Meditation. Celebration. The time of modernism and postmodernism is a time of unique pairings which ironically are in a sense idioms to which modernism was in accordance with. Meditation is the polar opposite of celebration, yet the times of modern design managed to join the two to create a somewhat sense of harmony. Meditation makes me think of alone time, in a relaxing or serene state of pondering or thought. The modern designers meditated on the classical design forms and the blossoming technological advances of the time and attempted to develop a design form either combining the two or disheveling one or the other. The products of the meditation on design forms brought about a celebration of the industrial aesthetic of a structure. The contemporary design of the Joseph Shops used the celebration of the industrial aesthetic to create the sense of a somewhat serene, controlled state. These shops “incorporated industrial materials…to produce a mood of control and understatement which has now been widely emulated” (Massey 201). When one is in meditation, they are in control of their body and are aware of their thoughts while also becoming relaxed. The contemporary form of design used the simplicity of industrial materials to portray a sense of relaxed control, which in essence to me created a meditating-worthy environment, or an essence of comfort. Also, as mentioned before, the modern design was a celebration of the twentieth century advancements. The booming technological advances and the emphasis on economy through industry and manufacturing brought about a celebration of such establishments. The nineteenth century also sought for celebrating advances, an idea which carried out the more progress that was made internationally. I feel the hi-tech branch of modernism is a strong example for the celebration of technology. “The ‘Hi-Tech’ movement celebrated the aesthetic of industrial production” (Massey 195). The hi-tech design form led to the services of the building becoming the ornament of the exterior and the interior becoming flexible. The use of industrial materials brought about the industrial aesthetic and was a blatant display of celebration. Celebration and meditation worked together in the design world of the twentieth centuries, which also aids in the mystery of the indefinite line of what is modern design and what isn’t. The connection between ironic pairs blurs the vision of spectators and even further blurs the line of the term modern.
Light. Shadow. In art, light and shadow are parallel to the terms tints and shades. The terms refer to the intensity of the presence of black or darkness in an area. Light and shadow create a contrast (or lack of) to which the viewer is able to see definite shapes and decipher one piece from another. Twentieth century design experienced a time in which light was extremely important; the amount of light led to the amount of shadow in a space. The attempt at integrating “inside and outside” or “interior and exterior” has been a several century obstacle. The modernist design period brought about an essence of mastering the integration of the two. Philip Johnson’s ‘Glass House’ was seen as mastering the obstacle where he created “a simple cube with four glass curtain walls” (Massey 150). I would argue however that the Crystal Palace was a very well crafted integration of interior and exterior in terms of nature. The effect created from the glass walls was the immense amount of natural light which could captivate the interior of the structure paired with the ability to see the outside would around the viewer. After Johnson’s development, the value of natural light in a space became important. During the green design of the 1970’s, the interior of the structure became very environmentally friendly. There was an intent to make sufficient use of natural light and therefore the “main living area features a south-facing, curved window to exploit the available solar energy” (Massey 188). Natural light was a source of saving energy while lighting the interior and exposing the furniture to the viewer. Before the incorporation of color into modern design, it was seen as being mostly black and white design, which would result from the use of shadow and light in the design process. The international Modern interior placed emphasis on electric lighting sources during the mid-twentieth century; the interiors had a “scattering of free standing lamps superseded wall-brackets or the single source of light fixed to the ceiling. (Massey 161). When I picture the modern designed living room and the electrical lighting sources, I think of the old shows on TV Land which show the interior of homes with electric lighting. I can picture the black and white shows displaying the artificial light and the way it effected the space; I feel artificial light brings a sense of darker hues and a seemingly plastic environment.
Transpose. Juxtapose. These two terms are again used in accordance during the modern design world ironically. The Merriam-Webster Online Dictionary defines the two terms as:
“Transpose- to change in form or nature; to render into another language, style, or manner of expression”
“Juxtapose- to place side by side”
Transpose, in the big picture can be seen as the modern design form itself. The modern design was a challenge to the previous century of revival and imitation of classical forms of design. Transpose also consumes transition experienced in the interior space of a structure; the language of the interior changed becoming the identity or reflection of the owner. The style of the interior during the modern design went through many ‘transpositions’ in which simplicity outweighed fluidity, and organic forms overshadowed exotic forms. The interior also experienced transpositions through the surface treatment of the interior; texture, hue, shape changed throughout the many branches of modern design. The interior of the Corbusier modern form differed from that of the Pop design form or the contemporary design. Each transposition created a different form which could be seen as juxtaposed forms of modern design. Each of these varying forms when laid out can be taken apart to reveal the basics of modern design. The fluidity of change in the transpositions brought about an essence of juxtaposition meaning that each design form connected to the other, where it was additive or subtractive to the initial modern aesthetic developed by Corbusier. Juxtaposition was also taken literally in modern interior design forms. The American Modern interior incorporated organic forms with varying surface treatments. The varying objects with certain surface treatments had a “tendency to juxtapose textures and patterns” (Massey 161). The juxtaposition of surface treatments brought about a lesser sense of order and an increase in the relation to the viewer’s appeal to the eye. During the Psychedelic Movement (another transposition of modern design), the Pop and Surreal art forms became the ornament of the interior. The interior saw “bizarre juxtaposition of incongruous objects in deliberate ‘bad taste’ in strangely fit, bright colored interiors” (Massey 185). In essence, during the different transpositions of modern design, juxtaposed objects were used in the interior to create movement for the viewer and a superimposed sense of order in unexpected manors.
Once again, I misspell another word in a sketch. Snaps for Riley!
Literal. Abstract. These polar opposites, once again compose the broad twentieth century design form called modern. Literal is a somewhat self explanatory word; what you see is what you get. What is brought in front of the eye is clear, harmonious, and direct. Abstract is somewhat unclear or not necessarily a tangible being brought to the eye. Abstract is pretty much anything it wants to be. As an art form, abstract is often very thought provoking and is self expression of the owner, it doesn’t have to be clear or easily perceived by the audience. During the time in modern design in which the industrial aesthetic was a fervent design idea, the interior as well as exterior of the structures were very literal in essence. The material used for creating the interior or exterior weren’t fashioned in any way in which the viewer was uncertain of what the material was, there was no thought process in analyzing the space because what was seen was the reality of the space. In the interior, “items in which the design was simple, of good proportions, and without dust-collecting features” (Massey 159) were seen as good design. Simplicity was seen as key, ornament and bedazzlement of the interior or exterior wasn’t seen as ‘good design’ in the early modern time. Roth speaks on modernism on page 539 and states, “Their ascetic architecture was to make no statement other that to reveal itself.” This statement shows the intent of early modern design, which was to emphasis simplicity and literal expression. Later, in the modern design period, heavily during the Psychedelic Movement, the use of Pop and Surreal art forms were used to “deliberately disorient” the viewer (Massey 185). This was heavily brought about by drug use and Op art. The Pop, Op, and Surreal art forms were seen as abstract, they brought about visual illusions and, like mentioned before, disoriented the viewer. The juxtaposition in the interior of surface treatment, I feel, is another form of abstraction in the later modern design world; the viewer doesn’t necessarily comprehend immediately what is before their eyes, they must look at each piece individually to be able to view the space as a whole. Abstract and literal where two ideas that were played with and tweaked during the modern design period; many view literal as the stronger of the two because it was more like the intention of Le Corbusier when her first envisioned a ‘New Architecture.’
Monologue. Dialogue. The terms themselves are pretty apparent as to what they mean; monologue being a ‘conversation’ between one being and dialogue a ‘conversation’ between several beings. The relation of the two in modern design connect to one another, just as all the other previous prompts have. The initial intent of modern design, I feel was somewhat a monologue. Corbusier expressed his ideas for a ‘New Architecture’ in which ornament was stripped and the rules of architecture were challenged and seen in a new light. His structures he composed were very simple, and literal in essence. His monologue can be seen in two lights. First, I feel he expressed that he wanted the development of architecture to be thought through deeper than appearance, he wanted to see architecture with a purpose, having been laid out based around an inspiration. Secondly, I feel he wanted the architecture form to “make no statement other than to reveal itself…” or “if the architecture did speak, it was only about current building technology and structural science” (Roth 539). The structures communicated in the essence of the building itself, or exemplified a monologue to the onlookers. Dialogues came later as the modern design world took flight. The incorporation of varying surface treatment brought about a dialogue between the objects and textures and hues themselves. Later, dialogue formed through the incorporation of “antique and contemporary” (Massey 208). The classical forms became drawn back into design, yet altered to become more modern. The expression of classical forms revealed the designer’s intelligence of the design world, yet the integration of the modern forms brought about credibility for designing in their specific time period, appealing to the consumer demands, as well as adding to what’s previously seen as ‘modern.’ Modern and classical forms then also shared a dialogue. With the increase in modern design, and the beginning of interior design as a profession, modern design brought about a literal dialogue as well. This would be the dialogue between the designer and the homeowner, as well as the homeowner and the interior. The interior became the spokesman of the individual owner, and therefore interior designers aided in the communication to which the homeowner desired. Modern design brought about a transformation as an initial monologue to incorporating many voices and becoming a dialogue.
I am somewhat glad that we have started having the quizzes on the reading, of course I don’t do well because I never remember what I am supposed to when I am supposed to, but I feel the reading has helped me in my prompts for the opus project. I feel that this week’s opus was very intriguing, I like modern design and I have enjoyed seeing the [pair]ing down of antonyms to create one form of design. I like the freedom in the design, yet it does concern me the lack of awareness of the environment and what is structurally needed and the emphasis on creating architecture as almost solely art forms. I am excited to see where technology takes our modern design next. It seems that there’s a cycle from renovation to design and reverting back to classical roots, so perhaps in the near future we will see Roman and Grecian forms prevail again…
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