Design and Postmodernism - PowerPoint PPT Presentation

Loading...

PPT – Design and Postmodernism PowerPoint presentation | free to download - id: 3cd6e4-MTM2Y



Loading


The Adobe Flash plugin is needed to view this content

Get the plugin now

View by Category
About This Presentation
Title:

Design and Postmodernism

Description:

Design and Postmodernism Postmodernism in Design... rejects what were viewed as the dictates of the design establishment built on 60s rejection of the values inherent ... – PowerPoint PPT presentation

Number of Views:86
Avg rating:3.0/5.0
Slides: 43
Provided by: www2RguA
Learn more at: http://www2.rgu.ac.uk
Category:

less

Write a Comment
User Comments (0)
Transcript and Presenter's Notes

Title: Design and Postmodernism


1
Design and Postmodernism
2
Postmodernism in Design...
  • rejects what were viewed as the dictates of the
    design establishment
  • built on 60s rejection of the values inherent in
    the Modern Movement
  • has its foundations in 60s and 70s Pop and
    Italian Radical Design
  • foregrounds the consumer and emphasises the idea
    of design as communication
  • stresses the importance of signs and symbols as a
    means of reviving communication through design
  • argues that the richness of historic and
    contemporary cultural tradition must be
    acknowledged once more
  • finds its signs and symbols in the international
    visual language of history but equally in
    vernacular design and popular culture
  • values irony and wit and often requires or
    assumes recognition of its quotations to achieve
    this communication through a universal language
  • is indebted to mid-century semiotic theory
  • is indebted to 1970s architectural theory

3
(No Transcript)
4
(No Transcript)
5
(No Transcript)
6
(No Transcript)
7
(No Transcript)
8
(No Transcript)
9
(No Transcript)
10
What is Postmodernism?
  • it is an academic term applied within a wide
    range of fields philosophy, cultural studies,
    linguistics, literature, art and design
    history.........
  • it identifies a new phase of social and cultural
    development, citing as key factors the dominance
    of visual and mass media the development of
    digital technology and an information society
    the importance of consumption and the consumer

11
To beginIn its simplest form postmodernism is
most clearly understood in terms of its
rejection of the values, forms and theories
associated with Modernism or Modernity
12
Modernism in design and architecture
  • rejected the forms and values of a previous age
    particularly the revival of historic styles,
    ornamentation and decoration
  • offered a democratic and utopian solution to the
    problems of mass production good design for all
  • argued that aesthetic beauty would naturally
    arise out of reason and truth embodied in
    ideas such as form follows function, truth to
    materials
  • evolved a simple, pure and unifying aesthetic
    reflected in Mies Van Der Rohes dictum, less is
    more

13
Marianne Brandt. The Kandem Table Lamp. 1928
Form follows function. Objects as expressions of
use value or function
14
Marcel Breuer. Model B3. (The Wassily Chair) 1925
Rationalism in design would create a
well-ordered world expressed in clean forms
attuned to modern life, modern materials and
modern technology.
15
K.J. Jucker W.Wagenfeld. Electric Table Lamp.
1923-24. The aesthetic would be appropriate for
the machine-age, appearing engineered, precise,
highly finished and manufactured
16
The trajectory of European Modernism
  • 1930s.
  • Late 1940s. Post 2nd World War.
  • 1950s.
  • The Bauhaus and the advent of war
  • Internationally, much design emphasised the
    crisp, geometrical, clean and modern.
  • Good Design promoted by MOMA in New York, the
    Design Council in the UK, Hochschule fur
    Gestaltung in Germany

17
GOOD DESIGNEdgar Kauffman Jnr. Dept of
Industrial Design, MOMA
  • In defining good design Kauffman did little
    more, however, than reiterate the same Arts and
    Crafts values that had been voiced by so many
    Modern Movement spokesmen before him, emphasizing
    once again the well known tenets of truth to
    materials, the unification of form and function,
    aesthetic simplicity, and expression of the
    modern age..

18
Marcello Nizzoli The Lettera 22. Olivetti.
1950 The Mirella Sewing Machine. 1956
19
Dieter Rams. The Transistor. Braun. 1956
20
Dieter Rams Hans Gugelot SK4. Snow Whites
Coffin. Braun. 1956
21
Modernism as an imposed solution
  • All believed that advances in science and
    technology were evidence of social progress and
    provided paradigms for design thinking. They
    thought that communication could be objective and
    that optimum solutions to design problems could
    be found. Many felt that design, if rationally
    conceived,. could help solve social problems and
    did not itself create such problems. And most
    assumed that goods should be mass produced by
    industry. Victor Margolin. Design Discourse. 1998

22
From design as solution to design as
communication
23
60s and 70s
  • Pop and Radical Design
  • Semiotic theory
  • Complexity and Contradiction in Architecture.
    Robert Venturi. 1966
  • Learning from Las Vegas. Robert Venturi, Denise
    Scott Brown..., 1972
  • The Language of Postmodern Architecture, 1973,
    Charles Jencks

24
POP fun, disposability, colour pattern,
vitality, kitsch.
25
Italian Radical DesignArchizoom Associati,
Naufragio di Rose dream bed. 1967
26
Semiotics
  • One key figure. Roland Barthes
  • Mythologies
  • 1957 French
  • 1972 English

27
"Every object in the world can pass from a
closed, silent existence to an oral
state" Barthes, R., Mythologies, New York, Hill
and Wang, 1998, p.109 "We shall therefore
take language, discourse, speech etc., to mean
any significant unit or synthesis, whether verbal
or visual a photograph will be a kind of speech
for us in the same way as a newspaper article
even objects will become speech" Ibid., p.109 
28
Architectural theory
  • Robert Venturi
  • Complexity and Contradiction in Architecture.
    1966
  • Learning from Las Vegas. 1972

29
Architecture can no longer afford to be
intimidated by the puritanically moral language
of orthodox Modern architecture. I like elements
which are hybrid rather than pure, compromising
rather than clean, distorted rather than
straightforward, ambiguous rather than
articulated, perverse as well as impersonal,
boring as well as interesting, conventional
rather than designed, accommodating rather than
excluding, redundant rather than simple,
vestigial as well as innovating, inconsistent and
equivocal rather than direct and clear. I am for
messy vitality over obvious unity Complexity
and Contradiction in Architecture. 1966
30
Blatant simplification means bland architecture.
Less is a bore Complexity and Contradiction in
Architecture. 1966
31
there are didactic images more important than
the images of recreation for us to take home to
New Jersey or Iowa one is the Avis with the
Venus another Jack Benny under a classical
pediment with Shell Oil beside him...These show
the vitality that may be achieved by an
architecture of inclusion, or, by contrast the
deadness that results from too great a
preoccupation with tastefulness and total
designLearning from Las Vegas. 1972
32
Robert Venturi. Architect and theorist
33
Charles Jencks. Architect and theoristColosseum
Chair and Stool. 1984
34
Memphis. Established late 1980Group portrait.
1982
35
Memphis
  • makes extensive use of plastic laminates
    formerly a metaphor for bad taste
  • references popular culture and vernacular design
    extensively
  • adopts an anti-modernist use of colour,
    decoration and surface design
  • makes repeated ironic reference to modernism and
    functionalism
  • blurs the boundaries between art and design
  • chaotic, riotous mixing of materials and forms
    anti-unity, maximum creativity

36
Memphis. The new Made in Italy, which draws
from global culture, from real time, from
computers and television by satellite. Thus,
Sottsass and his associates have shown us the way
out of the cul-de-sac of the Bauhaus
37
Ettore Sottsass. Memphis MilanoCarlton
Bookshelf. 1981
38
Ettore Sottsass. Memphis Casablanca Buffet. 1981
39
Nathalie Du Pasquier. MemphisArizona carpet. 1983
40
Javier Mariscal. MemphisHilton Trolley. 1981
41
Memphis furniture. 1983
42
Postmodernism in Design...
  • has its foundations in 60s and 70s Pop,
    Anti-design and Radical Design
  • builds on 60s rejection of the values inherent in
    the Modern Movement
  • foregrounds the consumer and rejects what it
    views as the dictates of the design establishment
  • argues that the richness of historic and
    contemporary cultural tradition must be
    acknowledged once more
  • is indebted to mid-century semiotic theory
  • is indebted to 1970s architectural theory
  • stresses the importance of signs and symbols as a
    means of reviving communication through design
  • finds these signs and symbols in the
    international visual language of history,
    vernacular design and popular culture
  • values irony and wit and often requires or
    assumes recognition of its quotations to achieve
    this
About PowerShow.com