Revolutionary Transformations: Oct 31, 2013

Although there were many transformations that could be considered to be revolutionary in the materials deployed for the building arts, I personally believe the transformation of industrial design professions.

This growth made dramatic development towards the understanding of materials, strategies for a marketing, the many processes of manufacturing, and the aspirations of consumer.

Having this knowledge is key to designers when it comes to business and design development. Without the understanding of materials the idea of having domestic appliances wouldn’t be as apparent as well as the dramatic possibilities created like new lightweight materials and new standards of comfort and design; also constructional techniques.

Knowing the aspirations of the consumer is an important key aspect of a revolutionary transformation because as a designer you want to catch the publics imagination. This actually was well demonstrated when railway locomotive and rolling stock designs stimulated popular interest. most revolutionary of transformations in the materials deployed for the building arts.

Although there were many transformations that could be considered to be revolutionary in the materials deployed for the building arts, I personally believe the transformation of industrial design professions.

This growth made dramatic development towards the understanding of materials, strategies for a marketing, the many processes of manufacturing, and the aspirations of consumer.

Having this knowledge is key to designers when it comes to business and design development. Without the understanding of materials the idea of having domestic appliances wouldn’t be as apparent as well as the dramatic possibilities created like new lightweight materials and new standards of comfort and design; also constructional techniques.

Knowing the aspirations of the consumer is an important key aspect of a revolutionary transformation because as a designer you want to catch the publics imagination. This actually was well demonstrated when railway locomotive and rolling stock designs stimulated popular interest.

Modern Design Oct 29, 2013

To be modern in design has very clear and definite meaning to it. The modern in today’s design are highly represented through furniture, accessories, and color. These 3 key components are what can make a space, such as a living room, modern.

Modern designs consist of very sleek, uncluttered, and clean. There are many geometric shapes and these areas are often built without traditional decoration and to embrace, in a way, concrete, chrome, glass, and other industrial materials.

The sustainability of furniture has became more of an importance for modern spaces like living rooms. The amount of furniture pieces are kept to a bare minimum to prevent from having a cluttered space. Before today’s modern design, you would see many homes with a whole living room set consisting one the couch, love seat, and recliner and accompanied with other piece of furniture like a few side tables, coffee table, entertainment stand or Tv Stand, and maybe a few more pieces.

Another aspect that makes modern design, modern is the usage if accessories. In today’s modern design, living spaces like living room areas use art rather than accessories or “decoration”. You wouldn’t often find cute little collectible trinkets and quilts draped over couches and recliners for the most part. Often in the modern design, art pieces will serve as a focal point for that space.

When it comes to color, modern designs really embrace the pure colors like black, white and neutral coloring as well as vibrant primary colors. Today’s color schemes are still neutral colors and white and of course with some color accent. Although some color accent may be used in modern design and it enhances impact overall in a design, too many different colors may over power the “modern” design.

The Bungalow: The Ideal Home

http://toshmcintosh.com/2011/05/the-bungalow-analogy/

After reading this article it is very clear to me that there where many ideas communicated physically that people wanted to see in the bungalow. Anywhere from everyday living to occasional events, people (commonly women) had there own idea and preference as to how the bungalow should have been built, I feel.

As mentioned in the article the front porch was apparently the most important feature; “Ideal home for the lover of out-of-doors …”. There was a symbolic use of a spacious front porch and low-pitched roof that created a relationship to out door life echoed in materials to cover the exterior of the house. I feel this idea of having a big porch was communicated through female citizens because the porch is where people would basically have their chat or maybe even “gossip time”.

Another idea I feel was physically communicated was the idea of women cleaning and taking care of the house. The newer bungalow after the Victorian style was made a long simpler and plainer. This made it easier for women to keep it tidy and clean as well as doing other duties around the house. This always was a reason for less formal events to take part at ones home.

Health was an idea brought up that was physically communicated as well. Scene writers actually stressed relationships between the bungalow and good health. The women who compared her bungalow purchase to a dry western stated where she receive Asthma treatment, said it was the best decision she mad. I think the idea that the bungalow home was a healthy living place and was a hygienic environment was an idea that was communicated through many people. Everyone wanted to live in a health environment and that factor is one that made he bungalow a popular living space.

A need for space could have been communicated physically as well or the growth of family and after a while You would notice the bungalow being introduced in a way that make it clear and obvious that it is spacious. For example there was a figure of a new paper with a bungalow and at the very beginning of the description it stated “This handsome 4 bedroom …”, implying that not only was it a very appealing but spacious for what may have been the average family size at the time.

I think overall citizens communicated these ideas physically just by living their everyday lives and going about their daily activities and designers did the job of maybe a living space that will coordinate with these everyday activities.

Skyscrapers: Joanna Merwood-Salisbury Oct. 22, 2013

After watching Joanna Merwood-Salisbury lecture it is clear that she has a strong belief that the designs of these sky scrapers reflect the designers and the design build these buildings to reflect or have some sort of significance to chicago.

Evidence of this view was clear when she went into depth about the designs of Louis Sullivan,  John Wellborn, and Daniel Burnham and about the previous events that occurred in that city. Because these buildings and design are so significant to the these designers and their cities and ideas, the idea of them being “products” of the designers is actually a pretty understandable view in my eyes. it is also understandable that they may be referred to as products of the city because they are a significance to the cities history. “Symbols of capitalism’s inequality”. 

Much of Merwood-Salisbury’s evidence of these view came from the history of the building (time period it was designed and built, and why) or the history of the designers. I actually would agree with her view after listening to her go into depth about the Chicago Skyscrapers. 

Unit 2 Summary

 

Unit 2 Summary

            As we approached Unit 2, Reverberation, there was actually a very big overall idea of reforming. When I say reform I mean the breaking with tradition.  Reverberation breaks tradition but stays pretty close to the original idea. Not only did Unit 2 go into depth on how reform was taking a toll on many designs, it also covered ideas the turning matters of end 1 and two and the influences of design. One pretty significant idea that I believe reflects this chapter well would be the Design Cycle. The stages of this cycle are what create the major changes of design from then to now.

            During Unit 2 the ten rules from the East and West of design came about. The east contradicted the west and the West decided to expand onto the past. Although the west made a change and may have broken some of the rules, the East decided to maintain tradition.  As we continue to move forward in unit 2 we came upon the topic of turning matters on end one. During this period of time we were able to notice the influences of art and design. For the most part everything was pretty representative however many of us may not understand that today. Like reform is a change for the better whether it may be to strengthen or slightly change, past designs create present strength. Reflecting back to the activity where we were to illustrate and write about a culture or social revolution, using the design cycle, I was able to get a better understanding on all topics included in the design cycle as well as get a better understanding of how design has changed culturally and socially.

            Following the turning matters on end 1 we approach the turning matters on end 2. Starting with the industrial revolution, this section of unit two went into depth with the 3 different styles of early Georgian. Referring back to the links made available for us to read about these styles and the following activity we were able to view and learning about how these styles differ and changed over times but also how they are similar. Many people like to assume that the Grecian/Greek Revival stlye represented the first national style for the fledging United states. When we say national style, passed off the extra readings and research of these styles, I believe it means many buildings from the time period and in that specific place were built in using a certain style. After discussing the industrial revolution and these 3 styles, it may the concept of national style and how style changes much clearer and easier to comprehend.

            Reform and revival are two major key ideas of unit two. Going back to what I said about reform it basically makes alterations for the better. However; revival is something basically comes back whether it is a styles or design. We often notice some styles of design incorporated into our designs today. Going back to the example from class were we viewed and analyzed the difference between the two state capitals, I was able to easily identify the difference made as well has how the basic structure and idea was used into the newer version. Examples like this are a good way to show how reform is important and a need from a designers perspective.  The older version of the state capital was clearly older looking, had a museum feel to it and rather small but the newer version was so much bigger and expanded.

            Unit 2 discussed the influences of design as well. It is clear that design has significantly been influenced by culture. After a while there was a slightly dramatic shift to an innovative mind set from revivalism. There was actually kind of a breaking of the rules because the process of design went from being really disciplined and structures to a more abstracted and free minded perspective. This change gave designers the freedom to express what it all means in their personal sense. The idea of reform I feel was the basic frame of unit 2 and covered a great deal of information that bettered my understanding of design and the changes happening to it.

 

Reform and Revival: Oct 8

Although reform and revival are two important components of design they both still have 2 different and distinct differences. When we make changes in order to improve say, design, that is what we would call reform. When an improvement in the condition or strength is made that is referred to as revival.

            Reform played a major role in the design world and one important aspect of that role would be around the idea of retail in the early 1900s. From a designers perspective this need to reform was important because in retail this is where designs are displayed to customers all over and purchased. As mentioned by Woodham, stores came together under one roof as one. These types of actions are what really improved the process of a designer selling their products. Industrially produced goods eventually became socially acceptable venues for unaccompanied women to meet as well as shop without damaging their reputations.

            Another reason there was a need for reform from a designer’s perspective is for a range of diversity. By the early 20th century’s department stores because centrally-heated and electrically lit. This was actually a better way to attract more customers and being that store were electrically lit and heated, it made it visually easier to see the products and their designs as well as shop more comfortably.  Department stores brought a wide range of diversity as well. Mail order developed on the other side of the Atlantic Ocean allowing people from all over from different cultures, purchase and view designers’ work.

            Although many people are naturally great artists and designers; others sometimes need more of a structural and educational practice to improve their designs. This is how reform from a designer’s perspective was a need. Referring back to Woodham’s chapter 1, Herman Muthesisu sought to reform education in the applied arts by basically placing a better emphasize on workshop training. Eventually DWD brought together artists and industries to improve quality and designs.

            In terms of design, everything really eventually became reformed. From the idea of retail and the combining of companies to heated and electrically lit stores, these were all reasons reform was a positive change and a needed one. All of these changes made through reform are what brought design to be what it has come to be today and speaking from a designer’s perspective reform is changing for the better and the continuing of it I feel will only improve the world of design.

 

Due Oct 1 – Revolution in Furnishings Before and After War Periods.

Referring back to the design cycle of revolution, I feel like majority of the concepts of the cycle where relevant in both periods. As I carefully viewed furnishings from each period I noticed the rebirth of some ideas. Like mentioned in Montgomery’s article, very old furniture was still used around 1770 and very plain however Samuel Prince’s “new patterns” reflected the designs of Thomas Chippendale in a way. This would be an example of cycle. I noticed a lot of cycling with these furnishings but you could clearly tell there was a change in period around the time these pieces were created.

            Also mentioned in Montgomery article, the shape of the high chest and feet were in the Queen Anne style however the interpretation was new. The interpretation was of rococo ideas of grace, delicacy and vitality. I would view this change as a revival; coming again into activity.

            Just like when we look back into history and get a better understanding of past furnishing and their functions, we often noticed a change in the furniture but sometimes it can be for the better. As I analyzed furnishings between the 3 periods I noticed some furnishings seemed to be recreated, or updated but for better usages. Details and materials such as new patterns, more details in moldings, and extra accessories like wheels where added, and color as well, were introduced and put to use after the American War of Independence. I like to see this as a rebirth as well because certain furnishings never actually went away or the use was put to rest, but they were used and created differently.

            Transition was another aspect that made me feel as if these furnishings were revolutionary. Montgomery talked about how in Abraham Swanson’s 1745 design was acceptable in 1775 in Philadelphia along with pre-Chippendale form furniture forms.  Americans just didn’t want to give up the old-style forms. This was a transition of sort and I feel like the furnishings before the war has a different feel to it compared to the period after the war.