blog assignment 7: selected posts

[great!] post from Annabel Hawkins:

Who Are You As A Designer?

My approach to design is the mixed bag of lollies you buy at the dairy. It is quaint and nostalgic, a vintage revival of old favourites and new surprises. It is a kaleidoscope that represents a broad illustrative exploration of colour and content. Growing up, my house has always been filled with old religious relics and historical art references. These are the old fashioned raspberry drops that leave a mark on your tongue when you eat them. You can see the influences of such art interwoven in most of my designs. An Art Nouveau femininity plays an integral role to my approach. These are the retro lollies wrapped in delicate cellophane which melt in the sun and make the whole bag smell of sweet. I have a fascination with the patterns of old fabric, and its ability to catalyse the dynamics and textures of a piece of design. These are the vibrant sherbet fizz’s that explode in your mouth. As a European New Zealander, I don’t believe my culture has a substantial influence to the way in which I develop my ideas. Because of this, I like to add influences of others, particularly Indian and Mexican. These characteristics make up the hundreds and thousands of spirited hues and colours, shapes and motifs.  I am a maverick. So are my designs. My history and environment inform my work.

[rich in details] post from Max O'Brien:

I am Designer

When it comes to design, I think as openly as I can, from as many different angles as I can, in the simplest way that I can. That’s the way I do things, and it’s the way my life has lead me.

As far back as I can remember, I have been instilled with the principles of many different theories in design. My father, a software engineer, had always been an advocate for great design in both a material and virtual sense. The walls of the many houses we moved to and from were lined with an array of books ranging from the specifics of code to the ideals of James Dyson.

For the first 6 years of my life, having lived in London and being a mere jump away form the rest of Europe, I was exposed to historical architecture from the likes of Antonio Gaudi to the giant sculptures of Henry Moore. In a continent rich with history and diversity it’s hard not to admire and be influenced by such things, especially when your family members are so actively engaged in design practices and have an eye for important pieces of history and ways of thinking.

We were never a religious family and never derived from any extreme religious backgrounds or beliefs but our morals were like that of what any religion strives for. Unlike religion however, acceptance of others who are different to who we are was commonplace.

“You never really know a man until you stand in his shoes and walk around in them.”

I remember this quote from Harper Lee’s To Kill a Mockingbird because of the fact that it adequately describes my morals and beliefs, not only when it comes to issues of judgement and prejudice, but because it serves as a way of thinking when approaching a variety of situations - including design

It could be said my morals and way of life is influenced by what influences great design. Design isn’t judgemental and neither am I, and like design I’m open and honest. So even when I may not appreciate a piece of design because it’s over-the-top or extravagant like Gaudi’s work, I can still accept its importance in the architecture/design world and history.

My household was littered with designs of likes of Phillipe Stark, Le Creucet, Dyson, Apple and many others and was taught why they were so important in a design sense. Consequently, I found it very hard to adjust when I left to stay at friends houses and found their appliances to be so radically different (and in most cases useless).

If there were any designer I could think of whom I share the most principles of it would have to be Dieter Rams. His ideas, I believe, are the foundation of what makes many great pieces of design what they are and are what any piece of design should be judged by. Designers are artists in problem solving and should be judged as such, it’s the way I’ve been taught and it’s the way I believe.

As a designer, I had been brought up in such a way to think about everything, question everything. “Why did the designer choose to do this? Why not that?” are questions I constantly ask myself and in the end it usually ends up with me endeavouring to come up with a better solution built upon the principles and experiences I have been brought up with.

blog assignment 6: selected posts

from Kerwin O'Malley:

Bauhaus

Considering this weeks theme on technology and the Bauhaus method, There are similarities in the methods and philosophies first introduced at the Bauhaus. Walter Gropius (1883-1969), was the first director of the Bauhaus. The Vorkurs or preliminary work was covered in the first semester and its job was to stimulate the students interest in materials, drawing techniques and form so that there innate creative ability might be best directed towards a specific workshop. This is almost identical to first year design, with DSDN 101 being focused on drawing techniques and different perspectives. DSDN 111 focused on form, especially the fluidity project. And lastly DSDN 141, which focuses on experimenting with materials. By doing each of these courses, we are encouraged to open our minds to view the world in different perspectives, which is necessary when being a designer. Although the school does not have ‘workshops’ anymore, they are represented now with the different disciplines in the BDi; media, culture and context and industrial. The workshops had a technical master and also a form master. This is similar to us having tutors and course coordinator’s. The BDI at Victoria university has many similarities to the Bauhaus as they both encourage students to look beyond conformity and normal views and to look at things from a different perspective and use there innate creativeness.

from Zach Challies:

Technology + Progress

The Bauhaus movement introduced by German designers, craftsmen and architects in the early 20^th century, although heavily criticised at the time, was an educational movement many years ahead of its time. The Bauhaus was school of contemporary design that focused on an amalgamation of the aforementioned principles: design craft and architecture. The school was less concerned with focussing on creating a set of artistic parameters for its students and more encouraging of free expression and an education of a wide bearing of subjects. This mode of education was in order to give students an understanding of the design as an entity, giving them perspectives on design that would be less apparent in a more focused set of educational practices. The curriculum also encouraged the ideas of collaborative design between apprentices, journeymen and masters as the occupants of the school were known as based on their degree of mastery.

These educational methods are reasonably evident in the first year design course. The first semester courses of DSDN 101 and 111 encouraged examinations of form through craft and drawing and incorporated a wide range of briefs that involved varying subjects and use of equipment and media.

These two courses are reminiscent of the Vorkurs, preliminary courses that introduced students to a variety of crafts, methods and subjects before they went on to choose their specializations and subjects of further study.

Philosophically the two courses are similar in that they encourage the examination of multiple specializations in order to give students ideas and principles of design based on an understanding of multiple disciplines; a “holist” education with which they can create design that has universal aesthetic and application.

Blog assignment 5: selected texts

from Lee Woodman [note the excellent use of referencing to support his point of view]

The role of the ‘Authentic’ in design today

In his thesis, ‘The work of art in the age of mechanical reproduction’, Walter Benjamin argues that “from a photographic negative one can make any number of prints; to ask for ‘the authentic’ makes no sense”. This is true for the art form of photography as it is created in this context; with the ability to reproduce as many images as desired. The idea of the ‘authentic’ would seem to be the wrong question to ask in this genre, and indeed the widening genre of digital art.  However, Benjamin’s prediction about the loss of ‘aura’ for art that has been mechanically reproduced has proved to be invalid. But rather there is a heightened sense of the ‘authentic’ in art generally.

This view is supported by the observation of millions of visitors to Da Vinci’s Mona Lisa in the Louvre each year.(1) Even though this is one of the most reproduced images in the world the original still has what Benjamin describes as an ‘aura’. Also as pointed out in the Artforum by Sidney Tillm, “we still bid wildly at auctions and employ armies of scholars to find the ‘original’, the ‘authentic’ masterpiece.”(2) This shows that even in in today’s world  of digital design and manufacture the authentic or original is perhaps more important than ever.

In contrast, it has to be considered that Benjamin wrote this piece in 1936 and could not have foreseen the advancements in digital reproduction and use as we see it today. Therefore the notion of the ‘authentic’ has a limited importance in the world of digital design and manufacture. An example of where the authentic does not apply would be genre of film, what is the original? the uncut initial take? or the finished master? In this instance the master is more like the die or mold for mass production of a product. Or even more bizarre would be to request an original of a computer game or interactive software. In this context the ‘authentic’ has no relevance or importance.

(1) http://news.bbc.co.uk/2/hi/entertainment/4413303.stm Accessed 15th August 2010-08-15

(2) As cited in Douglas Davis, ‚The work of art in the age of digital reproduction (an evolving thesis: 1991-1995)‘,  Leonardo, vol. 28, no.5, 1995, p.384.

From Jodi Meadows:

Modern Vision

Is there a role for the ‘authentic’ in an age of digital design and manufacture? A question posed by W.Benjamin when arguing that the invention of photography has changed the aura of art, and now deems the ‘authentic’ original such as the negative of a photograph a meaningless part of the artwork to have. He also added that traditional art’s authenticity and aura came from the work of a hand, photography changed art from the work of a hand to the work of the eye which bought an essence of truth to art. Photography/ film revealed moments of truth, people now had the ability to capture the truth, this opened up a whole other world of knowledge that had not been accessible until the invention of the camera. The evolution of man moving closer to the machine set a movement away from the values of cultural rituals within traditional art and replaces it with more political values.

I partially agree with the statement made by Benjamin, in the age of digital design and manufacture people are interested in the product (the “photograph”) of the design rather then the prototype (the “negative”) that shows the components of the finished product.  As stated by Benjamin there is a cult revolved around beauty but instead of the beauty that a brush on canvas creates, they are looking more for the ‘untouched’ look, where the hand has had no part the manufacture of the product. However in my opinion people have not stopped searching for the authenticity in products, for example people after purchasing a mass produced product will search endlessly for accessories to personalize and authenticate their product, for them this gives their product an aura of it’s own.

From Ella Kroch:

Modern Vision

In ‘The work of art in the age of Mechanical Production’, Walter Benjamin voices his opinions on individuality and the affects of mechanical reproduction on art. Up until the invention of the camera, value of art was linked to it’s uniqueness and the ‘magic’ surrounding the piece, but nowadays what gives art it’s value does not seem to be so clear. The destruction, or at least attenuation of this ‘aura’ due to the rise in mechanical production, signals a transition from appreciating art for its unobtainable nature and almost divine, traditional properties often linked to religion, to the new and evolving materialistic desire of the contemporary masses to bring things closer, obtain and hold at a very close range.

Benjamin associates photography with this decline of an ‘aura’ or authenticity of art. Photography has no original. it’s reproducible nature, due to the negative, means that an image is easily accessible, there is no difference between the first developed photograph and the latter developed. Photography meant that for the first time, the middle and lower classes could appreciate and own art works and feel a sense of social standing.

Today, value does not seem to be as closely related to ‘aura’ as it used to be. However, I believe there is still demand for the authentic. The unique existence of an object has been substituted for a plurality of copies, but the role of the authentic still exists. Aura can be compared to nature, for example the dappled shadow of a tree perceived in a unique moment. A photograph can be taken of this moment, but without the feeling of presence, without actually being there, the aura does not exist in the ‘soulless’ image. People do realise this, if this realisation and desire for the original was not present in today’s society, original pieces of art would not be sold. Possession of rare or original objects will always be associated with success and wealth. Interaction with these originals brings about a strong sense of excitement, a feeling which is not experienced in such a way through the viewing of a copy.

World Sweet World

To bring the contemporary craft discussion back to Wellington's doorstep, here is a link to a local blog (formerly a locally produced magazine) for DIYers and MIYers. http://worldsweetworld.com/

Blog assignment 4: selected posts

from Duncan Matheson:

This illusionistic street art by Edgar Mueller is an amazing example of contemporary craft. The level of skill involved in producing such an outcome is obviously extremely high. Although Edgar has become highly recognized and world renowned for his work, it has taken a great number of hours practicing and refining his skill to get these amazing results. Originally Edgar’s work was small scale and mainly for self indulgence. The art cannot be ‘bought’, although some of his works have been used as a means of income they are still non permanent and not something that would be sold to a single person. For this reason the art that is produced becomes very inviting due to the interaction between craftsman (Edgar) and the people that enjoy his work; there is very little separation between the two.

from Annabel Hawkins:

Exhibited in 2008, the Hyperbolic Crochet Coral Reef is an ambitious crafting venture by students at the Institute For Figuring in Los Angeles. The concept arose when it was realised that concerns of global warming and pollution were serious threats to the Great Barrier Reef off Australia. Completely naturally resourced, the crochet reef made entirely from wool and discarded plastic water bottles, took four years to make and ended up consisting of almost one thousand separately knitted pieces. This painstakingly delicate craft reflects an interesting change in the design and art world as global environmental, social and political issues are now leading the forefront of design conceptually, and hence we are beginning to see the return of craft in all aesthetic spheres of the industry. Described by the IFF as a “worldwide movement,” this reef illustrates the mobility and evolution of this handcrafted culture, which could reflect a pivotal turning point in the way we create.

from Kelsey Thomson:

This is a Steampunk styled coffee machine created by Benjamin Brown in 2007 as his NYU thesis project.  http://www.therealbenbrown.com/newsbrews/

This contemporary piece of craft represents a contemporary expression of craft, as it is in the Steampunk genre that has only been around for the last 20 years. Based on the Victorian age of Steam technology. Steampunk is subgenre of sci-fi/fantasy type design that uses old craft methods to create futuristic designs. Steampunk is all about the individual crafting an object out of materials they can source around them, usually brass, steel etc. It is linked closely to airships, submarines and other machinery that is associated with sci-fi stories. Individual, hand-made objects is a huge part of contemporary expressions of craft. This coffee machine has an interesting link between a modern day want (need in some cases) and modern day concept of a machine that produces coffee, and this hand crafted machine made from basic materials, in an old style. It is nothing like a mass produced factory machine. Each part of the steampunk coffee machine is hand crafter by one person, as opposed to the generic machine cookie cut coffee makers every pseudo-successful middle class citizen has on their sunbaked terracotta kitchen counter.  This coffee machine also has extraordinary other features:

“In the quest to produce dynamic data displays which present the absurdity of our situation on earth in a more appropriate manner the possibility of using taste as a means of data transmission presents itself. Due to the sensitive nature of taste receptors, it is theoretically possible to encode information into a form in which it could transmit information via taste. Because coffee is such an important part not only of the daily routine of millions of Westerners but also of the economies and societies of the third world countries in which it is grown, it provides an excellent medium for exploration of taste informatics and specifically beverage informatics.News Brews connects to internet news feeds and parses them to determine the relative frequency at which different coffee growing regions are mentioned. It then brews a cup of coffee from freshly ground whole beans which contains relative proportions of beans grown in the regions in that day’s news”. This is an excellent example of futuristic ideas mixed with careful hand crafted older methods.

Blog Assignment 3: selected posts

from Ella Kroch:

Beauty and Utility

Jones argues in The Grammar of Ornament (1856) that the primary function of design should be the purpose and that decoration should be of secondary importance. This idea came about in the late 19^thCentury after the time of the Industrial Revolution which brought about a massive social, political and economic shift to society. With the machine age came a massive surge in production with no rules to adhere to and the birth of the middle class, a class very keen to mimic the wealthy.

Jones’ idea reflects the attitudes of the reformists, a group of upper class men who wanted to re-define the separation between themselves and the lower classes and bring a sense of regularity to the design world. These influential and powerful men devised a set of design principles and believed that unnecessary embellishment of design should be avoided, leaving design to be functional and simple. The image pictured above features a lamp which has been made to resemble a tree. It is an example of decoration being constructed and is an object which would have been opposed by Jones and other reformists. Jones was of the opinion that representation should not be entirely realistic but rather of an abstract nature in order to keep the design ‘pure’. This new style was different to popular culture and was an acquired taste intended to re affirm the difference from the upper class to that of the general public.

To a certain degree I agree with Jones’ idea, function should most definitely be of paramount importance. There is no point having a beautifully decorated object which does not serve it’s purpose. However, the principles of design which these men developed did not not seem entirely clear. Pugin, a designer who played a crucial part in the design reform, did not adhere to these set of very restricting ground rules himself. The idea that decoration should not be constructed is valuable in ensuring the function of an object is not forgotten due to unnecessary decoration, however I find these construction laws to be somewhat creatively suppressive and misleading.

From Max O'Brien: 

The Beauty and Utility in Design

In Owen Jones’ 1865 publication of The Grammar of Ornament, he argues that design decisions should be made with the intention of adhering to function, with decoration acting as merely an aesthetic compliment to the construction of an object. In contrast, he states that design should not focus on a purely ornamental role where the sacrifice of an object’s intended purpose is commonplace.

There are some aspects of Jones’ argument that I can agree to, but to leave ornamentation out as an outlier rather than an influential role in the design process can lead to a piece of design that may function, but forgets the humanity that needs to be achieved with design in order for people to connect with and enjoy it. While rules are a good starting point, their intention is for them to be broken as so many influential designers of the past and present continue to engage in. But at the same time, a design should never be over indulged in such emotive constrictions or else as A.W.N. Pugin would say, the design would become selfish.

Only through this act of experimentation can great design be achieved as balance is a purely subjected view that can only be measured by the combination of emotion and logic. Harmony must exist in both the beauty and utility of a design, where the decoration and function of a design work together to succeed. Examples of these principles can be exhibited in the work of David Trubridge (pictured above), where beauty can be found in the intricate construction, simple function and flowing aesthetic of his designs.

from Zak Challies:

In The Grammar of Ornament (1856) Owen Jones argued that,“Construction should be decorated. Decoration should never be purposely constructed.”

I disagree with Jones’ statement. While the statement may have been relative in an historical context, in contemporary design, art and architecture construction has evolved to become an artistically driven endeavour. The very construction of the building is  the decoration and therefore is purposely constructed. And on the other hand a building that has been decorated post-construction becomes “tacky” in contemporary society, as if the pieces of ornament have just been thrown on at the last minute.

Take the Wellington Supreme Court for example. A piece of classically styled architecture has been ruined (in the eyes of much of the public) by the addition of the wrought iron patterned ornament that has seemingly just been tacked on to the outside. As an opposing example I offer the Guggenheim Museum located in Manhattan. As an exemplary piece of modern architecture, this building was constructed as a piece of art, a“decoration constructed” as it were.

Jones’ statement does not consider the idea of purpose. Often post-construction decoration can hinder the purpose of a design, whereas constructed decoration, if constructed with a purpose in mind, can still serve its purpose adequately. On one point I do agree with Jones; the idea that decoration should not be constructed without purpose or function. These should be foremost in the mind of a designer. However this does not mean that the purpose and function of a construction cannot be the decoration. In this respect I believe Contemporary design is effective as there is an understanding that form and function can be beauty too.

Blog Assignment 1: selected posts

[The posts below were selected as excellent examples of responses to blog assignment 1]

from Patrick Crowe:

Giro aerohead bicycle helmet.

 

Before the aerohead, bicycle helmets where heavy, hot and lacked aerodynamics. giro made a definitive move away from this, their idea of a lightweight, cool-to-wear, aerodynamic helmet was the first step towards a place where safety might come second to performance, the place we are now.

from Alice McGall:
The collapsible umbrella

The collapsible umbrella is one of the oldest artefacts in man’s history, and can be dated back many thousands of years. This design is important because it incorporates functionality, compactness, and aesthetic qualities.

The exact origins of the creation of the collapsible umbrella are uncertain, but an umbrella of this nature was found in a Korean tomb dating back to 25BC.

The design of umbrellas has not changed much since 1785, but the concept of making large objects able to be manipulated into more compact sizes between uses is evident in many of today’s everyday things.