Friedrich Hundtwasser
The Grizzlies, the new International Style, provided the stylistic cure for austerity modernity first exhibited by the Memphis Group in 1981. For them, decorating and styling is a game.
Because they stated at the time that their purpose was to introduce color and decoration in order to create objects and interiors that offered a richly imaginative, yet exciting study.
Functionality and the ongoing rational design architecture had lost its appeal. The aesthetics of simplicity relies on the ESS being more? Is the tone of the words more like one that relies on the publisher's undertaking? What happened to the individuality and imagination of all this homogeneity? Modernist design produced a social uniformity where all the buildings in the city looked the same and detrimental.
Plain, square-like International Style city buildings are becoming anachronistic, out of place at a time of increasing individualism. Belief in modern certainty - a single, orderly way of proceeding, the kind that drove design for many centuries, parallel to the forward march of technology and in the modern world, is challenged by postmodernism.
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Restoration of rationality and personal expression emerged simultaneously in the 1970s era. In Barcelona, young Spanish designers re-expressed. With postmodernism, wittiness ruled, and the self-deprecating design style of the past became the style itself.
Javier Marisal, the original cartoonist, developed an eccentric design that expressed irony and irreverent caricature. Sottsass invited to exhibit at the Memphis Group in 1981, he designed a beverage cart. A straw man of traditional functionality in its use of Art Deco in his streamlined design, the aerodynamic Marisal gave it a dynamic look that conveyed speed in form and fashion. This in turn elicits an image of the customer seeking a trolley for the restaurant...
Part of the development of postmodernism, a general shift in design away from a focus on problem solving and improvement, towards a wider engagement with the world of imagination, creativity, humor and visual stimulation.
Design has become synonymous with good taste and consumption and appeals to international rather than national trends; trade shows such as the Milan Triennale have fostered this new international style by combining simple forms of Bauhaus style borrowed from around the world.
The geometric Bauhaus style inspired minimalism in the 60's and 70's, was overthrown in simplified form in the 50's. The PoP design is a reaction to the simple form of the Bauhaus style. PoP design is a reaction to the concept of ???food? Design enacted by architects and designers of modernism. While the popularity centers on the crossover between ???Food??? and ???Deterrent??? ads? and deterrent advertising? design, using popular images taken from comic strips and advertisements (such as logos of consumer culture), other trends in minimalist design and op modern art theory continued along more extreme geometric lines.
In Italy, fundamentally design developed a movement whose members were anti-design in which they were more revolutionaries than just stylistic innovators. They emerged at a time of mass strikes and student riots in Europe. Their design ideology was a mixture of philosophy, art form and industrial production. Rejecting the aesthetics and then driving design in Italy, technical and functional, these groups accepted the medallion and used it to provoke new meanings in the objects they produced.
In 1976 the studio Alchimia was founded in Milan (Alchemy: Transformation of base metals with gold). Alchimia further developed the popular trend of anti-design in the late 60's, creating conceptual design ideas of mediocrity, which they disseminated in exhibitions and publications. They believed that design was all about surfaces, and they fought a race to decorate as a subversive attack on the universal concept of ???food flavor???. The group's consumerism refused to rule out any mass production of their designs because of the amount of mediocrity they considered
Stirring up the banality of everyday life with mysticism and modernism, Studio Alchimia gained international exposure at the Venice Biennale in 1980. Its members included Ettos Sottsass and Alessandro Medini who was the editor of Modo Magazine (Design Magazine), the Group of 77's chief theorist.
Allesandro Medini
Proust Armchair
Medini's Perspiring Armchair? is the first group抯 foray into kitsch and mediocrity inspired design. Reproducing a typical paper, while through the surface decoration Medini turns into some form of oddball, the chair is a mundane object that becomes pandering or beautiful, assuming that good or bad taste becomes ambiguous by the clever association of ulterior motives by the title of the piece. Perspiring? Referring to Proust, a turn-of-the-century French writer who put forward the theory that time is in constant flux, the past is treated as relevant to the present, and only then can time be understood through intuitive memory.
McDinney's hand-painted fabric covering his chair pattern recalls Impressionist brushstrokes, suggesting that the period of Proust, ineffective as it was, was written. The pattern has also been likened to representative writers because of the series of famous Impressionist paintings he owned.
The idea of time in flux, the past being as relevant as the present, is becoming a major feature of postmodernism, a design style of the past that combines modern materials and views to create an inspiring, sometimes noisy mix of stylistic anarchy.
Directly challenging the formal austerity of modernism, the new movement restored history as a theme and redecorated and exuberant art nouveau to combine them all. The now trendy place is brightly colored plastic panels next to expensive wood veneers, a visual effect of mixed materials.
Archizoom Firm
Dream Bed 1967
Another group called Archizoom Firm drew their inspiration from surrealism, fantasy furniture design and visionary environments to get away from the current imperative in designing styles associated with consumerism and chiaroscuro?
Their contemporaries Superstudio, rejected the idea of designing environments that present an empty room to allow maximum flexibility to its inhabitants.
Stirred with mysticism and modernism in the banality of everyday life, Studio Alchimia gained international exposure at the Venice Biennale in 1980. Its members included Ettos Sottsass and Alessandro Medini who was the editor of Modo Magazine (design magazine), the Group of 77's chief theorist.
Allesandro Medini
Proust Armchair
Medini's Perspiring Armchair? is the first group抯 foray into kitsch and mediocrity inspired design. Reproducing a typical paper, while through the surface decoration Medini turns into some form of oddball, the chair is a mundane object that becomes pandering or beautiful, assuming that good or bad taste becomes ambiguous by the clever association of ulterior motives by the title of the piece. Perspiring? Referring to Proust, a turn-of-the-century French writer who put forward the theory that time is in constant flux, the past is treated as relevant to the present, and only then can time be understood through intuitive memory.
McDinney's hand-painted fabric covering his chair pattern recalls Impressionist brushstrokes, suggesting that the period of Proust, ineffective as it was, was written. The pattern has also been likened to representative writers because of the series of famous Impressionist paintings he owned.
The idea of time in constant flux, the past being as relevant as the present, is becoming a major feature of postmodernism, a design style of the past combined with modern materials and views to create an inspiring, sometimes noisy mix of style and anarchy.
Directly challenging the formal austerity of modernism, the new movement restored history as a theme and redecorated and exuberant art nouveau to combine them all. The now trendy place is brightly colored plastic panels next to expensive wood veneers, a visual effect of mixed materials.
Archizoom Firm
Dream Bed 1967
Another group called Archizoom Firm drew their inspiration from surrealism, fantasy furniture design and visionary environments to get away from the current imperative in designing styles associated with consumerism and chiaroscuro?
Their contemporaries Superstudio, rejected the idea of designing environments that present an empty room to allow maximum flexibility to its inhabitants.
The molding continues to design furniture, objects, and similar home furnishings is not the solution to the problem of life, nor is life itself anon? Beautification is enough to compensate for the damage done when the wrong people, and the beastly architecture of the deprivation problem, so he is a process of becoming increasingly detached from these design activities, perhaps through the general reduction of technology at a minimum effort. ? /I"
They propose to do away with commodity-based culture, seeing a future of cities, anonymous, standardized, never-ending structures that will be scattered across the planet. Their anonymous concept of design in the future expresses the structural patterns involved in their exhibitions in rectangular lines, built of plywood and cardboard, plastic and covered with silk screened in often chevron patterns, these synthetic furniture pieces are devoid of individuality, personal design or decoration.
Marco Polo Giannini
The Teapot
Leaving behind the mystical theories and histories of these early groups, Ettosotrasas founded the design studio Shameemphis ? as a commercial enterprise to sell internationally. Grizzlies was founded with the aim of providing an alternative to the modern aesthetic and functional design that had hit a dead end. The group made a huge impact in its first exhibition in 1981.
The Grizzlies' name refers to both popular culture (Memphis was home to Elvis Presley) and ancient culture (Memphis was the center of early Egyptian civilization).
Fittingly for their name, and its madness opposite association, they explored the aesthetic and symbolic value of color with vivid color contrasts, symbolism, and surface decoration. They explore influences, combining different materials and different shapes; and often all at once. The simplicity of their designs and the impact of their bright colors and patterns on children's toys.
The design of toys is no longer seen as a unity, but as a sum of its parts. We are more focused on the content, identifying an object rather than the object itself.
So, I'm going to go back to the beginning of my life.
Sottsass design took on a new impetus through Memphis, putting Italy at the center of the postmodernist movement, which attracted designers from all over the world. With pop art, classicism, art deco, and whatever else was in the designer's eye, the Grizzlies' style had a huge impact. However, Grizzly was never a single movement, rather it was a group of designers communicating a wide range of goals.
The main colors were used together to maximize contrast and impact and the patterns of the plastic composites were designed to replicate the popular graphics of most Memphis products into a festive and toylike aesthetic.
Sottsass saw function and utility of the object as secondary, because he saw design as putting abstract concepts into practice, and the object, he said, should be viewed as straightforward ideal engineering.
Masatoku Umeda
Floor Lamp
Masatoku was a renowned industrial designer, creating award-winning designs for Braun and Olivetti, until 1981 when he joined the Memphis Group and transformed his style.
He commented on the industrial city culture of Japan through the humor and symbolism of Memphis culture, creating designs that were cartoonishly humanistic.
In his design, the Harcourt Maida Stand? The lamp became a sculpture that functioned as a piece of almost accidental. The base in the appearance of the animal sculpture, while the light source retains an antique shade reminiscent of the style of the function, creating a monophasic combination of images that stimulate the imagination. The object of the light generating function seems to be secondary, it seems.
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While the Grizzlies create exhibitions and exclusive experimental pieces on the edge of avant-garde design, the industrial, mass-produced market is one of the most interactive for designers and society.
Mario Bellini designed a prominent, geometric darts edge? shapes for the Olivetti typewriter in the 70s and also for electronic music devices made by Yamaha. At the same time, he was wrapping an object in rubber or plastic film to provide a more organic feel to the object, encasing the hard disk in the small format shape of a calculator built in rubberized quilting? that makes the machine a welcoming, tactile sensation.
He did the same thing with his cab chair, including a simple steel frame for the chair with compressed leather upholstery. Creating an organic skin with a simple shape, glowing colors and warm leather, he personalized the essence of the modern chair.
Mario Bellini
Onda External Shelving
In the mid-80s, his Bellini design Onda External Shelving, a study of the views, as well as architectural approaches to furniture design. He was trained as an architect, with a background that he felt was extremely important to industrial design, and felt it was the best training to instill an understanding of the living and habitative culture?
Luigi Krani retains a streamlined style, using organic shapes in the design of cameras, future cars and domestic products. He calls his style Chi ydrodynamic ? form is an aquatic version of the teardrop design of the 30s.
In his ???retinopathy of prematurity???? tea service, Klani minimized the look of the teapot with a lid and a recessed handle within the body. This achieves a clean image, makes for a smooth outline teardrop, and at the same time permits the pot to be held close to its center of gravity, thus making it easy to pour.
Richard Sapper trained engineers and produced a number of designs in the 1960s with Marco Polo Zanussi including the Black 12 TV whose purpose was to be easily stored in a cube when not in use and which looked quite sleek. As the appearance of a blank TV screen was considered disturbing and intrusive, they were enclosed in a transparent tube showing a black plastic tube only when it was open.
Zapper designed the Tizio lamp in the early 1970s, replacing the spring-loaded balance and counterbalance weapon.
Unlike the previous counterbalance lamps, his Tizio Zapper Design had minimal weight and mass. This lightness coupled with the low voltage halogen bulbs produced a compact, centralized light source. The low-voltage powered lamp also allows him to eliminate the need for closed-circuit bulbs, based on the current transformer that carries the arms themselves. Like his TV, this lamp presents minimal visual effect until it is turned on.
Richard Sapper
Kettle
In the 1980s, he created a strong visual appearance for IBM computer products. He also designed kettles that referred to steam trains, with brass whistles that sounded a bit like whistling steam locomotives and the whole kettle had a high-tech look reminiscent of '70s designs.
Michael Graves also designed the kettle to place a plastic fowl stream, which he says opens up a narrative element, and the bright red plastic fowl stream lends a sense of humor to otherwise communal kitchen appliances. His kettle is still mass-produced in stainless steel, and its styling is classically presented in a circle with a cone near the base of the decoration and design.
Austrian architect and designer Matteo O'Toole joined the Grizzlies at the start of Sottsass, but found that his output was limited by the existence of a Memphis exclusive product as a marketplace - a product that was expensive, required a sophisticated and appreciated leading-edge fashion, and lacked the attitude in the mass market.
But in Memphis, he developed guiding principles to find allegorical or different meanings and multiple associations inherent in all objects. Thun designed products that introduced the novel as well as functioned. He appealed to his style:
The allegory Mattheo Toon accustomed him to caricature, which multiplied the metaphor. ?
Mattheo Thun
The kettle
Wanting to create products for the mass market, he formed his own studio in Milan in 1984, with international design firms such as Alessi and Swatch. He wanted to design for a larger, more general audience that didn't care about design in the sense of just wanting to buy 憈hings?
He designed furniture and domesticware pressed into the metal of the Bauhaus to derive principles of functionality and seriousness of form, sensuality of appearance.
Designed by designers for the mass market, Thun concentrated on surface-treated products to enhance the quality of the object of the poem.
For him, these products were not only simple objects for everyday use, but they should also express the media.
Another Austrian and architect, Hans Hollein, is one of the most gifted postmodern architects and designers. He showed his furniture in Memphis and with many playful stylistic expressions there, Rhein concentrated on sociable power design. Enamored with aircraft carriers, he designed a tea trolley as ... Well, aircraft carriers... Tea kettle and other items looking ready for takeoff.
He designed the Marilyn Sofa Poltronova in 1985, giving it the style of the Art Deco era Hollywood Celebration Uber? Its association with Aura's filmstars .
Mixing bold colors, shapes and materials in the production of objects that show fascination with classicism, Rhein's work recalls a series of associations. Postmodernism, it seems, could mean anything in the style, as long as it's not ttaken from a period of classical deteroxlike ? The war between modernisms.
Carlos Riart
Desnuda Chair
Carlos Riart creates whimsical and sometimes anthropomorphic designs, such as his Desnuda Chair which implies the presence of a human being (as in the symbolic art). His inspiration comes from many different sources:
The subtle institutional construction of apanese art; the so-called functional style indicators; the symmetry of neo-classicism; the ambiguity of Art Nouveau; the ad hocism of the materials used; the Tantric skin color; the new projection of space plasticism; the magic for its use of crystals as a psychic energy.
Brass crests above the railroad and brass objects? With light blue metal color frames and informal straddling stretchers, now softer, more subtle influences weaken the austere forms and hard metal chairs and so on.
Higashi Shirokura turned again to design as alchemy, utilizing wood and metal, and his designs conveyed a soft floating influence and impression of lightness, especially in his use of wire mesh materials.
Higashi Shirokura again
How Gawain
He used ordinary industrial materials in his interiors and furniture, transforming them into rich, poetic forms.
His armchair, the How High Moon? Constructed from expanded wire mesh he coats it with paint containing nickel or copper to give it a sparkle. Highly reflective materials cause it to dissolve in light, minimizing its impact in the room.
The mesh was added to the warehouse with welded seams so that the accurately welded ventilation mesh was constructed as a series of crossings of airplanes with no defined boundaries. The effect was a series of crossings; apparently weightless, with an infinite amount of target sizes. The President seemed to float, like the moon above the horizon.
When asked if he used the materials he used to lead his design, Kuran again said he thought the first design:
Teru as long as I had the idea, I felt that the materials were literally on the side of the road and could be utilized to gather information into everyday life. ? Ba"
And while Italy is attracting international designers Memphis, in other parts of the world, other designers create anti-modernist, eclectic and colorful furniture.
Robert Venturi
Sheraton Chairman
Robert Venturi saw Las Vegas in the United States at the end of the 60's as a model for a new design that introduced its culture of curb signs of glitter, clash, and ugliness as a vocabulary of modern style.
He created the colorful Furniture Noir, a variety of postmodern chairs that recall the history of the modern man who presided over the style del. Often in a bright screen printed way, the colors reflect the style of the Grizzlies, as well as screen printed Andy Warhol.
Chairs rely on their contours and print patterns to create their own personality, being other simple, curved plywood construction. Like stage sets, the chairs look comparable from the front, but they show them from the side, in simple skinny plywood form. Venturi's chairs exemplify the postmodern character 鈥憅uoting? Other design styles show his furniture as props for deeper ideas and meaning.
Philippe Starck, a French designer who established his reputation in the early 1980s, designed his guest rooms at the Elysee Palace to incorporate the sensibilities of an artist's sound engineering in the Deco style. He wryly referred to the tail fins of the whale in its clock design calling for a media change Wayle II?
He said of the intellectual work:
The Oxytocin is a minimum, as in Scandinavia, nor serious, as in Germany, nor austerity, as in Spain, nor creative, as in Italy, France can only claim the quality of thinking and balance of Strawberry Dust targeting my work to have this French quality. ?
The design of his desklamp produced from the late eighties is an element at once in its reference to bullfighting, the image of the Horn of Africa in the shape of the shade of a juggler; and timeless, because it looks like it also came to Captain Nemo's table (20,000 leagues under the sea).
Design for comfort and ergonomics has become a growing concern for the environment as designers proliferate. Inspired by the world's ecosystems, wildlife and health issues, the design explores new ways of being fully functional.
Norwegian designers Peter Opsvik and Hans Christian Mengshoel studied comfort in scientific seating and designed a series of ergonomic seats which make babysitters' weight on their knees. Introduced in 1979, the lightweight metal and wood Ballance chair can rock, thus eliminating back pain and promoting blood circulation through the movement of the muscles it allows. This design and other diffusion posture furniture led by norway.
Niels Hay Diffrient worked with Eero Suriname as modelmaker, helping Henry later develop his 鈥慔rifosumanscale鈥攁? Study of ergonomic design, became a standard text for designers with design-related issues, people? s convenience.
He concentrated on seating and sitting, where people have to be in the same place for a sustained period of time, especially in transportation and offices. He believes that many modern furniture does not have in its goal is to be comfortable, drive to make the new chair looks only lead to curved steel design, it is difficult to sit in.
There is no perfect chair here inertia lack of chair is his best only for a good couple of hours, and then you should stand up. The perfect chair a bed. ?
Niels Hay Diffrient
Jefferson Armchair
Diffrient believes that the role of the designer is considered by someone who lives in a way and can imagine how it can be improved. Although this concept 鈥慺檛 functioned as follows? has become anachronistic because it represents the modern desire to replace unnecessary ornamentation with spare forms, Diffrient says that it is essential to understand an object whose form reveals its function to see if it will be effective as a design. Not as a stylistic discovery mechanism for the object, but as a way to ensure that the product functions well in its intended environment.
He says this shows a deeper role for the designer than superficial manipulation of fashion shapes a dig perhaps in Memphis style?
Jasper Morrison began designing furniture in the UK in the 1980s, creating furniture that was practical and manufactured successfully. His work had an underestimated expectation, reflecting his aim to utilize simple materials such as plywood and fabrics to produce habitable furniture in an appropriate way. Concentrating on combining basic materials rather than additional accessories, he aims to design requirements for modern living. When it comes to plywood, he says:
The use of plywood is a plus to start with, and the use of inexpensive materials is frankly an upgraded way of doing things. Generally speaking, I tried to realize very modestly in its material and not screamingly loud shapes. ?
The complete opposite, Arad makes expressive furniture of metal, glass and concrete. Inspired by the Jarring Link? movement in Britain in the late seventies and eighties, he formed a one-off company that designed and manufactured experimental furniture using industrial materials and junk, such as old car seats and medical equipment.
His initial aim was to produce low-cost bespoke designs with an emphasis on recycling, novelty and invention. One of his seats, which Rover cars and its attached to a skeleton made of metal. Ironically, the requirement for its static pieces above the ???? Chairman, he mentions that this is one of his 慐nglish? design to celebrate what he considered to be the British love for their cars. In this case, the nanny can enjoy comfortable leather seats, but decentralized traffic.
Allard
Strictly family series
With welded steel tubes, his material, Allard proposes armchairs and chairs that utilize elastic steel in a collection of simple, quirky chairs. He calls the chairs Strictly Family? series, which depicted different families, his character in a personal design that avoided the homogeneous, anonymous look of metal furniture in a modern style.
His Big Easy series of armchairs are hollow, welded steel tube forms that mimic the rounded shapes of traditional overstuffed upholstered furniture in a freeform way. His furniture is at once primitive and futuristic, and is designed to be comfortable while creating the look and appearance of Aura's difficult, unyielding surfaces, although for some of these chairs he covers them in a material that gives them a softer appearance.
In welding the chairs together, Aura made patterns from a series of freehand sketches, using a cutting torch in a calligraphic manner, so that the shapes he would make were different from the same pattern. When he welded the pieces together, they varied together, making each one personal or dull, northeast? Chairman.
With creases and irregular folds augmenting the highly reflective surfaces, the success in his Arad aims to build and break their expectations.
(Did his specific sound system provide a new **** vibration term ???locked music? )
Chaos theory originated in science as a way to define hard-to-understand chaos, a random sequence of events in the natural world. For example, it has been suggested that a butterfly flapping its wings on one continent has some effect on the weather patterns of another.
This theme of puzzling connections and apparent randomness in the natural world picks up as a neat metaphor for the world of design, and it is applicable to a wide and varied range of orientations in design, following on from postmodernism.
Higashi Shirokura again
How Gawain
Design is no longer treated merely as a method of making objects functional, but also includes intellectual, cultural and social concerns. Inspiration of the designer's ideas and communication is aimed at becoming the most important object itself through the sub...
Innovation is a chronically disorganized approach that designers apply to their work ethic, refusing to accept a single, orderly approach. Designing visual shapes is increasingly becoming a design idea, an idea that draws on art history, film and culture, past and present. The variety of design movements in the 1990s reflected a wide range of tastes in an increasingly technical and specialized world. Postmodernism left a legacy of more sophisticated consumerism, while design tended to be strongly decorative and drew on the design history inherited from the past.
Some basic features are still evident in the veto of functionality and modernism. Bending and wiggling lines dominate objects (cars, electronics, etc.) - but that will all change. Design is online, international exchange of ideas can be direct and universal. Where will this lead? Use a modem to find out ...
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