“You rush around and take two seconds for a coffee, but those moments imagined, are the anchors which make it possible for us to survive.That is the price of our modern condition.
We must have that memory and tradition, even if it has become its own myth, if we are to survive in the present.” (Robert Stern at the lecture in Verona)
pg 1 Art and Design – the post-modern object
“The objects designed by some of the most influential of post-modern architects and designers reveal post modernism’s characteristic concerns with ornament, symbolism, colour and a re-assertion of the value of tradition.”
(Pg 2, Art and Design – the post-modern object)
“The contemporary cultural fascination with the designer object and the aesthetic transformation of common functional objects are among the factors influencing the advance of post-modern design….”
(Pg 2, Art and Design – the post-modern object)
“We must recognise the abstract nature of the essential element in art and we must recognise that design is a function of the abstract artist.”
(Herbert Read,Pg 2, Art and design – the post-modern object)
“Hans Hollien is a designer with an eye for display, he is aware both of the ornate and decorative in interiors such as that of the schullin jewelry shop, and of the potential of symbolic forms and detail in interiors.”
(Pg 84, Art and design – The post-modern object)
“Most functional objects are designed to disappear,mentally if not physically, and this is as it should be according to the most enlightened doctrines of Adolf Loos and Le corbusier.”Equipment” as the latter christened utilitarians objects shouldn’t make unnecessary demands on our time and consciousness. It should be used and thrown out when no longer functional, or replaced by more efficient inventions.”
(Pg 63, Art and design – The post-modern object)
The gymnastics lesson – Hans Hollien
“Like my other installations, Die turnstunde (the gymnastic lesson) is a metaphorical representation of how i see the world and life. It must be experienced, as it can be described in only a limited way. The allusions and associations it contains refer to basic human situations but also to manifest expressions of our cultic a cultural heritage. references to my on work and life are also present, as are reminders of “images” and “places”. things experience and things dreamt. The Dream room is the stage for a complex play between human and apparatus acted out within a defined space. The human figure the vectile for basic postures which show the symmetry of the body’s cultic and ritual communication. From these basic presences and presentations of the female body,eroticism and sensuality are built up to sacred dimensions, both in the sculptural figures and in the drawings accompanying the installation…..”
” The installation is an integral part of the room it sands in addition to the basic positions, a further dimension and ordering arises from the fact that both the room (enclosing space) and installation are by the same person.”
“The media are body and light, the materials are wood and metal, white paint aswell as gold and neon tube lighting. The light and the glow are radiance nd reflection halo and mater, sun and old. Everything that i grasp in my hands i n the form of neon tubes, skin, flesh, leather are in gold. he pieces of apparatus contain within them a propensity for transformation the rings the ladders, the vaulting horse. An outsized double ladder insurmountable – becomes a tower.”
(Pg 80,Hans Hollien, Art and design The post-modern object)
Reading this book it is dated around 1987 and even then the contemporary designs we have around us now were being projected and starting to begin then.
It became popular and fashionable that architects had a dabble in all areas of design. Making them more versatile in which area they specialised in – for example when creating a piece of architecture, feature the ornate aesthetics into the building as you would to a piece of furniture, and vise versa when designing a piece of furniture include the structure and stability that you would to design a building.
Throughout the book Alessi designs are dominant and complimented. I think Alessi designs were the big movement especially when they got the architects involved to create a tea set. They set off the trend that architect’s design in home products.
To date Alessi designs still influence modern designs. They produce modern functional equipment but design them so they are very aesthetic, to be shown around the home as a piece of functional modern art.
Even ten art and the desire to be new and individual was rivaled throughout designers, and this continues to date, the competitiveness of being individual and have your own unique work to inspire yet still be understood by all.
Will this trend continue?
With out including technical advances such as 3D,4D and digital interaction is there anything new to do with design and art.
Each design and piece of art have its own theories, but can ne ones continue or are we reusing methods and putting a new face to it? Each issue globally has had many interpretations made, but how many interpretations will be designed before it gets predictable?
Or is design going to fade into technology will the craft disappear and art ill no longer be personal but purely designed through machines. If this is the future i do not look forward to the art and design of the future. Do we return to our traditional ways of art so we do not lose this personal skill forever, or do we continue this modern predictability?