week 11: The Designed Interior

Sparke, P. (2008). 'The designed interior.' Chapter 10 in her, The modern interior. London: Reaction Books. 185-203.

This Chapter titled 'The Designed Interior' by Penny Sparke from the book 'The modern interior' takes a look at the evolution of designed interior and the rise of the interior designer. From the time of the 1940's domestic modern interiors begun to shift and take on the some of the characteristics of their commercial counterparts. This bluring of the boundaries between private and public spaces was a result of the post war modernists such as Frank Lloyd wright and Alvar Aalto who were not only designing homes but were also designing the interiors in those homes this wholistic approach to architecture was termed from the German word 'Gesamtkunstwerk' meaning a total work of art. However this public private space convergence was also the impact of designer mass produced modern furniture. Much of this designer furniture was designed by the generation of architect- designers such as Eero Saarinen Ray and Charles Eames, Harry Bertoia and Hans and Florence Knoll, their idea was to create furniture that could be used within both private and public contexts. This chapter was immensely informing as it not only provided an American perspective to designed interiors but it also provided an international one, looking at Italy and Englands post war interior evolution. Sparks also details the evolution in modern interiors right up to current day minimalism and the role that interior magazines and fashion have played on the way we decorate our homes. This was not a light read by Penny Sparke as it at times uses language that is quite heavy and requires a second read to gain comprehension, however it is an insightful read and well worth the effort.

week 10: The Iron Skeleton Frame

Larson, G.R. (1987). 'The iron skeleton frame: Interactions between Europe and the United States', in Zukowsky, J. (ed). Chicago architecture 1872-1922: Birth of a metropolis. Munich: Prestel-Verlag. pp38-55.

This article by Larson details the history of iron framed buildings and looks at the evolution of these buildings during the mid 19th century to the late 19th century. Larson begins with a theme that I have seen in some of other readings, and this theme is related to Ruskin’s impact on industrialisation in England.   Although a great country of this period and the place where the industrial revolution started, England dropped out of the skyscraper race due to its Parliament passing a bill to toughen the building code in relation to the use of iron in buildings. It was because of this that the French and the Americans went on to become the great innovators in iron frame building construction. Larson details the impact events such as Napoleon's rebuilding of Paris  and the 1845 New York fires, the 1871 Chicago fires  and the rebuilding that followed these events had in the development of building construction. 

Bogardus and Badger were early exponents of iron skeleton structures filled with brick or stone in the spandrels, but it was William Jenney who improved this system with the National Home Insurance building in Chicago. Jenney's method was to fill the iron columns with concrete as well as encasing them with brick or stone. The girders were then supported by brick ledgers in the columns and an exterior masonry facade ran the full height of the building. However it was Leroy Buffington who perfected this system with a method he learnt from the French, specifically the iron structures of Gustav Eiffel using riveted wrought iron plates and lattice cross bracing.

This was a really engaging article by Larson, however it was a little heavy with descriptions of construction techniques and I understand that not everyone knows their mullions from their lintels. One observation I have from this piece is that I don't think Larson pays enough attention to the significance of the statue of liberty and Eiffels iron structure that lay under the copper exterior. My understanding is that this is the first ever example of curtain wall construction.

The rise of the iron skeleton is not unlike many great designs, in that there are usually many contributors to the perfection of a design.  

Week 7: A National Spirit

Bogel, M. (1998). A National Spirit: Designing with Australian Flora and Fauna. In Design In Australia, 1880-1970 (pp 44-53). Craftsman House.

This book chapter by Bogel presents an evolution of Australian design and the people who were prominent in promoting the use of Australian flora and fauna in Australian art and design. Two of the early exponents of Australian flora and fauna were Lucien Henry and Richard Baker. Lucien Henry was a Frenchman who taught at the Sydney Technical college and wrote extensively about the importance of a national art for Australia using our unique surroundings. While Richard Baker was a curator at the Sydney Technology Museum  he formed a large Australian botany collection, and published several books on Australian plants and timbers. Both these men lay the early foundation for an  identifiable national art to emerge. Also during this time artists such as Tom Roberts, Charles Conder, Arthur Streeton and Samuel Rowe were being influenced by international style such as the Arts and Crafts movements and the beginnings of the Art Nouveau movements. This had an influential effect on internal Australian style with unique Australian Art Nouveau appearing in many places from advertising posters to biscuit tins. Eirene Mort also had a significant role in making icons of Australian native plants with her extensive graphic work and range of publications.  Bogel also makes special mention of May Gibbs and her unique art and illustrations that popularised Australian flora and fauna through her still published children's books 'Snuggle Pot and Cuddle Pie'. As well as Gibbs, Bogel also mentions the important role the Australian Native association played in lobbing for indigenous flora, including the emblematic use of the wattle. Bogel also mentions two technical college teachers, Harvey and Linton.  Both of these men were influential in teaching young artists and worked in and advocated for the use of Australian timbers in furniture.   As a cabinetmaker I find this interesting as we host some of the finest and colourful timbers of the world in this country.  As for making furniture, many of our timbers are extremely hard and different techniques from traditional European had to be devised in working with them.  I think it is our timbers that make our furniture uniquely Australian, rather than a specific style. 
Bogel presents a great article about Australian identity, art, design and those who are influential in the evolution of our own unique style.

Week 6: The End And The Beginning, European Art Nouveau

MacMillan, A. (1993). The End and The Beginning. In Europe Beginning and End (pp.14-21). Japan Art and Culture Association.

This Chapter on Art Nouveau looks into the historical influences and the philosophical under-pinning's of  Art Nouveau. MacMillan looks closely at Ruskin, his writings on nature and design and his own idea's on the moral disdain of industrialisation. Ruskin's ideas were the basis behind the work of William Morris and the Arts and Crafts movement that evolved in England around the same period that Art Nouveau swept continental Europe. And his ideas also played a key role in the philosophy of Art Nouveau. MacMillan begins the chapter with a great description of the style of Art Nouveau

          "spatially fluent it drew on nature for its shapes favouring the stem over the bud, the bizarre over the common place, rich surfaces over plain: there is an echo of a Celtic past." (pg. 14)

MacMillan provides great descriptive language to set out exactly what constitutes Art Nouveau. The two movements Art Nouveau and the arts and crafts movement had a philosophical difference between the historic Classicism that lay before. And this difference was that now items from every day life were designed and crafted with regard to materials and methods used. Therefore making everyday objects works of art. Both the Arts and Crafts and Art Nouveau had influences from Japan and Celtic Europe however Art Nouveau embraced  industrialisation and the Arts and Crafts were opposed to the Industrial revolution and MacMillan goes into a lot of detail discussing these differences. MacMillan in his article discusses the artists that influenced Art Nouveau like Galle, Hoffman, Wagner and Horta. However he does devote quite a bit of space in the paper talking about the Scottish architect/designer Charles R Mackintosh, and I wonder if this piece had of been written by someone other than a Professor at Glasgow University whether the same treatment would have been given to him. I have also noted that MacMillan's piece failed to mention the role Alphonse Mucha played in the influence of this new style.  Mucha in 1895 produced a poster in Paris as an advertisement for the play Gismonda featuring Sarah Bernhardt. According to Dr Bell in her week 6 lecture and many other sources I have read this poster marked a key point in the popularisation of this new style.
This was a good article on the history of Art Nouveau and was a great artcle to start with for any student of design.

Week 5

Bell, E.K. (1998). The Japan Inspiration: Influence in crafts and design. The Australian Antique Collector, December 1997-June 1998, pp. 107-111. Retrieved March 4, 2011 from The University of Canberra E-Reserve Database.

The Week 5 reading 'The Japan Inspiration by E. K Bell looks at the profound effects the opening of Japan in c1854 and the subsequent trade with the West played on international design.  From the mid 19th century, as Japanese artifacts began to appear in international exhibitions around the world, international designers and artists alike were inspired by the new styles, forms and visual iconography that appeared in Japanese arts and crafts.  Artists such as Claude Monet, Vincent Van Gogh and James McNeil Whistler reinterpreted their work with the new inspiration that came from Japanese prints.  Japanese influence also then led to new art movements such as Impressionism, Post-Impressionism, aesthetic movement and Art Nouveau.
Although it was not only the international exhibitions but also proponents such as Christopher Dresser and Edward Godwin that led to the popularity of Japanese artifacts in Britain for Godwin.  Japanese designs found their way into many of his designs in furniture, interiors and buildings.  While Dresser was invited by Emperor Meiji to advise the Government on art and manufacturing on his return to Britain dresser published the book 'Japan: Its Architecture, Art and Are Manufacturers'.  The book is still in publication today. Interestingly, the Japanese Government also sent representatives to art exhibitions, to learn from the west and to understand the tastes of western markets.
Bell (1998, pg 109) continues in her article to discuss the Japanese influence on the Art Nouveau movement, particularly the "use of asymmetrical organic form, the particular organisation of pictorial space, the use of calligraphic line and the incorporation of plant and insect iconography." (pg 109). And it is these stylistic newaunces that make Art Nouveau what it is.
This is an imporant article for any design student to read as it conveys the influence that Japan and its culture has played on international design. From Architects such as Frank Lloyd Wright to ceramic artists such as Emile Galle Japan has played a huge influence on international design and art movements.   

World History of Design

The article for Week 1 entitled "A World History of Design and the History of the World" by Victor Margolin provides a look into an institutional enterprise called "world history" and the issues surrounding the question of what constitutes world history and from whose point of view do we all agree on. The author introduces us to the term 'social history' and the background to the term.  Margolin then goes on to address the history of history and the way in which various types of histories have been recorded, and
looks at previous publications on world history and how western-centric these have all been.  An example is how John Hesketts 1980 book 'Industrial Design' focuses on design for the mass production and is limited only to those places where it was part of the industrial economic system.
The article then focuses specifically on design history and Margolin uses this western central interpretation on design history to argue the place of the designer in the economic development of western nations and how the designers role became even more important as a result of the Industrial Revolution. 

This article is a look at the many issues involved in recording a history of design and the many facets such as social, racial and national that need to be observed when compiling such a record, the author concludes that the compilation of such list should be organised in terms of economic, social and national factors rather than style, as the thread of style is weaved as a result of these factors.

This article was a really interesting look into the concept of history and how this record can be tainted by many issues.  However I feel the issue of trade was not sufficiently addressed as I know that this plays an integral role in economics and through trade, markets have been exposed to new products, sometimes cheaper, sometimes better that the products that the market had formally and this has provided healthy competition for designers to lift their game and produce a better product.

Margolin although did briefly mention the Great Exhibition and the role this played in exposing new products and ideas to new markets and designers he underplayed I believe the role trade has played in this.  Aside from this point this was a fine article to begin this unit with as it provided an important narrative to learning about design history.

Wedgwood - the first industrial designers

The Week 4 article entitled 'The First Industrial Designers' by A. Forty from the text book Objects of Desire, provides a case study of the work of Josiah Wedgwood and his porcelain company of the same name.  The article provides us with a background of how his porcelain was made, the materials and the finish, as well as the method of sale.  This was significant as Wedgwood adopted a different means by which to sell his wares.  The traditional method was to sell to merchants or directly to markets but Wedgwood adopted a method of selling to order through either a catalogue from which the customer could select from or by providing a sample. 

This method of sale required Wedgwood to have a consistent product that was the same as the sample.  This was difficult as Wedgwood wares were all hand made, therefore there were naturally differences in manufacture.  Wedgwood had to solve these issues with the type of material he used.  Greenware was too inconsistent in colour and glaze so through experimenting Wedgwood came up with Cream Ware which was more consistent under different firing conditions.  The next step was to change the process of manufacture to one where the craftsman has influence in the process.  He did this by adding extra steps to the production, allowing him to hire less skilled workers and because of the design of the process still get a consistent result. 

The article explained the way Wedgewood refined his designs to come up with good looking neo-classical shapes that were easy to make.  He cut the number of various shapes and increased the motifs or prints to provide larger variety.  This enabled Wedgewood to limit downtime in setting up for a new shape.  Wedgewood produced wares that were both consistent in quality and met the needs of the consumer in terms of asthetics, usabiltiy and streamlined production.
This is a useful article which provides insight into how a successful company used the design process to create symmetry in both production and style.

Something that it caused me to ponder on was whether art must always answer to economics?  Would these designs be famous if they were too expensive to be economically successful? And should production and economic rationalisation dictate design?