week 3: beauty+utility
DESCRIPTION
the politics of designTRANSCRIPT
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Beauty+Utility
[the politics of design]
The True Principles of Pointed Architecture, A.W.N. Pugin, 1841
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Industrialization
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Honoré Daumier, “Third-class Carriage,” 1860s
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Today half of the world’s population lives in cities: 3 billion, compared to 1.5 billion 30 years ago.
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Industrialisation in Nineteenth-century Britain
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It is not, truly speaking, the labor that is divided but
the men –divided into mere segments of men –
broken into mere segments of men –broken into
small fragments and crumbs of life; so that all the
little pieces of intelligence that is left in a man is not
enough to make a pin, or a nail, but exhausts itself
in making the point of a pin, or the head of a nail.
John Ruskin, The Stones of Venice, 1853
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The purpose of applying art to articles of utility
is two-fold; first, to add beauty to the results of
the work of man, which would otherwise be
ugly; and secondly, to add pleasure to the
work itself, which would otherwise be painful
and disgusting.
William Morris, The Arts and Crafts of Today, 1889
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The unity imposed on all of the arts
might also serve as a metaphor for an
ideal world in which all individuals are
unified by a single faith and live in
harmony with society.
-Margaret Belcher
Nineteenth-century
Design Reform:looking back, looking ahead
The True Principles of Pointed Architecture,
A.W.N. Pugin, 1841
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A.W.N. Pugin
Scarisbrick Hall, 1836
Nineteenth-century
Design Reform:
looking back, looking ahead
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False Principles: imitation of architecture, ornament constructed
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Putty pressing, plaster and iron casting for ornaments . . . are not to be
rejected because such methods were unknown to our ancestors, but on
account of their being opposed in their very nature to the true principles
of art and design -- by substituting monotonous repetitions for beautiful
variety, flatness of execution for bold relief, encouraging cheap and
false magnificence, and reducing the varied principles of ornamental
design.
A. W. N. Pugin, An Apology for the Revival of Christian Architecture in England, 1843
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Octagonal oak table from the Prince’s chamber, Palace of Westminster, by A.W.N. Pugin, c.1830s
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Bread plate
A.W.N. Pugin for Minton, 1849
Typical Victorian plate
c.1850s
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Henry Cole and Design Education
Sir Henry Cole and Richard Redgrave; photograph attributed to Charles T. Thompson
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Richard Redgrave, “Well-spring” vase 1857
Henry Cole and Design Education
True Principles: nature as model for ornament
appropriate ornament for object (and use)
abstraction in representation
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False principles:
imitation of nature
inappropriate decoration for function
ornament constructed
Henry Cole and Design Education
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This was exhibited as demonstrating 'False
Principles of Decoration’
Amongst the errors of this design were the
'falsifying the perspective' by repetition of the
architectural view.
http://www.vam.ac.uk/collections/prints_books/features/Wallpaper/Design_Re
form/index.html
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True principles False principles
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Wallpaper with formalised floral motif, by Owen Jones (1809-74), England, Mid-19th centuryColour print
from woodblocks
Owen Jones and 'The Grammar of Ornament' (1856)
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Flowers or other natural objects should not be used as ornaments, but
conventional representations founded upon them sufficiently suggestive
to convey the intended image to the mind, without destroying the unity of
the object they are employed to decorate.”
Owen Jones, The Grammar of Ornament, 1856
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Owen Jones, The Grammar of Ornament, 1856
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William Morris, Acanthus,
Wallpaper, Color Print from Woodblock, c. 1870s
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The Great Exhibition of 1851 [The Crystal Palace]
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The Great Exhibition of 1851 [The Crystal Palace]
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Pugin’s Gothic Court at the Great Exhibition, London, 1851
The Great Exhibition seemed to promise the fulfillment of universal progress,
ingenuity, prosperity, and peace.
--David Raizman
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Design reform:
didactic aspirations
or good design?
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contemporary design reform: sustainable design [?]
GE WATTStation by FuseprojectUrban Orchard Project, London, 2010
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