Showing posts with label DSDN171. Show all posts
Showing posts with label DSDN171. Show all posts
Does Art Nouveau have a place in present day society?

Art Nouveau is a style that developed from a combination of foreign materials and curvilinear, organic forms. Its popularity came to a peak between 1895 and 1910, (Willette, 2010), where exotic pieces were a sign of riches and high social status. 

Art Nouveau was based upon the previous styles of design that incorporated curvilinear aspects, much like the French Rococo style. As new styles build upon ideas and materials used previously, older styles are very important in today’s society as a reference to the development of design. According to German poet and artist “Everything has been thought of before, the problem is to think of it again,” (as cited  in Cassady, 2011). Art Nouveau has influenced more recent styles in different ways such as the exoticism and use of historical elements of Art Deco and the permanent illusion of Modernism. 

Designed pieces of the Art Nouveau style are said to incorporate aesthetics and ergonomics. The theory was that anything designed in this style was to be both used and admired because it was designed equally for how it looked and was operated. . “I see ornament in architecture as having a dual function. On the one hand it offers support to the construction and draws attention to the means it employs; on the other...it brings life into a uniformly illuminated space by the interplay of light and shade,” (Van de Velde, 1902). Because Art Nouveau is a more recent style of western society, there are many originals around which people have the opportunity to adopt.

Looking at how well pieces were made to be used, Art Nouveau originals are still being used today. There is not only a place to originals in today’s society; there is also room for new styles to be created which draws influence from this style. The use of a variety of foreign materials meant the style was versatile and could be used in conjunction with other styles popular at the same time. This also applies to the present day where many people choose to adopt many design styles in an attempt to portray a message to society.

Bibliography:
·         Cassady, D.C. (2011). Writers’ Dock: Originality Is Dead. Retrieved from http://writersdock.com/2011/11/10/originality-is-dead/  

·         Van de Velde, H. (1902). Kunstgewerbliche Laienpredigten. Retrieved from http://www.bc.edu/bc_org/avp/cas/fnart/symbolist/vandevelde.html

·         Willette, J. S. (2010). Defining Art Nouveau. Retrieved from http://www.arthistoryunstuffed.com/defining-art-nouveau/
Art Nouveau is one of the more recent design movements that continues to be sought today. Coming to a peak between 1890-1910, original pieces were made to be practical and aesthetically pleasing. During my search for an piece of Art Nouveau, I came across many pieces that were said to be original. My favourite was the “Art Nouveau Brass Tea Kettle on Stand *Wumak 1900’s”, a teapot, stand and burner.

There are many characteristics which make me believe that this is an original piece from the Art Nouveau movement. Art Nouveau uses curvilinear forms which can be seen structurally in the curve of the tea pot and the structure of the burner. There are also curvilinear forms in the engraved designs throughout the set. Organic fruit forms are engraved throughout the pattern on the set. Exotic, darker material has been used in conjunction with the gold to create an Asian look. Being a well functioning piece in combination with well designed aesthetics is a key element to any Art Nouveau piece. “I see ornament in architecture as having a dual function. On the one hand it offers support to the construction and draws attention to the means it employs; on the other...it brings life into a uniformly illuminated space by the interplay of light and shade,” (Van de Velde, 1902).

The style of Art Nouveau is very elegant and organic as it was inspired by the elegance and exaggerated forms of the Rococo movement. It is also inspired by exotic cultures meaning that the designs work well with other styles. The tea set has been hallmarked by Wumak to ensure authenticity. This is a German brand established at the end of the 19th Century, when Art Nouveau was at its peak. As the tea set has a starting bid of $995 and a buy now bid of $1295, the authenticity is almost guaranteed. These are all features distinct to the Art Nouveau movement, convincing me that this tea set is a genuine artefact.

Van de Velde, H. (1902). Kunstgewerbliche Laienpredigten. Retrieved from http://www.bc.edu/bc_org/avp/cas/fnart/symbolist/vandevelde.html










I created this poster to show how Rococo and Modernism, although opposing styles, can be integrated to encompass a space, creating depth to a design.

Text:

Designer Sharnia King is releasing her exhibition at the Wellington City Gallery and invites you to be a part of this integration of Rococo and Modernism. The juxtaposition of two opposing styles is a moment in history that cannot be missed.
The feature pieces are an investigation into encompassing spaces through a combination of styles. The combination of Rococo and Modernism develops depth to a two dimensional design.
The curvilinear aspects associated with the elegant and extravagant Rococo style dates back from the high society of European culture. These designs were seen as very romantic and organic shapes create a very fluid motion to the design. Modernism proposes opposite ideas and techniques by using straight lines in a very formal and literal manner. The look is almost simplistic when viewed beside Rococo.
A variety of materials is used to explore the limits of encompassing a space through a combination of Rococo and Modernism. Therefore the pieces on display have pushed the limits of fluidity in a range of different directions. Some are extravagant, some are simplistic. There’s something everyone can identify with in these forms.
All design students have been told that there are no new ideas, only better versions of past designs. This is a result of the cultivation of society and culture throughout history and the portrayal of design and architecture. With a vast range of styles and work by designers around the world, over the centuries, a place is needed to access the historical information of design and architecture. This is where the library becomes a useful tool that we have access to and can also access help from the librarians if needed. As search engines such as Google and Bing only show a limited number of results, other sources are needed to access the rest of the information. The Design and Architecture library has a different array of information at our disposal.

In terms of contemporary design innovation, there is a large focus on evaluating your work to develop and improve design. By looking back at history, a database of ideas is accessible to view design that has stood the test of time and to learn what features made for successful design. Authors are continually studying architecture and design and with their help and in depth knowledge of particular aspects, you can broaden your knowledge of certain pieces. The libraries resources are also a good way to investigate how the design principles and elements are applied to different styles and in different times.

There are many different ways in which the library is relevant to design and architecture. All relate to how you can broaden your knowledge and learn more about previous design ideas. These ideas are a good starting point for precedence and inspiration and transforming periodical pieces to contemporary design. Thereby making iterations of historical ideas and developing to make the most successful design so far.
Research topic: Raymond Loewy
Below are journal articles that have informed me about the designer Raymond Loewy, the "Father of Industrial Design". With these sources I have learnt about his design work and how he started the movement of industrial design that fast tracked contemporary design work. Not only did his design work provide society with advanced products, he cultivated styles within the idustry, creating desirable products.
Loewy, R. (1942). Selling Through Design. Journal of the Royal Society of Arts, 90(4604), 92-103. Retrieved from http://www.jstor.org/
Kulik, G. (2003). Raymond Loewy: Designs for a Consumer Culture: At the Hagley Museum and Library. Technology and Culture, 44(3), 566-573. Retrieved from http://www.jstor.org/
Loewy, R. (1981). Industrial Design: Yesterday, To-Day and Tomorrow?. Journal of the Royal Society of Arts, 129(5296), 200-209. Retrieved from http://www.jstor.org/
Vienne, V. (1998). Raymond Loewy: The fine art of self-promotion. Graphis, 54(313), 101-105. Retrieved from http://search.proquest.com/docview/66526419?accountid=14782

Loewy, R. (1937). Purma Special. Museum of Design in Plastics, Arts University College at Bournemouth. Retreived from http://www.vads.ac.uk/large.php?uid=130300&sos=3

 

Loewy, R. (1969). Design from Belgium. Design Council Slide Collection, London. Retrieved from http://www.vads.ac.uk/large.php?uid=59534&sos=4  


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I am a designer, currently studying Design Innovation at Victoria University of Wellington. My focus areas are website and mobile media development, interaction design, 3D modelling and animation and audio-visual space. My blog shows my journey through each project as well as my learning experience through university. What do I want to be when I grow up? I have no idea. But I love what I'm learning. Although there have been many bumps along the road in this journey and despite the fact that there are going to be many more, I wouldn't have it any other way.

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