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.
Sunday, March 13, 2011
Tuesday, March 8, 2011
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.
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.
Thursday, March 3, 2011
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?
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?
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