Blog 5: Locovisual

Wesley Methodist Church – Taranaki Street, Wellington.

“Gothic revival was the most widespread and artistic movement which England has ever produced,” (Clark, 1962, pp. 7). The Wesley Methodist Church is heavily influenced by mid-18^th century Gothic Revival style. This is evident through characteristics such as elegance, and ornament of the decorated windows, the pointed arch of the roof which common of the Gothic Revival style which is grand and tall, and helps produce the light and airy interior. According to Kenneth Clark it was these pointed arches and tracery that people wanted in a church, not chancels and side aisles (1974, pp. 94). Gothic design was a comprehensive response to the dislocations and traumas of the Industrial Revolution in Britain, (Lewis, 2002, pp. 7).

Design reformists such as Ruskin and Pugin were troubled by the dehumanising of labour in the modern world. Ruskin believed that “physical labour had a nobility and spiritual dimension, which the Industrial Revolution had despoiled, condemning the factory worker to mindless repetitive action,” (Lewis, 2002, pp. 115). This was believed to have made medieval work superior above other styles as it commanded the sculptor to use his mind as well as his hands, designing and executing as opposed to tedious labour (Lewis, 2002, pp. 115). A large motive of building Gothic churches was economy. The cheapest medium at this time was brick. “No greater quantity of stone should be used,” (Clark, 1974, pp. 96). Following this principle, the Wesley Methodist Church uses wood as this is a cheap and easily available material in New Zealand.

The Wesley Methodist Church is likely to have been built in the style of Gothic Revival because according to Micheal. J. Lewis  the orchestration of light, sound and space designed in these cathedrals brought Christian worship to a pitch of spiritual reverie (2002). Clark agrees, saying “Gothic architecture not only provoked religious enthusiasm but excited it in a particularly dangerous form,” (1974, pp. 101). Walpole stressed the popish element in Gothic design, saying that Gothic churches infuse superstition. The Industrial Revolution heavily influenced the Gothic Revival style which is still used today. Especially in church architecture, as its ornament and space create a spiritual atmosphere.

 

Reference

Clark, Kenneth. (1962). The Gothic revival : an essay on the history of taste (3^rd ed). London. John Murray.

Clark, Kenneth. (1974). The Gothic revival : an essay on the history of taste (4^th ed). London. John Murray.

Lewis, Micheal. J. (2002). The Gothic Revival. New York. Thames & Hudson.

dsdn171 Blog 4: Curatorial

Blog 4: Curatorial

Anybody is influenced by where and how he lives - Imogen Cunningham

Organic Structure
Whiplash curves, asymmetry and organic lines are explored in this structure. Taken from that of a Mongolia flower, Imogen Cunningham’s work was an in-depth study of the botanical structure. Her photographs explored the layers of petals as natural cures unfolded upon each other. This art piece unfolds its curving layers and explores a new tunnelling shape. It takes Frank Llyod Wright’s philosophy of ‘Organic Architecture,’ where structures are in harmony with humanity and its environment. Combining these attributes of Cunningham and Lloyd’s together this piece creates its own organic structure. The material is curved from straight lines. Delicate and thin tracing paper is used to emulate the flowing delicacy of Cunningham’s lines.  Long straight layers trail from the back, showing its original form. Each layer can be traced back to the beginning. Put into a natural environment this work would blend in harmoniously.
"The nature of the purpose, the nature of the entire performance becomes clear as a necessity," (Richards, 2004, pp 20-21).
Looking through this design there is space inside the tunnel like shape of the overlapping curves.  This space creates the interesting shadows of the overlapping, thin material. One can see through this space and is drawn down into this tunnel shape. This space is important as Wright once stated "Space within becomes the reality of the building,” (2009).
Design and the aesthetic qualities of harmonious nature should always combine together to create something special that blends with its environment such as this design.

Reference

Cunningham, I. Imogen Cunningham quotes. Retrieved 05, 2012, from http://www.brainyquote.com/quotes/authors/i/imogen_cunningham.html#vzB8v3wXKrrJL0Xl.99

Richards, L. W. (2004). Rekindling the flame of Frank Lloyd Wright. Building, 54(3). 20-21. Retrieved from ProQuest Central database.

Wright, F. L. (n.d.). Frank Lloyd Wright quotes. Retrieved July 20, 2009, from http://www.brainyquote.com/quotes/authors/f/frank_lloyd_wright.html)ce

Blog 3: Antiques Hunter

http://www.trademe.co.nz/antiques-collectables/furniture-woodenware/furniture/19001949/auction-469360993.htm

This seven piece dining suite is a Gothic Revival from the early Nineteenth century, Europe. This design would have been crafted as a result of the Industrial Revolution. Many pieces of furniture produced were inspired by John Ruskin and other writers who deployed the effects of industrialization.  The Gothic revival was dedicated to re-establishing the importance of craftsmanship in an era of mechanization and mass production (Ruskin, 1853. P 15-19).  It’s likely that it was made in Britain as this is where the Industrial Revolution took place. The carved decorations are in walnut which was a good resource in Britain during this period. Gothic revival objects were often made with the natural materials around them as it was more practical and cheaper than importing materials. Pugin believed that ignoring the “proper” use of materials was “dishonest and resulted in ugly designs” (Raizman, D, 2004, p 48). This furniture’s not bent unnaturally from the wood it’s made from. Pugin (1841) believed “designs should be adapted to the material in which they are executed.” The dining suite also follows Pugin’s “True Principles” of design, including “nature as model for ornament” as it depicts leaves underneath the frame of the table. It also follows the principle “abstraction in representation.” Although the leaves are engraved in the table they are still two dimensional with a flat appearance, not a realistic life like representation of leaves. Direct imitation of nature was believed to be dishonest. “The more closely nature is copied, the farther away we are removed from producing a work of art” (Jones, O, 1856, p 21).  This furniture is simple in shape and contains elaborate and intricately carved decoration, characteristic to Gothic revival design (Raizman, D, 2004, p 49-57). Owen Jones (1856), a design reformist from this period also “promoted forms of ornament that were idealized or conventionalized, rather than closely copied from nature” (p. 19).

References

Ledes, A. E. (1995). A. W. N. Pugin and the Gothic revival. The Magazine Antiques , 148(6). Retrieved from ProQuest Central database.

Raizman, D. (2004). “Design, Society and Standards,” History of Modern Design. (pp. 45-63). New Jersey: Prentice Hall Inc.

Ruskin, J. (2003). “The Nature of Gothic,” excerpted in Gorman, C. The Industrial Design Reader. (pp. 18-20). New York:  Allworth Press.

Dsdn171 - Blog 2: Research Statement and Annotated Bibliography

Research Statement:  Analyse the education of postmodernism and understand how it affects postmodern design practice.

What is post-modernism?:
Charles Jencks is known to be one of the founders of the post-modern movement. Information on the evolutionary, social and economic forces of this new stage of global civilisation will be helpful in investigating the education.  The two types of postmodernism are covered, deconstructive and reconstructive. This information will help provide an understanding of the social and economic factors that would have affected postmodern education from the 1920’s onward.

Postmodern Culture, Aesthetics, and the Arts:
Takes a broad look into the aesthetics and ethics, transformation of the artist tradition and interdependence of postmodernism. Concepts and strategies of postmodernism are looked at in close detail. Discusses cultural, historical and aesthetic context in postmodernism. This will be helpful in understanding the aesthetics of postmodern design.

Marxism against postmodernism in educational theory:
Explains how postmodernism has now become the “orthodoxy in educational theory.” Looks at main theories such as Marxism and Liberalism. This book argues that postmodernism doesn’t provide viable educational politics or educational practice. This book will be a good resource as it provides information on the education of postmodernism.

Did We Ever Stop Being Postmodern?:
Questions whether we actually ever left the postmodern age. Looks at postmodern design artists such as David Carson and April Greiman.  Inspects postmodern design and analyses’ each design in the factors that make it postmodern. This website would be helpful as it explains the appearance and style of postmodern design.

Wet Magazine Cover:This image clearly shows the look, style and aesthetics of postmodernism. It is a magazine cover from the late 1970’s. Designed by famous, postmodern designers and represents the style of the time. This image is helpful in research as it’s a clear example of what postmodern design looks like. From this picture information can be gathered such as the use of colour, composition, material and the form of media that was used in the late 1970’s. 

References

Greiman A., & Odgers J. (1979). Wet Magazine Cover. Victoria and Albert Museum, London (Source). Retrieved from http://observersroom.designobserver.com/rickpoynor/post/did-we-ever-stop-being-postmodern/30798/
Hill, D. (Ed.). (2002). Marxism against postmodernism in educational theory. Lanham, MD. Lexington Books. 
Hoffmann, G. (2005). Postmodern Culture, Aesthetics, and the Arts. Postmodern Studies, (72). 33-104. Rodopi (publisher). Retrieved from Victoria University of Wellington Library database.
Jencks, C. (1989). What is post-modernism? London, England: St Martin’s Press.
Poynor, R. (2011). Did We Ever Stop Being Postmodern? Retrieved from http://observersroom.designobserver.com/rickpoynor/post/did-we-ever-stop-being-postmodern/30798/

Personae 171

My name is Ally Baldwin. I'm studying a Bachelor of Design Innovation specializing in Media at Victoria University. I had originally applied for a BA at Victoria for a double major in Psychology and Sociology as I like English. I also submitted a portfolio of my work to Massey University to apply for a Diploma in Photography. After being accepted into both I had to make the difficult decision in choosing my future with a fourteen day dead line. I ended up choosing a completely different direction as it's difficult to make much of a career out of photography alone and although I have a interest in psychology, the jobs that come from it are not for me. I chose Media Design at Victoria as the main attraction was the jobs that stemmed from it, they all sound like things I'd love to do such as film and special effects editor, game designer and web site designer. I saw that one of the students who had completed their degree had gone on to be a director of cinematography and photography in film, I would love a job like this. Also all the projects we will do in our second and third year sound really amazing - designing and making our own game, creating a short film.

My design inspirations are Gerald Scarfe (designer of Pink Floyd, The Wall) as his illustrations are unique, very organic when animated and I like the use of ink and Jamie Reid (designer for The Sex Pistols) as he was one of the main influences that brought on the punk revolution. He was daring enough to use the Queen's portrait with his famous font of a ransom note effect (cut out newspaper) over her face reading "God Save The Queen."