DSDN171 P5 Academic writing

Objects made using an Art Nouveau style are crafted in such a way that they are as much a functional object as a piece of art. If art is a finality without an end, as it is the result of a process that has no other purpose than to exist on itself; And function is defined by a set list of criteria that define the object, it is only natural to ask our selves if this fusion of art and function is relevant.

Pugin, who was an important figure of the Gothic Revival, would have been extremely critical of this style as it displays its opposition to “the true principles of art and design” and displays “cheap and false magnificence” (A. W. N. Pugin, 1843) because of it's ostentatious nature and the fact that it displays decorations that wouldn't be, according to Pugin, appropriate decoration for the function that the object serves. A member of the Arts and Craft movement would hold a similar argumentation. Hence from their point of view, the Art Nouveau style is irrelevant as it's fusion of art and function is fundamentally contradictory in nature.

For Kant, the question of beauty in art is distinct from that of the function. Jugging if an object is functional is the same as proving a scientific theory. It is applying a set of universal criteria to a singular object. On the other hand, the “reflective judgment”, jugging of the beauty of the object, can not claim to be universal nor can it be associated with concepts of utility or pleasure. Thus art is totally distinct from the function of an object and are not mutually exclusive.

To conclude, because art and function are not mutually exclusive, one can not say that the Art nouveau style is irrelevant. On the other hand, this does not mean that one must decorate an object in such a way that it becomes a piece of artwork, it can be done or may not be done as the designer sees fit.

Bibliography:
Pugin, A.W.N. (1843). An Apology for the Revival of Christian Architecture in England. London, Great Britain: John Weale.

Kant, E. (1781). Critic of pure reason. Riga: J. F. Hartknoch

Kant, E. (1781). Critic of practical reason. Riga: J. F. Hartknoch

DSDN171 Project 4 Trade Me Hunting

 

    A silver and crystal table snuff box found on trade me ( http://www.trademe.co.nz/antiques-collectables/silver-metalware-tins/silver/sterling/auction-587007867.htm ), auctioned by the user mopar110 and described as follows:

“A really nice sterling and crystal antique art nouveau table snuff box in excellent condition. Hallmarked for 1904 in the town of Birmingham by silversmith Deakin & Francis this snuff box stands 2.5cm high,7cm wide & 3.5 cm deep. There are no rub holes or tears the sterling lid is golded (sic) on the inside the crystal has a couple of small flea bites.”

 

   

    This silver and crystal table snuff box was put on auction by a user with the alias of mopar110. He claims it is a art nouveau design and I am inclined to concur. Looking at the box we can observe complex carving representing flowers and what seems to be an aubergine. These motifs are in accord with the traditional curvilinear organic and botanical aspects of Art Nouveau design that is derived from a historical influence from Rococo that also originated in France. They are very reminiscent of the drawings of Hernst Heackle in “Art Forms in Nature” (Germany 1862). The box is further decorated with elements related to the exotic nature of art nouveau. Along the side of the lid we can observe a frieze made up of crescent shapes, very reminiscent of Islamic and, in general, Middle-Eastern art and architecture as the crescent is a recurring symbol in the Middle-East. Moreover, the sides of the box are decorated with geometric patterns, yet again, reminiscent of Middle-Eastern art and architecture, more specifically tiles and mosaics that can be found in Middle-Eastern architecture. Finally, the bottom of the box is decorated with a compass rose, this element also implies the theme of travel that goes with the exotic influence of Art Nouveau. The materials out of which the box is made also account for the Art Nouveau style of the box; having been made of crystal, sterling silver and gilded on the inside, these are pretty expensive if not exotic materials. Finally, the last element that supports this box being an Art Nouveau piece is the date at which it was created, 1904 is towards the end of the Art Nouveau period.

     Someone like A. W. N. Pugin, who was an important figure of the Gothic Revival, would have been extremely critical about this box as it displays its opposition to “the true principles of art and design” and displays “cheap and false magnificence” (A. W. N. Pugin, 1843) because of it's ostentatious nature and the way the silver is shaped to resemble flowers which wouldn't be, according to Pugin, appropriate decoration for the function that the object serves. A defender of the Arts and Craft movement would also say something similar, considering this box to be amoral.

     Though I respect both these points of view, I find this box to be fairly subtle as the choice of materials makes for a relatively “white” and discreet piece that while not being suitable for all interiors could fit harmoniously into even certain modern interiors. It is a nice and well crafted box.

Bibliography:
Pugin, A.W.N. (1843). An Apology for the Revival of Christian Architecture in England. London, Great Britain: John Weale

DSDN171 Poster final

Final for my poster for project 3 of DSDN171.
I was inspired by the Glasgow school of design and it's Japanese influences to create a vertical block of text, an other source of inspiration were posters for marine life expositions and aquariums.

DSDN171: Presentation

DSDN171 Of the relevance of a library in a design school.

Universities around the world have libraries, they offer a well organized sources of information through texts and books. But why would a school of design, an art based on visual appearance, innovation and the creation physical objects, need such a vast quantity of texts?

First, it is common sense that for an idea to be original and thus innovative, it must not have been thought of before and already put to use, hence the necessity of having a database in which one could search and see if an idea is truly unique.

Secondly, it is very clear that throughout the history of art and design, the styles of the past have had an influence on the present; as an example, it appears quite clearly that neoclassicism is based on the art and architecture of antiquity, and to do so, artists and designers would count on prints and texts relating of the discovery of these ancient pieces of art and architecture. So it appears that keeping a trace of what has been done to serve as inspiration for the present is a necessity.

Finally, not only does the past have an influence on current and future design, but so do the peers of contemporary designers, thus it is essential that a catalog of their works be created so as to have a means of reference and inspiration.

All this mass of information would be extremely tedious to search through, thus the necessity of a organized database arises. In conclusion, a library is needed, so one can search through and isolate relevant pieces of information without getting lost in a sea of irrelevant data.

DSDN171 Scholarly references for William Morris

Here are the four Scholarly sources asked for, and concerning William Morris:

Simon Poe. (Summer 2010). 'William Morris: A Sense of Place'. British Art Journal vol.11, p108.

Morris, William & Poulson, Christine. (1996). William Morris on art and design. Sheffield [England]: Sheffield Academic.

Harvey, Charles & Press, Jon. (1991). William Morris : design and enterprise in Victorian England. New York, Manchester [England], New York, NY, USA: St. Martin's Press, Manchester University Press.

Parry, Linda. (1996). William Morris. New York, NY, USA: H.N. Abrams

 William Morris. Windrush, 1883

 William Morris. Evenlode, 1883