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Showing posts with label DSDN 171. Show all posts
Showing posts with label DSDN 171. Show all posts

Friday, 1 June 2012

Blog 5: Locovisual


Catholic Church of St Gerard

 In his three part critique on architecture ‘The Stones of Venice’ John Ruskin tried to recuperate the general publics and the design and architecture communities respect for the Gothic style of architecture. He claimed that its flaws (it was commonly referred to as a barbaric and simple form of design) were one of its most redeeming qualities. He believed this was because it meant that the workers had freedom to do their work how they wished, and that this was a timeless metaphor for the social conditions of the era. He believed that the uniform design of his time (nineteenth century) represented the exact opposite of this and wished for a social change, sparking the beginning of the gothic revival period. This is a perfect parallel to St Gerard’s Catholic Church and Monastery in Wellington. This church was built in 1908 during the final years of the Gothic revival period and shows many of the standard Gothic motifs of the time such as high pointed arches, oak and other floral themes and high ceilings. It was built for the Redemptorists, a Christian sect that took Jesus’ message of “Love one another as I have loved you” to action and wished to lift the social conditions of not just third world countries but also the poorer parts of developed societies, just as John Ruskin did. In the book ‘Living Architecture: Gothic’ the Author Hans H. Hofstatter claims “we now understand the Gothic as a mighty synthesis of the new attitude of the Christian faith and architectural technique” further supporting the idea that Gothism was the face of ‘good’ ‘honest’ Christianity and 'good' 'honest' design.


John Ruskin, "The Nature of Gothic." excerpted in German, C. (2003) The Industrial Design Reader (pp.18-20). New York: Allworth Press.

Hofstatter, H. H. (1970). Living Architecture: Gothic. New York, USA: Grosset & Dunlap Inc.

Friday, 11 May 2012

Blog 3: Curatorial


Curatorial

Coaster
“Flower and fade, and follow the natural curve, which flows on, pointless.” Said by D. H. Lawrence, this sums up the idea of fluidity. That there is a natural order and flow to life no matter how many boundaries and frames are put in and around it, which is shown through perfectly in this piece. Inspired heavily by Cecil Balmonds “Danzer” originally, the sharp geometric lines inspired a wire form that was made only of squares and triangles, which was then abstracted into a similar form made of only one piece of wire. This was extremely reminiscent of the frames of roller coasters (which inspired the name), and so using curved flat panes of polypropylene similar in shape to those in some of the bent wood furniture made by the Korean designer Bae Sehwa, plastic was bent around what would become the face of the object. This gave the object a sense of direction (generally from bottom to top) and was then stitched together with black thread. The thread was kept black (as opposed to white which would have blended in easier) so that the stitching itself could become a feature, this is a concept known as honesty to construction which goes as far back as the late 1800s to the gothic revival era. The objects overall shape gives off a feeling of being alive, as the flowing surface moves around the frame like the rollercoasters that inspired it and has a sense of direction that flows around and up to seem as if it is actually moving and alive. 

Coaster:



 








Cecil Balmonds’ “Danzer” retrieved from http://www.designboom.com/weblog/cat/9/view/9211/cecil-balmond-element-exhibition.html
 
Bent wood furniture by Korean Designer Bae Sehwa http://michellekaufmann.com/2010/06/2058

Refences:
Danzer: http://www.designboom.com/weblog/cat/9/view/9211/cecil-balmond-element-exhibition.html
Bent wood furniture by Bae Sehwa: http://michellekaufmann.com/2010/06/2058
Sagar K. M. (1982) A. D. H. Lawrence Handbook. Manchester University Press