike was that the Flat showed that Modernism could be successful in the design of a kitchen or bathroom where efficiency was important, as well as for new types of interior such as Underground stations and broadcasting studios, but that it was not appropriate for the sanctuary of the British living room" (Massey, 90). But despite being viewed as "cold" by many throughout the 20th century, the International Style has continued to influence design to this present day. Many today seek clean, sleek, open, and sparse interiors such as this one by WHIM Architecture:
(absolutely beautiful, by the way)
3) Rendering of a modern interior:
Director's office, Bauhaus, Dessau, 1926.
Massey, Anne. Interior Design Since 1900, third edition, page 72. London: Thames & Hudson Ltd., 2008.
When I first saw this interior in Judith's IAR 221 class, I was surprised by the colors and patterns used for a "cold" and "lifeless" interior. Despite being virtually free of ornamentation, the International Style uses form and color to create beauty.
Thursday, November 11, 2010
Dajana writes about the many revolutions of the 19th century and the struggle to find the nature of "true" design. The image she chose conveys the idea of "the wheels of progression" turning, and many different revolutions occurring at the same time. She also talks about the influence of eastern design on that of the west. She writes, "Although England was such an influential power throughout much of this period, there was another power that was gaining force in design and it was coming from the east. Places like India and China were forming major trade routes with Europe which in turn caused a fresh exchange of decorative systems, abstracted art, and exotic atmospheres."
Abigail touches on the idea of certain time periods being revolutionary and yet reflective at the very same time. Such is the case with design as it was taking shape in America. Classical design was chosen for the capitol building in Washington, DC as a way to demonstrate knowledge and power on behalf of the new nation. Despite the revolutionary nature of their split with England, Americans still reflected on the past in order to express themselves.
Abigail also talks about the implications of the Industrial Revolution: new building types, materials, and design languages. This part stuck out to me: "The problem with the period subsequent to the Industrial revolution was that too many design languages were competing for a voice in the world, and interiors were becoming cultured with items that all spoke a different language. Because of one revolution, there was a need for another." The image she chose (of the Crystal Palace in London) demonstrates this Victorian eclecticism.
Blakeni stresses the idea of reflections being distorted versions of what they are reflecting. The image she chose does a great job of conveying this idea. Underneath the image, she writes,"when things get reflected, sometimes the image that we see is what we think we see or what we want to see... we miss things, leave them out or change it to our desires just like design."
Blakeni also talks about the debate concerning handcrafted vs. machine-made goods. In her essay, she quotes Charles Ashbee: "We do not reject the machine. We welcome it. But we desire to see it mastered." This statement attests to the usefulness of the machine but recognizes the importance of a human element in design (although, of course, humans did design and build the machine, did they not?).
Justin writes about the idea of breaking boundaries, moving through time from the Middle Ages to the Renaissance to the Baroque period. Each period, he seems to say, was revolutionary in its own way. He writes, "The Gothic style was itself a revolution initiated in the way people considered the earthly world to be mundane and the church reacted by created a architectural revolution based on a heaven bound focal point." In contrast, a strong belief in human potential drove the people of the Renaissance to strive for perfection. During the Baroque period, the breaking of boundaries can most clearly be seen.
Justin supplements the image he chose with the following very true statement: "This image clearly depicts the struggles of the alternatives unit to break free from the oppressive restrictions of our limited understanding of the world and the capacity to overcome boundaries that hold us back. It is human nature never to be content with the here and now but in the curiosity of the possible, of the dream, of the potential that has not yet been reached. Each design revolution brings about a temporary satisfaction until our restlessness sets in and once again we struggle to break the boundaries of the previous generation."
Anna writes about thinking outside of the box, an idea that is very effectively communicated by the image she chose. An interesting thing she mentions is the way simple elements can be combined to produce complexity. She says, "Basic shapes are extremely important in everything. They are so simplistic, but when they are played with and altered from the original form, can turn into something very interesting." As an example, she talks about the combination of different design styles in order to produce a unique statement.
Kelly also writes about breaking the rules as a way to strive for novelty and individuality. The image she chose conveys this idea well. She says, "Even in today’s modern world classical subjects such as the Madonna and child are being reinvented in unconventional ways. 'The Madonna of Port Lligat' by Salvador Dali is a perfect example of this classical subject reinvented. The figures are painted with rectangular holes in their torsos to represent their transcendent nature. Thus creating the art of alternatives."
Something else I appreciate about Kelly's essay is the following observation: "Most often successful innovation comes from trial and error. Despite it’s negative connotation, failure isn’t always a bad thing, it is how we learn from our past experiences." She mentions an example from history (the front façade of the Ospedale degli Innocenti by Brunelleschi) and also complements her statement with an example from an experience she had while folding paper in studio. This idea of learning through failures is important to remember when projects or situations go awry.
Sunday, November 7, 2010
Thursday, November 4, 2010
Tuesday, November 2, 2010
1) The 19th century experienced sweeping changes. Among these changes were an expanding urban population, new scientific developments, the use of new building materials, and the development of single-function rooms in houses. The Industrial Revolution forever changed the nature of architecture, interiors, and furnishings.
According to Harwood, "Furniture for the home, the workplace, and the garden illustrate many changes from the Industrial Revolution. Office furniture becomes more diverse in function, type, selection, and materials - this diversity and the exponential growth of industry lead eventually to the rise of major office furniture manufacturers in the 20th century" (Harwood, volume 2, p. 26). The office chair pictured above (found on page 26 of Harwood, volume 2) represents these changes in furniture design, as organization and convenience became important aspects of the office experience in the 19th century.
2) Eastern influences in Western design:
The bases of these 19th century lamps are in the Chinoiserie style, reflecting a Western understanding of Chinese design. The lamps depict Chinese architecture and a Chinese figure in a peaceful naturalistic setting. Images of two exotic looking flowers, delicate in form, adorn the lower portion of each lamp. The iridescent images glimmer against the dark background. The entire composition is flowing and reflects the compositions found in Chinese landscape paintings.
The Peacock Room, decorated by American painter James NcNeill Whistler in 1876-1877 for his client Frederick R. Leyland, exemplifies the Anglo-Japanese style. The room's purpose was to display Leyland's Chinese porcelain collection, but Whistler's exotic design effectively overpowers the pieces on display. The room's focal point, displayed above the mantel, is Whistler's painting "The Princess from the Land of Porcelain." The painting depicts a woman in Japanese dress standing in front of a Japanese screen. Throughout the room are iridescent paintings of peacocks. For these images, Whistler drew inspiration from birds depicted in Japanese artwork. The color chosen for the room is a rich turquoise resembling the color of peacock feathers.
The Royal Pavilion in Brighton, England was originally built in 1787 for George, Prince of Wales, but was expanded and redesigned by John Nash between 1815 and 1822. The exterior of the building is very Indian in appearance, complete with onion domes, minarets, spires, and Indian arches. In contrast, the pavilion's interiors are largely Chinoiserie but can be described as a hodgepodge of eastern influence. The large banqueting room is especially striking, rife with vibrant colors from rich fabrics and paintings of eastern-inspired figures and designs.
The Royal Botanic Gardens, also known as Kew Gardens, are located in England. Winding paths, exotic plants, and fish ponds make the gardens a peaceful and meditative place, much like a Japanese garden. In addition to various other structures, a large Chinese pagoda and the Chokushi-Mon (a large replica of the gateway of the Nishi Hongan-ji temple in Kyoto) grace the premises. Around the Chokushi-Mon is a reconstruction of a Japanese garden.
According to Harwood, "By the middle of the 19th century, Europeans and Americans begin to lose interest in the prevailing styles, such as Greek Revival and Gothic Revival. Their desire for new and novel styles opens the door for exotic influences. At the same time, designers are looking for new sources of inspiration apart from the rampant historicism. Eclecticism, a dominant force in design during the time, encourages the exploration and appreciation of the architecture and decorative arts of other cultures" (Harwood, volume 2, p. 212).