#dsdn171

DSDN 171 - ASSIGNMENT 2

NATURE INSPIRED DESIGN

Sustainable Design-

 Turning to nature for inspiration for sustainable design is simple.

We only need to look as far as animal behavior to see thousands of examples of sustainable design. Richard Dawkins, the author of The Extended Phenotype: The Long Reach Of The Gene introduced the idea of the 'Extended Phenotype' this idea is that a species phenotype should not be limited to its biological composition but also include its morphology of its environment. A few examples of this are Termite mounds, birds nests, beaver dams and caddis houses. When analyzing this animal behavior their genius becomes clear; they are truly architects, inventing technologies for the benefit of their species. They achieve this with morphology of natural materials yet there is no negative environmental impact or pressure on natural resources. This is natural Design and this is 'sustainism'.

As human beings we can learn from these pure forms of morphology/ architecture. Because of this animal architecture we can begin to see “Nature as a source rather than a resource” - Sustainism is the new Modernism. In summary we should learn from our Planet's natural history to pave the future of sustainable design. We must stop abusing non renewable resources, creating environmentally dirty products and instead strive to work with our planet to produce 'good' design. With this knowledge in mind I strive to use sustainable materials such as: Hemp fibre, cork, bamboo and recycled rubber to benefit our species, create sustainable products and to promote sustainism.

Peace.

Sources:

Dawkins, R. (1999). The Extended Phenotype: The Long Reach Of The Gene. Oxford University, USA:

Oxford University Press.

  Schwarz, M., & Elffers, J. (2010). Sustainism Is The New Modernism.Berkeley, CA; New York:

DSDN 171 - ASSIGNMENT 1

AN OBJECT PERCIEVED

My MacBook Pro is essentially a notebook with a universe of opportunity within its metallic shell.

It is to me as a budding artist what the technology of the oil painting was to Van Gough or the technology of the instrument to Beethoven. It presents me with endless access to virtually limitless art forms across many mediums. Within one object I can express my inner artist through mediums such as photoshop, Auto cad and Word. It is a tool whose function adapts to my exploration as an artist by downloading apps and softwares to match my desire. I open my MacBook like a hardcover book, its metallic surface is soft on my hands and its keys are friendly to press. It has a large dark screen, the space within holds infinite more information than any traditional book written before. The MacBook has a variety of ports running along its sides opening its pages to the input of other instruments and objects. I appreciate this when I connect a drawing tablet and turn my MacBook into a canvas of unlimited depth. Given access to the internet my MacBook now allows me to connect with anyone, anywhere at anytime.Such an infinite device; the product of modern technology combined with modern thinking stored away in my satchel for me to take wherever I go. Now with my MacBook as my tool of creation I am free to explore the world with a universe of creative possibility at the tips of my fingers.

  Andrew, J., Steen, H.C, Lars, B., (2011). A Hybrid Imagination: Science and Technology in Cultural Perspective. United Kingdom.

  Bibliography - http://books.google.co.nz/books?id=iedcAQAAQBAJ&dq=technology+and+the+imagination

  Leonardo da Vinci -

The MacBook Pro

  Today I open this device to be welcomed in by an ergonomic assortment of glowing keys.

.Within its darkness lies a depth of beauty, with a swipe of my fingers across its shiny controls the surface of its depths becomes a thing of play. Folders, like brains separate from my own hold library's of knowledge and museums of art. I am very desirous to discover the mediums within this metallic canvas. Such a device breaks down the lag time between what I imagine and what I can create. Such a device captures an entire archive of creative tools at the disposal of its metallic pad. Such craftsmanship is God-like to capture a world of infinite art within such a beautiful artifact. This artifact displays colour richer than oil yet its surface remains clean. The MacBook Pro must a device for the most elite of artist, yet I can carry it across the Earth with no further burden than the simple canvas.

I must break it open at once to observe how one engineers such magic.

  Leonardo D.V, (1540). Treatise on Painting. Florence, Italy. Translated by John Francis Riguard.

The values of handicraft have been forgotten in the current digital age. The importance of the purity and beauty of materials is faded in the modern society. The traditional handmade skills are been replaced by industrial production.

A notion of "good work," derived from William Morris and the Arts and Crafts Movement but also part of a wider tradition in philosophy (associated with pragmatism and Everyday Aesthetics) understanding the global significance of, and opportunities for, aesthetic experience, grounds both art making and appreciation in the organization of labor generally. Only good work, which can be characterized as "authentic" or as unalienated conditions of production and reception, allows the arts to thrive.

Petts,J.(2008).The Journal of Aesthetic Education 42.1. Good Work and Aesthetic Education: William Morris, the Arts and Crafts Movement, and Beyond, 30-45

Retrievedfromhttp://muse.jhu.edu.helicon.vuw.ac.nz/journals/the_journal_of_aesthetic_education/v042/42.1petts01.html

The Arts and Craft philosophy was based around the idea of the craftsman taking pride in one’s work, to show cases the true beauty of materials and not to hide, but revealing elements such as the hinges and connections. Morris, believed that when objects are made by hand, it add value and beauty to the design otherwise it would be disgusting and painful.

 “. . . the purpose of applying art to articles of utility is two-fold; first, to add beauty to the results of the work of man, which would otherwise be ugly; and secondly, to add pleasure to the work itself, which would otherwise be painful and disgusting.”

 William Morris, the Arts and Crafts of Today 1889

Petty, J. Reform [PDF document]. Retrieved from Lecture Notes Online Web site:

http://schoolofdesign.ac.nz/pluginfile.php/8753/mod_resource/content/2/171%20reform%20lecture.pdf

In the digital era more and more industrial productions are found for everyday use. The purity of materials is striped away and the idea of ‘authentic’ work is lost because no longer the design is made by human, but by machines. These kind of designs has no value, no beauty and add no pleasure to the work.

Industrial revolution was from 176 – 1840, which was heavily influenced by urban influx, material availability (iron, paper, energy), distribution of wealth and political power, economic boom, increasing literacy and public education and dissolution of handcraft, division of labor.

Petty, J. Reform [PDF document]. Retrieved from Lecture Notes Online Web site:

http://schoolofdesign.ac.nz/pluginfile.php/8753/mod_resource/content/2/171%20reform%20lecture.pdf

With rapid development in technology, mass production has become common place in today’s world, however with this increasing demand also comes the need for efficient design. With increasing access to modern technology the ability to replicate almost anything and produce seemingly endless supplies has resulted in a throw- away society influenced by consumerism. This overconsumption and excessive production of short-lived or disposable items has made finding authentic original design objects increasingly difficult and incredibly expensive which only a few can afford.  As can be seen on freely seen on various reality TV shows there is still interest in the authenticity of vintage or antique items especially if they have hold a monetary value, however do we value the these objects for their aesthetic and historical design or just for their potential perceived worth?

The Rococo design era came about in the 18th century, staged in a financially stable and prosperous society. The style flaunted the wealth of its followers, as extravagant gold and silver gilded decadent pieces of art and design defined an era of a flamboyant social class system. Through the decades Rococo design pieces have retained their value in wealth due to their historical value and weight in materials, with high monetary returns per piece gained through antiquity collector circles.  

 Replications and modern more practical takes on design styles have allowed pieces of art and design such as the Rococo style to become more affordable and accessible to the greater population. So much to the point where there are hundreds of examples where replicas can often be as authentic looking in appearance as the originals. Although their is a sense of nostalgia that comes with authentic antiques and sense of ownership, the style and aesthetic of the form can still be appreciated without the need to have been created from that specific era. However is this idea of mass production, efficiency and cheap materials of today society detract from the fundamental idea that Rococo design was an expression of luxury modelled from nature and organic forms? Or rather is this aspect of the design style less relevant as it is no longer a means to exhibit ones wealth, as it was back in the 18th century.  

Boucher, F., & Hyde, M.L. (2006). Making Up the Rococo: François Boucher and His Critics. Los Angeles, CA: Getty Publications. 

When you look at a simple geometric cube of a building are you inspired, does your brain run rampant, do the "speed whiskers" make you see this building as a speeding train. No not at all.

"The simple, geometric style of the Art Deco period (1918-1939) lends itself better to graphic design than architecture"

Art Deco was created with the intention of being something luxurious, exclusive and personal, but how can the exterior of a building display this? It creates a cold and sterile look, architecture should create a positive environment, cosy and inspiring but visual communication design doesn't have to, it just needs to communicate information and this is done more clearly with geometric compositions. When you compare the "Bank of New Zealand Building" to the "Nord Express poster" you get what the true essences of art deco is, by using simple geometric shapes to create an object that looks as though it is in motion it. This works in graphic design because it is simple, easy to read, and grabs your attention mimicking the "universal visual language" of the Bauhaus. As Fredinad said "..... The most striking example is the advertising billboard --sharp, permanent....."  With this I say that art deco as the extraordinary style should stick with graphic design and ditch the child like architecture it tried to grasp.

  REFRERENCES:

  "We live in a geometric world, it is undeniable, and also in a state of frequent contrasts. The most striking example is the advertising billboard --sharp, permanent, immediate, violent, it cuts across the tender and harmonious landscape"

Ferdinand, L 1923 Alt Modern (power point slide) Retrieved from http://schoolofdesign.ac.nz/pluginfile.php/8843/mod_resource/content/1/171%20altmodern2013.pdf

 Nord Express poster Cassandre (Adolphe Mouron) France 1927

&

Bank of New Zealand Crichton, McKay and Haughton Napier NZ, 1932