Blog 10 - Design Synthesis

I have found this design context an interesting course as a first year designer as I have found that the continuous pattern of design trends and ideas is like a swinging pendulum, and to understand where we will be going as designers we need to know the history of where the pendulum has been during dramatic and influential design movements such as the Bauhaus, Rococo and other design movements. With the knowledge of the context of design, it helps upcoming designers such as us as students to follow this trend of the influences and historical movements.

In the course we see the different motives behind historic design where it may be ornamental, for the customer, for a country or even used in politics.

Hopefully with the understanding of the past movements of design history it will help shape the design future to be better and stronger designs and bring through strong designers that have this knowledge of what works and what doesn’t.

Postmodernism and the "remix"

A vibrant part of design culture today is a mix from past design periods. For example, this table lamp designed by Mario Botta is a remarkable design where through the use of innovation; the light is able to emit different patterns of light due to small movements of the lamp and twisting the lampshade. The design seen here is similar to the geometrical and simpleness of modern design whilst given a remake with patterns and the hidden ability to move and change. The lamp has an unnecessary design of black and white stripes and changing of direction on the lamp itself bringing forward the unnecessary decoration that many design critiques have debated against in past design eras. Although looking simple, the historical quotation of this design adds more value than the original design itself. The lamp can almost be seen as ironic imitation of work around the Bauhaus time with its similar shape and structure.

Blog 8 -

In design today there is an ideology of the simplicity of design. Take for example Apple products. The more simple an object is, an ipod, ipad, MacBook, the better it sells. This is no political message behind the design but an idea that the less actual design in the overall make of the object sells it. The apple brand has a wide range of “collectors”, people that must always have the latest iphone or newest product. This creates a large political belief in the overall look upon the label. The label begins to have a cultural outlook where the brand has a culture of its own. Apple products portray the message of modern design, at all times. What I mean by this is the Apple products created over time match the design of that time. The most recent products released appeal to the current market. When looking back through past designs from the company (although the technology is not yet as advanced in later designs) the appeal of the designs are larger and bulkier objects in contrast to the new slim and mostly colourless designs of today.

Blog 7 - Design Identity

As a designer, I see myself different from others through my background. My cultural upbringing was one of similar to other New Zealanders. I lived in Tauranga with my family by the estuary, so the water was always a big part of my childhood. The influence from my childhood helps me with my design in bringing through the naturalistic techniques and patterns of the water. As a New Zealander, I have a unique perspective as I live in a multi-cultural society and have different perspectives to others form other countries due to New Zealand’s political and social history. New Zealand has always encouraged nuclear free and such activists as the green peace party, as a nature loving country we have grown to stand for these policies and I feel as a designer this understanding of a range of beliefs help us as upcoming designers that we will be able to change the way that new designs evolve.

Brief 6- Technology and Process

Similarities between the methods and philosophy of modern design education introduced at the Bauhaus that are also present at the Victoria University School of design are definitely the introduction in the first year programme with the “foundation year”, where students can experience a range of different courses before choosing the path for the specialty degrees that split up. In this first year (as also in Vic first year design) students are able to test the different methods and learn a range of different skills that help develop themselves as design students, leaving them able to chose a degree that is most suited to them.

Also, like the Bauhaus, in the first year design programme, students are encouraged to learn and practise using a range of materials. To develop the materials into innovative designs and understanding the materials to the best quality is a big part of both the schools and this helps students use the materials to the best of their abilities. For example the course DSDN 141- Experimenting with materials is a first year course designed for students to learn the attributes and uses of a range of materials through a range of different briefs.

Modern Vision

“To an even greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photograph negative, for example, one can make any number of prints; to ask for the authentic” print makes no sense.” I agree with this statement from Walter Benjamin as the originality and authenticity of artworks is lessened by the introduction of mechanical reproduction, such as films and photographs. When an original piece of work is created, such as a painting or sculpture, the aura around this work is important to it as a whole. The aura gives the artwork identity. In the age of digital design, aura has lost its place, it seems to be no longer needed to show identity as although a photograph can be produced repeatedly, the image needs to stand on its own, depending more on the one captured memory or moment of time, in a sense creating a new type of aura; of what is in the image and what the photographer had to do to capture that precise moment. The craft of the artist changing from things easily seen such as brush strokes to the invisible craft of what goes on behind the camera. I think that although the originality of the photograph can now be questioned as mass production had moved so far along, the images must be more shocking or more beautiful to grasp the same initial value or identity.

Craft Today...

Craft today is rare. We rarely see objects crafted rather than machine-manufactured. In early examples of craft, from the craft era, being a crafts-man was seen as lower class and less fortunate to those of higher professions.

Glass blowing is a historic form of craft that is still very common today. The glass is heated and turned to molten bubble; a blowpipe is used to expand the glass into shapes whilst hot, then cooled to make glass vases, bottles, ornaments and statues. The craft of glass blowing is laborious but the artworks created are beautiful and original pieces. Craftsmen take pride in their work, adding colours and textures to add extra interest to their designs

Sensuous Design

Sensuous impulse design was first seen in the early 18^th century with the development of rococo. The breaking of the straight line brought about the “S” curve is seen as the feministic, illogical approach to design. The influences from plants and nature giving the natural curves seen through designs of furniture and ornaments were seen by early critiques as “irrational, seductive and corrupting”. Later this curvy, sensuous design evolved to the better-known Art Nouveau. An important part of its historic movement to current designs of today.

The Hotel Tassel, designed by well-known Art Nouveau designer Victor Horta shows an entire interior covered and influenced by the sensuous curve. Not just in the industrial designs of the building but also in designs on the walls, floor and ceiling.

Assignment 1: Chair Design - Art Nouveau

Chair design from the Art Nouveau period of the 1890s, based on the flowy, curvy lines formed through natural influences of plants and flowers is important. Chairs from this era are made from wood and the natural grains of the wood are visible, again referencing the natural influences. The design of this chair is important, as it is a mix from previous design eras and its own influences, starting off the development of other design eras and complex patterns and shapes.