Friday, April 29, 2011
Unit Summary 3 - Explorations: New Lenses for the Design World
L. Frank Baum's Emerald City from his Oz stories is an illustrative parallel to the progression of relationship between design of material culture and those who are consumers of it.
Early attempts at design were about a few, elite and influential, designers and patrons setting the standards for how others should organize their surroundings. This is the utopian ideal of an Emerald City where only those with virtue are allowed to go - where there is a dominant figure in the Wizard who rules over the city dictating who is virtuous enough to be included in the elite. Those not in the City wish to be part of it and seek out the Wizard to learn the rules; this includes our heroine Dorothy.
Subsequent generations of architects and designers revisited and often reaffirmed the work of the elite infusing more localized interpretations to the standards. As Dorothy, the Tin Woodman, The Scarecrow and the Cowardly Lion are invited into the city, in the original stories, they are given special emerald-colored glasses. These glasses are worn by everyone in the Emerald City so that everyone sees it's beauty. Dorothy and her friends are initially taken in by the spectacle and believe that what the Wizard (the elite who writes the rules) says is beautify and right in the City, is. Fun is had by all.
Our most recent endeavors in design history must be a movement from the elite and educated to the egalitarian. Instead of something just for those with means and those with the credentials and educated by the right people, design after the 19th century has become about those who consume the ideas and material culture at all levels of scale. Dorothy starts to see that the glasses both enhance and obscure the Emerald City's beauty. Though only a stranger in a strange land Dorothy knows what she likes and claims her own voice in saying what the Emerald City should be. She has heard from the Wizard, she has gotten to see the City through the green glasses and now she is asking for a different pair, perhaps rose-colored.
The multiple definitions of modernism can be attributed not only to the education, training and aesthetics of those trained in design but also influenced by others outside the design world in art, music, science, industry and a host of other perspectives - even from those lay-persons who, perhaps, are lacking in much of their own perspective but want to be seen as part of the stylish crowd. Despite the multiple and incredibly variable motivations design has come to the masses through any manner of education.
As I reflect on this last unit I think that design is back to not what is design but WHO is designing, and then what is their motivation, inspiration, education, inclination, etc. Globally, and persistently through history, it has really been about WHO and that is more so true today as it was when the pharaohs of Egypt began building their tombs so that EVERYONE would know WHO they were. Each of us are part of a dance between our own individual wants, needs, desires and perspectives and the wants, needs, desires and perspectives of the collective group - it is the expression of this dance that we can see in the living art that is design.
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| In the design world is one wiser with or without the green glasses? (Image of original William Wallace Denslow illustration from "The Wizard of Oz" by L. Frank Baum retrieved from: http://www.indiana.edu/~liblilly/games/links.html) |
L. Frank Baum's Emerald City from his Oz stories is an illustrative parallel to the progression of relationship between design of material culture and those who are consumers of it.
Subsequent generations of architects and designers revisited and often reaffirmed the work of the elite infusing more localized interpretations to the standards. As Dorothy, the Tin Woodman, The Scarecrow and the Cowardly Lion are invited into the city, in the original stories, they are given special emerald-colored glasses. These glasses are worn by everyone in the Emerald City so that everyone sees it's beauty. Dorothy and her friends are initially taken in by the spectacle and believe that what the Wizard (the elite who writes the rules) says is beautify and right in the City, is. Fun is had by all.
Our most recent endeavors in design history must be a movement from the elite and educated to the egalitarian. Instead of something just for those with means and those with the credentials and educated by the right people, design after the 19th century has become about those who consume the ideas and material culture at all levels of scale. Dorothy starts to see that the glasses both enhance and obscure the Emerald City's beauty. Though only a stranger in a strange land Dorothy knows what she likes and claims her own voice in saying what the Emerald City should be. She has heard from the Wizard, she has gotten to see the City through the green glasses and now she is asking for a different pair, perhaps rose-colored.
The multiple definitions of modernism can be attributed not only to the education, training and aesthetics of those trained in design but also influenced by others outside the design world in art, music, science, industry and a host of other perspectives - even from those lay-persons who, perhaps, are lacking in much of their own perspective but want to be seen as part of the stylish crowd. Despite the multiple and incredibly variable motivations design has come to the masses through any manner of education.
As I reflect on this last unit I think that design is back to not what is design but WHO is designing, and then what is their motivation, inspiration, education, inclination, etc. Globally, and persistently through history, it has really been about WHO and that is more so true today as it was when the pharaohs of Egypt began building their tombs so that EVERYONE would know WHO they were. Each of us are part of a dance between our own individual wants, needs, desires and perspectives and the wants, needs, desires and perspectives of the collective group - it is the expression of this dance that we can see in the living art that is design.
Blog Post 14 - Scale of Design: Top 4
As an admirer of design I find myself unschooled but learning. I don't know that I have such a wealth of experience to consider myself informed but, as was said, we are all inspired by different things. Let me share with you an object, space, building and place that I find inspire my appreciation for design.
Object - Blown-Glass Vessels and Art
I appreciate design inspired by nature. Organic and natural forms are most appealing when accompanied by bright, rich and natural colors. I am particularly drawn to the austerity and cleanliness of form that glass can bring to design which can be found in functional glass-blown objects and the more playful aspects of color in art glass.
Space - Todaiji Temple interior, Nara, Japan
The tension between simplicity, functional form, and organic qualities of design can be found in the interior of the Todaiji Temple in historic Nara. Called the Daibutsuden or Great Buddha Hall the scale of the space reminds me of being in a forest. The use of natural materials and the somewhat simple decoration, especially the simplicity of the statuary, is comforting. I appreciate that functional items in the space are also decorative especially the strapping and nail marks on the large pillars.
Building - Nautilus House by Javier Senosiain
Now, I have never been in this private residence built by Senosiain but I am compelled to admire it's beautiful design. I am drawn particularly to the main entrance hall with it's brightly colored but simply designed glass wall and the very organic growing space which Senosiaian intended to be a home garden and atrium space. The soft curving walls are sometimes decorated with mosaics of stone and glass. It is a quirky building that reflects a reverence for nature, a love for color, and an appreciation for the functionality of built-ins that I would say describes my own design preferences.
Place - Vienna, Austria
Even after taking this course I still consider myself learning about architecture and there is no better place to learn that in Vienna. Almost all major design styles and periods are on display in this thoroughly cosmopolitan city. From the Gothic Cathedral of St. Stephen to the very modern United Nation's Vienna International Centre and everything in between.
On my first visit to Vienna I saw all these buildings, the lovely Baroque Schonbrunn Palace and the memorably unique Hudertwasserhaus. This city represents my interest in diverse and ecclectic design perspectives and my pursuit to learn more about design as a whole. I remember being so baffled by the Hundertwasser house the first time I saw it, now I have a language to identify and describe what I am seeing.
Object - Blown-Glass Vessels and Art
I appreciate design inspired by nature. Organic and natural forms are most appealing when accompanied by bright, rich and natural colors. I am particularly drawn to the austerity and cleanliness of form that glass can bring to design which can be found in functional glass-blown objects and the more playful aspects of color in art glass.
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| While some of Louis C. Tiffany's objects are much more elaborate and detailed I appreciate glass in simple but organic forms like this vase (photo from:http://www.metmuseum.org/toah/works-of-art/96.17.10). |
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| The more modern glass artwork of Dale Chihuly shares some the organic qualities with Tiffany but also includes vibrant colors that appeal to me (photo from author, Franklin Park Conservatory, Columbus OH, November 24, 2006). |
Space - Todaiji Temple interior, Nara, Japan
The tension between simplicity, functional form, and organic qualities of design can be found in the interior of the Todaiji Temple in historic Nara. Called the Daibutsuden or Great Buddha Hall the scale of the space reminds me of being in a forest. The use of natural materials and the somewhat simple decoration, especially the simplicity of the statuary, is comforting. I appreciate that functional items in the space are also decorative especially the strapping and nail marks on the large pillars.
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| Though highly decorative things have been added over the hundreds of years the santuary of the world's largest bronze Buddha is a place where I feel sheltered and at home (photo from: http://www.sacred-destinations.com/japan/nara-todaiji). |
Building - Nautilus House by Javier Senosiain
Now, I have never been in this private residence built by Senosiain but I am compelled to admire it's beautiful design. I am drawn particularly to the main entrance hall with it's brightly colored but simply designed glass wall and the very organic growing space which Senosiaian intended to be a home garden and atrium space. The soft curving walls are sometimes decorated with mosaics of stone and glass. It is a quirky building that reflects a reverence for nature, a love for color, and an appreciation for the functionality of built-ins that I would say describes my own design preferences.
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| From the exterior you can see a very literal interpretation of the nautilus form (photo from: http://home-and-gardening.info/2009/11/15/619/). |
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| Inside the large entrance hall you can see the simplicity and beauty of this very modern but nonetheless organic home (photo from: http://home-and-gardening.info/2009/11/15/619/). |
Place - Vienna, Austria
Even after taking this course I still consider myself learning about architecture and there is no better place to learn that in Vienna. Almost all major design styles and periods are on display in this thoroughly cosmopolitan city. From the Gothic Cathedral of St. Stephen to the very modern United Nation's Vienna International Centre and everything in between.
On my first visit to Vienna I saw all these buildings, the lovely Baroque Schonbrunn Palace and the memorably unique Hudertwasserhaus. This city represents my interest in diverse and ecclectic design perspectives and my pursuit to learn more about design as a whole. I remember being so baffled by the Hundertwasser house the first time I saw it, now I have a language to identify and describe what I am seeing.
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| Seeing the many sides of design in Vienna has helped me learn more about my own tastes and appreciation for architecture. |
Tuesday, April 19, 2011
Monday, April 18, 2011
Assignment: Two Views of Design
Education plays two roles in interior design. The first is to educate and train the professional designer the other is to enlighten the customer and the greater public. If architecture and interior architecture in particular is art that is unavoidable then it is important that both the artists and the consumers of that art learn to appreciate and value the results of good design – this takes education. Once we all learn to appreciate good design we can become better consumers of it.
The role of credentials for an educated design professional is that they are tools for creating legitimacy in their work. Designers are professional because they abide by rules and guidelines and uphold the training they receive in order to earn those credentials. It is what separates a lay-person from one who has dedicated time, experience and learning to field. I believe that one takes matters into their own hands when working with those who lack the credentials to do a job well. We recognize other professions by the credentials and training that make them so. This community of professionals refine what may be inborn talent in a way that validates the work of all professionals in their field through credentials.
In consideration of the design professional versus the “design star” I believe that both have a place. While the design professional plans and executes according to clearly defined guidelines a design star inspires others to learn more and appreciate what good design could be. An educated person becomes a better consumer. For many people who lack access and privilege to hire a design professional they can learn something from the media-produced design star. Like the products of design there is a wide spectrum of design practitioners.
This was as much true in the 1950’s when Ray and Charles Eames introduced their chairs to the world on national television. Media has a role to play in educating both the design professional (and future design professionals) as well as the lay-person. It takes all kinds to make the world go round – even the design world.
Monday, April 11, 2011
Blog Post 11 - A Modern Silver Wonder
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| What was cutting edge and modern in the 1930's remains relevant because a combination of style and substance (retrieved from: http://www.airstream.com/products/2011-fleet/travel-trailer/sport/sport-intro.html). |
With the dawn of the Automobile Age more and more Americans were taking to the road. The inventor and designer of the Airstream Travel Trailer, Wally Byam was not only responding to a personal need to get out and travel he was also responding to a nation of wanderers. His early designs for the travel trailer reflected a very "modern" desire to move using modern materials (http://www.airstream.com/company/history/index.html). In keeping with Mr. Byam's motto, "don't make changes, only improvements" the 2011 Sport Travel Trailer uses lightweight and recyclable materials to appeal to the modern eco-friendly consumer (http://www.airstream.com/silver-green.html).
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| Interior of 2011 model of Sport Travel Trailer with modern amenities (http://www.airstream.com/products/2011-fleet/travel-trailer/sport/sport-gallery.html) |
The interior is modern and efficient with classic space-saving options so that the 22 foot-long trailer includes full bath, kitchen and queen-size bed (http://www.airstream.com/products/2011-fleet/travel-trailer/sport/sport-floorplans.html). Despite a clear nod to its inspiration in Art Deco design, specifically the Chrysler Building in New York City, the newest model is modern because it addresses the needs of todays consumers.
As tastes change good design must respond but to be modern a designer must honor what is good and has worked but also anticipate the future needs of their consumer. In the design it is about pleasing the consumer as much as it is about creating something innovative. So, like Wally said decades ago it isn't worth changing old design for change sake but because there is a need for improvement. Style and surface may get you a short way but the Airstream travel trailer has proved that modern design must also have substance and purpose; it must be an improvement.
Sunday, April 10, 2011
Blog Post 12 - Fiesta of Color for All
When I think of "good design for all" I immediately turn to my kitchen cupboard. I am a novice collector - and active user - of Fiestaware tableware produced by the Homer Laughlin China Company of Newell, West Virginia.
Designed by Frederick Hurten Rhead the dishes became an immediate hit when first released in 1937. With classic Art Deco styling, offered in wide variety of bright and period- and taste-specific colors, the dishes bring much delight (http://www.fiestafactorydirect.com/t-aboutfiesta.aspx).
Made of durable fired earthenware they were dishwasher safe before dishwashing machines became common. As a testament to their firm and commodious characteristics I own fully intact pieces introduced in the first decade of production and use them daily for my breakfast cereal!
It is Homer Laughlin's production method that makes these daily objects so accessible for a wide population of users. Combining the traditions of handmade pottery with, what was then, modern factory production practices Fiestaware has become ubiquitious with a wholly American table setting.
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| The iconic Art Deco design of Fiestaware has been added to the Smithsonian as part of their Legacies of American History exhibit (retrieved from: http://www.smithsonianlegacies.si.edu/objectdescription.cfm?ID=223) |
Designed by Frederick Hurten Rhead the dishes became an immediate hit when first released in 1937. With classic Art Deco styling, offered in wide variety of bright and period- and taste-specific colors, the dishes bring much delight (http://www.fiestafactorydirect.com/t-aboutfiesta.aspx).
Made of durable fired earthenware they were dishwasher safe before dishwashing machines became common. As a testament to their firm and commodious characteristics I own fully intact pieces introduced in the first decade of production and use them daily for my breakfast cereal!
It is Homer Laughlin's production method that makes these daily objects so accessible for a wide population of users. Combining the traditions of handmade pottery with, what was then, modern factory production practices Fiestaware has become ubiquitious with a wholly American table setting.
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