DSDN 171 BLOG ASSIGNMENT 10

     

 

‘Postmodernist and remix techniques are a vibrant part of design culture today’. Design has changed with the advancement of technology and therefore objects have become more practical. The Macintosh a512k was introduced in September 1984 to replace the 128k. It had four times the memory (RAM) which enabled users to run more files at once. (Low End Mac) This advancement although small to us today created an opportunity for the ideology of the future.

From this ‘historical ‘pc design we now have the imac. A computer developed from the original 128k Macintosh. Steve Jobs (1955 – 2011) designed the imac to be user friendly as well as aesthetically pleasing. We can see from the above images that the design of the imac compared to the Macintosh a512k has changed dramatically.

Steve Jobs used the manipulation of scale to create a bigger more effective screen. I think that this manipulation of scale was to make it easier for viewers to see but also so that the users become more engaged in the screen. The design of the keyboard and mouse has developed into a smaller more comfortable scale. Throughout the development of ‘Macs’  the apple icon has remained the same, I think this has pushed the apple brand and emphasised Steve Jobs image that a computer could be “ a bicycle for our minds”. (Aley, 2011) Today Macs still hold subtle historical quotations of the original Macintosh; the shape still follows geometric quotations. I think that because of the decisions made to the design of the imac, aided by the development and discovery of technology, we now have a design that engages with its users.

 

Aley, J. (2011, October 7). N.Z Herald. Steve Jobs: the triumph of migical thinking . New Zealand.

Low End Mac. (n.d.). Retrieved October 7, 2011, from Macintosh a512k: http://lowendmac.com/compact/macintosh-512k-fat-mac.html

DSDN 171 BLOG ASSIGNMENT 9

A significant political message that is informing design today is people’s ideology and lifestyles. Politics is based around the welfare of the nation and therefore their aim is to create for the people.

Design based around the Rugby World Cup is filled with subliminal political, cultural or ideological messages. The Rugby World Cup is an international rugby union competition held every four years. This event brings countries from all over the world together, and is currently being hosted here in New Zealand.

I think that the World Cup is not just about winning, but also about politics and the bringing together of different nations,  thus creating an ideology about the world being in ‘Union’. The above image I think shows that the World Cup is an event that brings the world together, helping people forget about differences to enjoy a good old rugby game. I also think the image represents subliminal messages about determination and success. These messages bring pride to the people that the rugby teams are representing. There is also a sense that an ideological world is create within the World Cup, a symbolic universe where the nations have a chance to show off their talents or ‘power’ and express their competitive streaks in a safe atmosphere. “Would it not be better to compete in the relative merit of washing machines than in the strength of rockets?” - U.S Vice President Richard Nixon

Therefore I think that through the Rugby World Cup, politics has informed design in a way to create an ideological idea that people from all over the world can be one.

Pavitt, J. (2008). Design and the Deomocratic Ideal, Cold War Modern: Design 1945-1970 (pp. 72-91) London: V&A Publishing.
Petty, M, M.( 2011), Lecture 6 Modern Vision, Victoria University ,Te aro Campus

DSDN 171 BLOG ASSIGNMENT 8

In David Raizman’s history of modern design ‘The first Machine Age in Europe’, Hannes Meyer argued that design is a product of ‘function x-economy’. Aligning design with a scientific model driven by new technology and manufacturing potential suggests that we need an equation to design functionally. Without an equation design is not rational and therefore not accurate. Function x-economy created design to be less ornamented and more organised. Design was made more efficient by reducing labour, time and money spent. I think that design has become more practical universally because of this change. In the lecture on slide 21 (technology and progress in the kitchen 1920)

 we see that by making a path /equation, a supplementary functional output is gained. Design today as well as centuries before is based around the needs and wants of people. Designers work to understand and provide. Most design has a function, be it a chair which we sit on or a painting that is simply visually pleasing. Design as an art creates an aura while design as a science creates function; I think that both these aspects are what define design of today

Walter Gropius fugas shoe factory 1911-1913.

The image above of Walter’s shoe factory illustrates how the design is appropriate to the function of this factory. This emphasises how function x-economy has developed design to be functional.

In Raizman’s history of modern design (page 9) El Lissitsky said: “The new art is formed, not on a subjective, but on an objective basis. This, like science, can be described with precision and is by nature constructive. It unites not only pure art but all those who stand at the frontier of the new culture. The artist is companion to the scholar, the engineer and the worker.” With reference to this quote I think that design today should be both art and science. I think that when design is both we are able to be one and therefore prevent the classing of people.

Benjamin, W. (1992). The Work of Art in the Age of Mechanical Reproduction (pp. 211-244 ) in Illuminations, trans. Harry Zohn. London: Fontana.

Petty, M, M.( 2011), Lecture 6 Modern Vision, Victoria University ,Te aro Campus

DSDN 171 BLOG ASSIGNMENT 7

http://tribeheaven.co.uk/cast/2009/06/05/2009-shortland-street-cast-photo-finally-here/

Today there are many ‘symbolic universes’ created through media. The construction of these symbolic universes creates an opportunity to engage and interact with consumers. These universes give consumers hope that they will be a part of this utopia.

Today, reality television shows have been constructed to create symbolic universes. They create a space for viewers to be able to watch and escape from their everyday lives. Shortland Street is one of New Zealand’s most famous soap operas. First broadcast in 1992, this 19 year series is filled with drama and romance all based around the staff at Shortland Street hospital.

The above image of the cast portrays the characters as flawless, dressed in glamorous ball gowns and suit creates the impression of wealth and success through the entire image. The questioning glares that are swapped between the characters give the emphasis of drama, while the engaging stares between couples create the thought of perfect relationships.

This engaging programme distracts viewers from their own lives giving them an opportunity to escape and forget. People subconsciously envision themselves being a part of what is happening in these programmes, unintentionally wanting to be as wealthy as Chris Warner or as flawless as Tania Jeffries. Therefore I think that through the enhancements of media people have been left wanting to be in this unrealistic ‘universe’, wondering if their lives are fulfilled enough.

Petty, M, M.( 2011), Lecture 6 Modern Vision, Victoria University ,Te aro Campus

DSDN 171 BLOG ASSIGNMENT 6

Walter Benjamin argued “To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the authentic print makes no sense.” This means that he thought the fading of aura/ authenticity was a good, as it gave power to the ‘masses of people’. He wanted art/design to become more political so that people could have the same rights rather than only the hierarchy of the population seeing these pieces of art that have ‘aura’.

I both agree and disagree with Benjamin‘s argument. Technology has increased so much that in a sense aura has been taken away from most modern designs. Today we are able to see objects from other countries on the internet or through any media form, where as in the 18^th century media was seen as a form of truth and changed the way people saw the world. So in this sense I find Benjamin’s argument true because of all this technology and because we download a copy of an image or a song by the click of a button some aspects of aura has been taken out of these works of art and design without having to “ask for the authentic print”.

I also disagree with his argument because I think that aura can be built up with how popular a piece of design or art is. The popularity creates a sense of aura because of how much people want to see it from all the attention it is getting. I think that an aura can be felt within architecture for example the pyramids in Egypt. These ancient pieces of architecture are world famous and even though everyone knows what they look there is still a sense of aura when you are in the presence of the pyramids.

Therefore I think that media has not taken away aura but has given the chance for people to get the sense of aura all around the world from images.

Petty, M, M.( 2011), Lecture 6 Modern Vision, Victoria University ,Te aro Campus

DSDN 171 BLOG ASSIGNMENT 5

The understanding of colour and the development of the theory ‘colour vision’ was first experimented with in 1706 when Isaac Newton was studying optics.

Newton believed that colour could only be quantified. He proved this by creating a prism that demonstrated a composition of colours arranged in a sequence. When white light was shone through the prism it split into different colours.  This was how Newton derived the colour wheel.

Simultaneous contrast was discovered by Michel Eugene Chevreui. He quoted that “two adjacent colours when seen by the eye, will appear as dissimilar as possible” which means that when one colour for example orange is placed on two different background colours the orange will look different.(Rosotti H. 1985) 

Goethe Wolfgang was the first individual to oppose Newton’s theory.  Goethe was interested in colour vision and how colour could create an after image.­­ He argued with Newton in that colour was derived from light and shade. Goethe believed that colour was created internally. Goethe’s theory of colour vision allowed impressionists such as Claude Monet to paint how they felt and gave their viewers a direct experience.

I think that the experimentation and experience of artists have influenced our understanding of colour, by creating a more modern way of painting. Instead of painting exactly what you see, artists paint how they feel. Painters now use colour and the colour vision theory to abstract their feelings. From these abstractions viewers are also able to have their own experience. I think that a good example of the use of the development of the theory of ‘colour vision’ is Ogden Rood who created his pieces of art using optical colour mixing which allowed colour to mix with the viewers eye.

Therefore I think that this has developed our understanding of colour because we are now able to experience our own perceptions through paintings and have our own interpretation on what is trying to be communicated.

Petty, M, M.( 2011), Lecture 5 Colour and Abstraction, Victoria University ,Te aro Campas

DSDN 171 BLOG ASSIGNMENT 4

Adolf Loos argued that “The evolution of culture is synonymous with the removal of ornament from objects of daily use” He believed that for society to become civilized ornament needed to be forgotten/ replaced. In relation to Mies van de Rohe, Barcelona Pavilion, Spain, 1929 (slide 29 in the lecture) I both agree and disagree with Adolf’s argument. I think that without some ornament everything would be plain and boring. I also think that without ornament history, design would not be where it is today. Ornament also gives people a chance to express themselves differently. On the other hand I think that too much ornament can become bad design and as Adolf Loos argued ‘a waste of material and waste of labour’. Mies van de Rohe’s wall (first image below) is a good example of how some subtle ornament within form can create a nice modern design. Another example of how simple ornament/decoration can help materials ‘speak for themselves’ is David Tunbridge’s lamps. His designs are a modern sophisticated way that ornament and materials work together. The materials he uses show the properties they hold through the way he ornaments his designs (as shown in the second image below).  Therefore I think that most design does hold ornamental aspects but letting the material speak for itself can create good design. As we are evolving I think that ornament is evolving with us, in the way that as designers we are evolving the way we use ornament in our design. “Less is more” -Mies van de Rohe

The Barcelona Pavilion by Mies Van der Rohe, 1929

http://aleciastevens.blogspot.com/2009_12_01_archive.html

Floral light by David Trubridge

http://www.patternpeople.com/interiors-david-trubridge/