Category Archives: Journals

Flight path amazing idea

“By exploring the square through the eyes of its primary inhabitants, urban birds, can we reinvent our relationship to the city we build together? By reclaiming airspace as public space, can we consider other forms of transit, rediscover the ‘sport’ in ‘transport’, and excite imaginative possibilities for our urban infrastructure? Are we game to experience, through flight, a city that is fluid and three-dimensional?”

“Flightpath Toronto’s swarms of flying people experiment with an urban-scale participatory proposition: one that demonstrates the pleasures of emissionless urban mobility and creates a shared memory of a possible future. Flightpath Toronto is a collaboration between Usman Haque, architect/artist and Natalie Jeremijenko, engineer/artist, uniting his expertise in participatory urban spectacle with her expertise in bird flight and urban natural systems. “

“We humans have become accustomed to reading a city in two dimensions but urban birds reveal a city that is fluid and three-dimensional. They pull our eyes through the spaces between buildings, onto inaccessible planes and perches; they show us the texture of the wind, and give us access to an immersive experience of urban natural systems. Birds make visible the very medium we have difficulty seeing and the shared airspace that we need to reimagine.

Our innate human desire for unrestricted free flight (evidenced by the constancy of such dreams across time and culture) has become stifled by the practical aspects of mass transportation systems we use every day to get from A to B. Even airplane flight through human airports has become, with all its security theatre and inconveniences, an uncomfortable experience undertaken only of necessity.

However, in combining the low-cost-infrastructure of flylines with the populist pleasure of thrill, the beauty of aerial movement can demonstrate a radically novel form of urban mobility. Can this fast, emissionless, pleasurable and safe urban mobility propose new possibilities for our shared urban future?  This moment in history is a good time to consider collectively other forms of transit,  to rediscover the ‘sport’ in transport, and to excite imaginative possibilities for our shared urban infrastructure.”

go watch the videos from this design on haque online journal

I absolutely admire this design and also fits in with the literature review as I noted we are quickly running out of land space to design where do we design next and the air space is already being considered. I believe this is genius just thinking how much free air space there is to move around this idea will start the revolution on how we as humans use air space as a means to travel to our day-to-day routines.

turner prize 2011: martin boyce

“boyce works in large-scale, producing site-specific works that combine elements of the urban landscape with interior design. offering viewers atmospheric sculptural installations, these environments which he produces reference design history,
through a constructivist-to-decorative aesthetic, which are formed through a repeating palette of patterns. the artist’s three-dimensional graphic language is an exploration of the built environment, our surrounding landscape,
and the mundane everyday things we pass through.”

Not to offend but i do believe this is just bad design, in my opinion it stands for everything i have been arguing about in my essays . This has no use and i don’t believe a good theory therefore i see nothing but a badly designed piece with a great lack of imaginatin of the space that could if been used and manipulated so well.

more articles go see online journal design boom

The NON-OBJECTIVE world – South bank centre

“The term “non-objective” refers to paintings and sculptures which contain no representational subject matter and are created from purely pictorial elements rather than deriving from the world of natural appearances”

“The term “non-objective”describes art which has no representational subject matter and is created from purely pictorial elements.”

(Pg7, the non-objective world)

Abstract Utopia

“Such terms are intended to distinguish the complete absence of representational subject matter from the process o “abstracting”, or artistically transforming a legible image….

This dual sense of abstract is confusing, critical labels are not very helpful when it comes to confronting particular works…..

Such formal appreciation requires no background knowledge and is appropriate t the highly aesthetic decisions about placement, strength of colour and so forth, that the making of the works certainly involved, no with standing their “mathmatical”look…

Ever since antiquity itself, such quantities as older and simplicity have commonly been invested with more metaphorical references.”

“abstract art  were at pains to emphasise, in their extensive  theoretical writings, that pure forms and colours constituted a more effective means than legible imagery to communicate ideas and emotions to the viewer”

(Pg 10, The non-objective world)

“The new art is founded not on a subjective, but on an objective basis. This, like science can be described with precision and is by nature constructive. It unities not only pure art, but all these who stand at the frontier of the new culture. The artist is a companion to the scholar, the engineer and the worker.”

(Pg 23, The non-objective world)

“You cannot build a new society without artists. The artists are waiting for their opportunity: abstract artists who are, in this tune of transition, perfecting their formal sensibility, who will be ready, when the time comes, to apply their talents to the great work of reconstruction.That is not a work for romanticists…..communism is realist scientific, essentially classical.”

(Herbert Read pg 28, he non-objective world)

Henry Moore wrote

“The violent quarrel between the abstractionist and the surrealists seems to me quite unnecessary. All good art has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements – order and surprise intellect and imagination, conscious and unconscious. Both sides of the artist’s personality must play their part”

(Pg 31, The non-objective world)

Book circle”internatinal survey of constructive art” 1937

“The book contained work and writings by virtually all the leading architects and artists of the international “constructive trend”. For all its optimism, circle as, in a sense, the swan song of the artistic direction encapsulated in this exhibition. Individual artists carried on, of course in the same vein,and, as a “style”, geometric abstraction has remained one significant option amongst many on the post-war scene. The extreme and uncompromising character of the work of the pioneering generations remains a compelling inspiration. Yet in terms of their own motivations, their art cannot be understood in isolation from utopian deals which have com to seem increasingly remote, especially now, in the era of the final demise of communism. intimately, looking at this type of art also entails an imaginative leap into the historical moment of its creation.”

(Pg31, The non-objective world)

A painters view – Adrian Heath

“I longed to see some original work,but i had to wait ten years until Bryon  Robertson brought a retrospective of Malevich to the whitechapel in 1959. Today the situation is very different; no young painter need feel himself  deprived of knowledge about any artist of distinction.”

(Pg35, The non-objective world)

sculptures view, Richard Deacon

“Space and material substance are covalent (not equivalent since neither replaces the other).”

(Pg 39, The non-objective world)

Non objective – In english this term has often been used to denote the complete absence of legible subject matter in a painting of sculpture, in preference to the more ambiguous “abstraction”, with its connotation of simplifying or in some other way transforming an observed or imagined image. It deserves from the Russian “Bespredementoe” as used  by Malevich and the German “Gegenstanlose”. Both more literally mean “objectless” or “without objects”, implying the creation of a work of art from pure pictorial elements rather than from objects derived from the world of natural appearances. It is not associated with any particular group of artists or period in art.

Reading this book it has revealed to me that throughout history art has been created purposely not having a theory or method behind it but id produced to be purely aesthetic. I like this thought in a way because it is not projecting someone elses views onto you it is purely a piece of design for you to have without any politics or issues being portrayed, it somehow gives freedom back to  the art.

However for now i am focusing mainly on work with the methods behind the art, so that looking into the problems we face with social society and modern spaces. Creating designs to change the way we design and think about art. Maybe for design no methods and complete blank thoughts are what need to be produced to help social society.

Art & Design – The post-modern object

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?