Friday, May 8, 2009
Thursday, May 7, 2009
Tuesday, May 5, 2009
Coming Full Circle
Community : Stewardship : Innovation : Authenticity
While architects warmed up to the idea of interior designers rising high in their own profession, there were many challenges to modernism that were to be faced. The main challenge, as it always was, was that people were used to designing things the way they had always done it. This marked a time where innovations would prevail. Among these were the many movements and ideas of Post Modernism. The Hi Tech Movement introduced steel scaffolding, office furniture, and factory flooring, all which were translated into a domestic living space. Many of the new ideas of post modernism practiced the use of various techniques and materials; such being broken slabs of concrete, cast concrete figures, waste wiring, bricks, and the use of rusty material.
With so many ways to incorporate design, much of society wanted a certain authenticity within their spaces. As many women pursued the interior design career paths, there needed to be more conveniences within the home. This caused a lot of architects and designers all over to focus on a major area that would show a great deal of importance to the role of post modernism. Charles Jencks, who was responsible for distributing this idea among a wide range of cultures, had a way of manipulating the styles of the past into his furniture designs. Authenticity would be brought to both America and Britain by the way of traditional designs that went beyond the limits of the modern movement.
For the Memphis Group of designers, inspiration came from mass culture. Furniture included bright patterns using plastic laminate and the overall design was meant for the mass consumer. Their style went on to have a huge influence in America, Japan, as well as Europe. This idea of designing for the masses gave off a feeling of community and a whole. Now everyone could have spaces that were appropriate with the era that was afoot. The post modern era was and still continues to be a time where new styles and ideas are generating and forcing people to think about reusing and conserving if not for ourselves then for the whole community.
As we take in all that was happening in the modern era, we have to consider the reactions to that. The history with its historic preservation and post modernism, the technology which we know is associated with the Hi Tech movement and deconstructionism, and lastly locality with its roots in regionalism and corbu revival. We can use all of these reactions to look back into the past and realize that the social agenda of the world has changed. With so many environmental problems arising these days, stewardship and the idea of being sustainable is something that many designers are considering as serious. Conservation, reusing, restoring, and repurposing are all ways in which designers and architects have turned to. If the idea is to see and be seen, then we also have to note that what was built in the past should be preserved and restored for future generations.
Reflection
Architects and designers alike have come a long way from Stonehenge to white boxes that unfold and the Vanna Venturi house. Along the way there have been innovations of new materials and new techniques that were pursued at all times. With materiality becoming more and readily available as times began to change, more and more people were becoming accustomed to the mass production of many items. Little did they know that they would lose touch with the authenticity of design. Entering the post modern era, it was now the time to look back and rethink that idea. While this process was going on, the fact that we were using so many materials at such a fast rate without thinking that it could ever affect us in a bad way began to take its toll on the environment. This is where stewardship kicks in and the bright light comes on. We have to learn to conserve and be sustainable so that we can continue to design and create for the future and for grow as opposed to our downfall and eventual demise.
While architects warmed up to the idea of interior designers rising high in their own profession, there were many challenges to modernism that were to be faced. The main challenge, as it always was, was that people were used to designing things the way they had always done it. This marked a time where innovations would prevail. Among these were the many movements and ideas of Post Modernism. The Hi Tech Movement introduced steel scaffolding, office furniture, and factory flooring, all which were translated into a domestic living space. Many of the new ideas of post modernism practiced the use of various techniques and materials; such being broken slabs of concrete, cast concrete figures, waste wiring, bricks, and the use of rusty material.
With so many ways to incorporate design, much of society wanted a certain authenticity within their spaces. As many women pursued the interior design career paths, there needed to be more conveniences within the home. This caused a lot of architects and designers all over to focus on a major area that would show a great deal of importance to the role of post modernism. Charles Jencks, who was responsible for distributing this idea among a wide range of cultures, had a way of manipulating the styles of the past into his furniture designs. Authenticity would be brought to both America and Britain by the way of traditional designs that went beyond the limits of the modern movement.
For the Memphis Group of designers, inspiration came from mass culture. Furniture included bright patterns using plastic laminate and the overall design was meant for the mass consumer. Their style went on to have a huge influence in America, Japan, as well as Europe. This idea of designing for the masses gave off a feeling of community and a whole. Now everyone could have spaces that were appropriate with the era that was afoot. The post modern era was and still continues to be a time where new styles and ideas are generating and forcing people to think about reusing and conserving if not for ourselves then for the whole community.
As we take in all that was happening in the modern era, we have to consider the reactions to that. The history with its historic preservation and post modernism, the technology which we know is associated with the Hi Tech movement and deconstructionism, and lastly locality with its roots in regionalism and corbu revival. We can use all of these reactions to look back into the past and realize that the social agenda of the world has changed. With so many environmental problems arising these days, stewardship and the idea of being sustainable is something that many designers are considering as serious. Conservation, reusing, restoring, and repurposing are all ways in which designers and architects have turned to. If the idea is to see and be seen, then we also have to note that what was built in the past should be preserved and restored for future generations.
Reflection
Architects and designers alike have come a long way from Stonehenge to white boxes that unfold and the Vanna Venturi house. Along the way there have been innovations of new materials and new techniques that were pursued at all times. With materiality becoming more and readily available as times began to change, more and more people were becoming accustomed to the mass production of many items. Little did they know that they would lose touch with the authenticity of design. Entering the post modern era, it was now the time to look back and rethink that idea. While this process was going on, the fact that we were using so many materials at such a fast rate without thinking that it could ever affect us in a bad way began to take its toll on the environment. This is where stewardship kicks in and the bright light comes on. We have to learn to conserve and be sustainable so that we can continue to design and create for the future and for grow as opposed to our downfall and eventual demise.
Monday, April 27, 2009
[Pair]ing Down
Meditation/Celebration : Light/Shadow : Transpose/Juxtapose : Literal/Abstract : Monologue/Dialogue
While the ideas of designers and architects might have been abstract and unique, the literal meaning behind their work was easy and quite clear. Historically, everything changes. We cannot be stuck in one place for too long without wanting to venture out and explore options, places, and most importantly our own curiosity. The 20th century gave designers a way to explore a place where they could now put to work everything from the past. To utilize knowledge and experience that was learned and combine it with that which has yet to be gained. Sometimes literal translations often come from abstract thoughts, which is the equation for that which we call creativity.
Reflection:
Who would have thought that interior decorating would ever cause any kind of problem to architects? I would have thought it would come as a relief now that the job of actually designing what would go into the space they built was not up to them anymore. As people came about to appreciate this new profession, the dialogue of architects changed as the monologue of decorators became more sufficient. It was clear that a juxtapose position in a professional environment was better than that of a transpose, mainly because it was all about teamwork. It was time to celebrate the fact that society has come thus far and made it possible for places not to be only for admiration but also for meditation. It was good to clear the mind of literal meanings and let it graze among abstract thoughts. This always sheds some light on the shadows that we do not often express which is sometimes where our best work is hidden.
Designing a space that is classic and modern yet revitalizing so that it feels refreshing is always something that the public looks forward to. Whether we are restoring or building onto a new site, people are always expecting something unique and tasteful. With the 20th century, modernism was becoming rapidly used throughout all sorts of design ideas. Now that the profession of interior decorator was officially made into its own, spaces could now be left to be somewhat of canvases. This was a time when designers as well as architects alike could put their ideas together and form spaces that could speak in different tones. While the dialogue of one room could be full of enthusiasm with colors and accents, another room could be having a monologue of its own that was interpreting a translation completely opposite of the structures foundation. This is sort of how architects and interior decorators worked side by side in a juxtaposed manner in order to achieve whatever was asked of them. However while this partnership seemed like a match made in heaven, it was really something that was at first thought to be a waste of time. Architects thought of this system of working together as a transpose. They didn’t want to be replaced by people who had half the knowledge and didn’t really know the whole story of architecture and design. It also did not help that those decorators happened to be woman, who at the time were not celebrated as being creatively endowed.
With modernism shifting to more geometric and simple terms, so did the connotations of society. Woman, as well as all interior decorators, began to be accepted throughout the design culture. With that began a more relaxed and meditated feeling within architecture. Spaces were not cluttered with all sorts of shapes and details; they were clean with lines and diagonals. They were focused on bringing forth a feeling of self and becoming one with the surroundings that enclosed. With this feeling, we can really understand that meditation of self was now a celebration of being one with nature and having all of what had nurtured us at our reach. With houses that included window walls, it was easy to understand this concept. The light from the sun was easily captured into the space which then caused shadows to form designs of their own. As one cannot work without the other, this too added to the geometric simplicity of replacing ornamental detailing with something more natural.
While the ideas of designers and architects might have been abstract and unique, the literal meaning behind their work was easy and quite clear. Historically, everything changes. We cannot be stuck in one place for too long without wanting to venture out and explore options, places, and most importantly our own curiosity. The 20th century gave designers a way to explore a place where they could now put to work everything from the past. To utilize knowledge and experience that was learned and combine it with that which has yet to be gained. Sometimes literal translations often come from abstract thoughts, which is the equation for that which we call creativity.
Reflection:
Who would have thought that interior decorating would ever cause any kind of problem to architects? I would have thought it would come as a relief now that the job of actually designing what would go into the space they built was not up to them anymore. As people came about to appreciate this new profession, the dialogue of architects changed as the monologue of decorators became more sufficient. It was clear that a juxtapose position in a professional environment was better than that of a transpose, mainly because it was all about teamwork. It was time to celebrate the fact that society has come thus far and made it possible for places not to be only for admiration but also for meditation. It was good to clear the mind of literal meanings and let it graze among abstract thoughts. This always sheds some light on the shadows that we do not often express which is sometimes where our best work is hidden.
Tuesday, April 21, 2009
Action Verbs Week 12
SPECUALTE : COMPOSE : ENERGIZE : SHAPE : STRETCH
Moving into a modern era, which was sort of confusing at the time, given that designers were designing across a wide range of styles, it made quite an impression on the world of architecture as we know it today. As designers began to speculate how and to what extent they wanted “their” modern styles to reach, they actually turned out to be very diverse and unique. Everyone at the time was designing their own version of what they thought was the modern style. Some designers mixed classical forms with baroque details, and some went straight to geometric and simple lines. There was no doubt that modernism in its beginning stages was anything short of an explosion of a variety of ideas.
Utilizing some classical detailing, it was now time to reinvent and introduce the true meaning of what modern architecture was about. This meant going back to geometric forms as well as to simple basics which architecture finds its foundation. The goal of some designers was to achieve fluidity as well as good shape. With post impressionism right at the beginning of the 20th century, the flattening of space and surface became a technique that many designers were trying to incorporate. Branching out and exploring the world also became popular so with that shape was now as if not more important than ever. Structures came to borrow on the human form when it comes to skin and bones. Buildings such as the Casa Mila and the Sagrada Familia by Antonio Gaudi both encompassed the feeling of nature and a certain smoothness that you could quickly associate with the human form.
There was definitely something about lines that interested many designers and also kind of became a muse. Clean lines were used to show simplicity and plainness as well as solidarity. However they also gave way for the designers to be able to create a stretch throughout their designs. For example, Victor Horta designed the Hotel Tassel with the idea of lines becoming a very important detail within the structure. It clearly shows that lines not only connect everything but they bring certain wholeness to the space. Lines were used within the floor and wall patterns so that these elements could work together in order to be functional as well as attractive to the eye. Even the surface ornamentation was made to look stretched over the façade.
Lines also did something else for the designer as well as the viewer; they energized the space so that even though it may have looked simple, a person could still feel positive energy radiating from the design. I guess I would most closely relate this energy to meditation. It could also be applied to motifs for decoration. If a space was highly decorated it could have a lever of energy that it gave off to person or a group of people. It could also have a different level of energy even if the space was monotone and plain with maybe just a couple of embellishments. It’s true when people say that sometimes accessories can make or break and outfit. That same expression could very well be used for architecture as well as interior design.
Design was clearly evolving now that it was the time for moving forward and exploring all sorts of styles. To compose one style was and say that it defined modernism was not unlikely. What composed the modern style in itself was the fact that movies, automobiles, exotic locations, and also fashion had a huge impact on design. People now were being exposed to Hollywood and the speed of the cars which in turn showed up in the way people wanted their homes and structures to look. It was all about composure and the way people wanted to be perceived.
Reflection:
This week the action verbs were not hard to describe and connect together. Thinking about architecture and design, both interior and exterior, I found it interesting that so many actions take place within design. To compose and idea is to use all previous knowledge and make it make sense so that the product that we come up with for a design is not confusing. This product should have characteristics in itself that one can point to at a moment’s notice. For instance it should have certain energy and be able to energize the audience so that it will have a place in ones memory as well as history. It should not only use lines to stretch over the surface but also throughout time. It’s okay to use a mixture of styles to create something new, I doubt that modernism has to only deal with things that look futuristic and sharp. Shape should be a very important question to consider when designing because, after all, good shape is what usually attracts people. Even though people often times speculate what good shape can be, I think that it is whatever a person decides is whole and full of life.
Moving into a modern era, which was sort of confusing at the time, given that designers were designing across a wide range of styles, it made quite an impression on the world of architecture as we know it today. As designers began to speculate how and to what extent they wanted “their” modern styles to reach, they actually turned out to be very diverse and unique. Everyone at the time was designing their own version of what they thought was the modern style. Some designers mixed classical forms with baroque details, and some went straight to geometric and simple lines. There was no doubt that modernism in its beginning stages was anything short of an explosion of a variety of ideas.
Utilizing some classical detailing, it was now time to reinvent and introduce the true meaning of what modern architecture was about. This meant going back to geometric forms as well as to simple basics which architecture finds its foundation. The goal of some designers was to achieve fluidity as well as good shape. With post impressionism right at the beginning of the 20th century, the flattening of space and surface became a technique that many designers were trying to incorporate. Branching out and exploring the world also became popular so with that shape was now as if not more important than ever. Structures came to borrow on the human form when it comes to skin and bones. Buildings such as the Casa Mila and the Sagrada Familia by Antonio Gaudi both encompassed the feeling of nature and a certain smoothness that you could quickly associate with the human form.
There was definitely something about lines that interested many designers and also kind of became a muse. Clean lines were used to show simplicity and plainness as well as solidarity. However they also gave way for the designers to be able to create a stretch throughout their designs. For example, Victor Horta designed the Hotel Tassel with the idea of lines becoming a very important detail within the structure. It clearly shows that lines not only connect everything but they bring certain wholeness to the space. Lines were used within the floor and wall patterns so that these elements could work together in order to be functional as well as attractive to the eye. Even the surface ornamentation was made to look stretched over the façade.
Lines also did something else for the designer as well as the viewer; they energized the space so that even though it may have looked simple, a person could still feel positive energy radiating from the design. I guess I would most closely relate this energy to meditation. It could also be applied to motifs for decoration. If a space was highly decorated it could have a lever of energy that it gave off to person or a group of people. It could also have a different level of energy even if the space was monotone and plain with maybe just a couple of embellishments. It’s true when people say that sometimes accessories can make or break and outfit. That same expression could very well be used for architecture as well as interior design.
Design was clearly evolving now that it was the time for moving forward and exploring all sorts of styles. To compose one style was and say that it defined modernism was not unlikely. What composed the modern style in itself was the fact that movies, automobiles, exotic locations, and also fashion had a huge impact on design. People now were being exposed to Hollywood and the speed of the cars which in turn showed up in the way people wanted their homes and structures to look. It was all about composure and the way people wanted to be perceived.
Reflection:
This week the action verbs were not hard to describe and connect together. Thinking about architecture and design, both interior and exterior, I found it interesting that so many actions take place within design. To compose and idea is to use all previous knowledge and make it make sense so that the product that we come up with for a design is not confusing. This product should have characteristics in itself that one can point to at a moment’s notice. For instance it should have certain energy and be able to energize the audience so that it will have a place in ones memory as well as history. It should not only use lines to stretch over the surface but also throughout time. It’s okay to use a mixture of styles to create something new, I doubt that modernism has to only deal with things that look futuristic and sharp. Shape should be a very important question to consider when designing because, after all, good shape is what usually attracts people. Even though people often times speculate what good shape can be, I think that it is whatever a person decides is whole and full of life.
Thursday, April 16, 2009
Unit Summary
Reflections
Looking back to the past to the time after the renaissance and baroque period, it was obvious that the design world once again thinking outside of the box. Stepping into the 19th century now was something of an eye opener. With the fallout of the British Empire, many revolutions and battles took place in order to create a separate view from that of the British. An example of some innovations that were introduced and made things simpler for society was things like transportation, an abundance of materials, and more architects and designers.
Transportation created shorter distances in a way that it took less time to reach point B from point A. it also made it possible for the circulation of newspapers, magazines, books, and artwork to be internationally available. Materials were now more accessible as well as more flexible in the way in which they were used in comparison to one another. This came as great news to up and coming designers in this new and modern era. In addition to that, more and more designers opted to from teams and groups in which to work so that design would be an effort that was contributed by many. This made it possible for the world to expand and open up architecturally.
Entering the modern world, designers started looking back to classical times as inspiration once again for their work. There was definitely unification across surfaces that related back to the monotone use of one material for the whole structure. This hinted at the fact that everyone wanted to look alike; there was also a strong feeling of wanting to belong and being in unison with those around you. Space became something to be viewed with integrity and strength. Some parts were also reverting to staying more private as well as having areas that were specifically for the public. This gave the space a good divider and respect to the owner. These spatial relationships that were compared to one another became very important along with the details that were embedded within them. With this, designers also began focusing more on horizontality for the fact that it represented unity within the environment.
These new ways of thinking caused the start of a revolution. Within this revolution, there were several revivals that marked certain rules and processes that were coming into activity once again. These rules were constantly put into rotation that moved in variations within a cycle. This caused a new way of thinking and designing and forged a reform that was once again a refreshing feeling in architecture. This whole system was something that caused society to once again think about the culture and they way architecture has shaped it as well as looking to the past to revive old traditions.
The past was now being thought of as better than the future, especially due to society’s view of social change, a need for meaning, and the study of the romantic past. However with the many innovations that have resulted, the future was not looking bad at all. There were promising changes in society as far as urban and healthy populations as well as scientific developments and new materials. With holistic styles that were emerging, it was again time to focus on comfort and the interiors.
Looking back to the past to the time after the renaissance and baroque period, it was obvious that the design world once again thinking outside of the box. Stepping into the 19th century now was something of an eye opener. With the fallout of the British Empire, many revolutions and battles took place in order to create a separate view from that of the British. An example of some innovations that were introduced and made things simpler for society was things like transportation, an abundance of materials, and more architects and designers.
Transportation created shorter distances in a way that it took less time to reach point B from point A. it also made it possible for the circulation of newspapers, magazines, books, and artwork to be internationally available. Materials were now more accessible as well as more flexible in the way in which they were used in comparison to one another. This came as great news to up and coming designers in this new and modern era. In addition to that, more and more designers opted to from teams and groups in which to work so that design would be an effort that was contributed by many. This made it possible for the world to expand and open up architecturally.
Entering the modern world, designers started looking back to classical times as inspiration once again for their work. There was definitely unification across surfaces that related back to the monotone use of one material for the whole structure. This hinted at the fact that everyone wanted to look alike; there was also a strong feeling of wanting to belong and being in unison with those around you. Space became something to be viewed with integrity and strength. Some parts were also reverting to staying more private as well as having areas that were specifically for the public. This gave the space a good divider and respect to the owner. These spatial relationships that were compared to one another became very important along with the details that were embedded within them. With this, designers also began focusing more on horizontality for the fact that it represented unity within the environment.
These new ways of thinking caused the start of a revolution. Within this revolution, there were several revivals that marked certain rules and processes that were coming into activity once again. These rules were constantly put into rotation that moved in variations within a cycle. This caused a new way of thinking and designing and forged a reform that was once again a refreshing feeling in architecture. This whole system was something that caused society to once again think about the culture and they way architecture has shaped it as well as looking to the past to revive old traditions.
The past was now being thought of as better than the future, especially due to society’s view of social change, a need for meaning, and the study of the romantic past. However with the many innovations that have resulted, the future was not looking bad at all. There were promising changes in society as far as urban and healthy populations as well as scientific developments and new materials. With holistic styles that were emerging, it was again time to focus on comfort and the interiors.
Wednesday, April 15, 2009
Road Trip
Roots: Congruence: Concept: Materiality: Compression/Release
Entering the modern era of architecture and design, there was much to be put into consideration. Designers did not really know in which direction to go since they could easily pick between many. The rules were being written, erased, re-written, and so on. As a result to all the architectural styles that were already out in the world, concepts about how to incorporate them together emerged. Chicago became a city that would be one to first show these new concepts in a new and modern way. One of the buildings that was set apart among all of the skyscrapers that came into fashion within this era was the Trinity church in New York. This building, with its gothic style, shows that it is important to tap into the past every once in a while. In an area where buildings are very sophisticated, it is nice to see a structure revert back to Gothic roots.
Richard Upjohn: Trinity Church, New York 1846-49Having the courage to be able to choose as well as mix and much with different styles gave designers and new direction within architecture. This also gave designers an opportunity to lay down roots of their own as professionals who could establish styles they would be known for. Just as Henry Upjohn did with the Trinity church, using both Gothic and Romanesque styles (usually separately) in many of his designs. This also gave the public a feeling of ease about what they could expect from these architects. It was easy to see that all the pasts could be connected together to form something totally refreshing in a time that was definitely evolving.
With the abundance of materials, there was now an even greater number of designers who wanted to use these resources for their designs. Glass was used extensively with the rise of skyscrapers. Along with that steel and concrete were also important in the structural impact of the modern era. With these materials, designers now had a ball figuring out how to use them in unique and interesting ways. For instance the home Insurance Building in Chicago was solitary in the way that its façade supported only its own weight. I guess we could say that the skeleton of the structure was separate from the skin and could hold its own without the surface.
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Combining many styles has proved to be both difficult in some cases but also beneficial in most. When buildings are constructed or when they are just starting out as a design, there are certain pressures that come with how it’s going to go up. There are things that should be symmetrical; the building should be warm and inviting, and sometimes even cold and excluding. There are details within the design that should be addressed and those that should be considered. With many artists these days, they are very picky about how they want to convey their composition to the world. This is where congruence plays a somewhat important role. For example, shapes often pop in my head when I think about congruence just because it’s all about those geometric aspects. However, for architecture I don’t think it’s about the congruence of shape as much as it is about the ideas that are put forward. The idea must go hand in hand with the design and the design should show some if not most of the congruence when compared to the actual structure. There should be a certain flow present.
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Commissions are usually stressful in their own right. This is a point where a designer has to use his craft in order to show the public what their interpretations are all about. The compression that the designer may feel from the public is most times released around the time of the final product. This is something that all producers deal with whether its dealing with architecture, music, medicine, etc…It’s important to know that one’s ideas are not always easy to put out into the world, especially when some of them may not be fully accepted by the majority. However it is crucial to understand that this compression/release idea is everlasting among many artists.
REFLECTION:
In the modern era concepts are not anything of news. It is expected of designers to have plans and thoughts about their ideas will affect the environment in which they will enter. These concepts are usually part of the root ideas that generate the construction of any design. The materials that are used to make these concepts come alive are very important to its outlook. A buildings use of detail and the sustainability of its materials will inevitably tell how its future will look. I don’t think that everything has to be completely congruent but I do believe that it should show congruence by interpreting fluidity within the design. It should show compression and release by how well the building works within the environment as well as the climate of the area. Not every building is going to be perfect; however its agreement with its environment has a lot of influence within society.
citations: photo-Howe, Jeffery. (1996) A Digital Archive of American Architecture. 4.12.09.
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