Perspectives on Decorative Art

"Significance of Applied Art" (1907)

Hermann Muthesius was speaking at a time when things were just beginning to change from the over-the-top Victorian decor to  I was really fascinated by  Muthesius' opinion on imitation materials. It is a concept I had never really thought about before, but I certainly noticed a connotation between poor quality and imitation. I think nowadays there has been a shift from furnishings imitating materials to clothing imitating materials. The number of imitation leather, faux designer purses, and cheap metal products is staggering. But it gives people the ability to dress like the rich and famous without spending the same amount of money (and I am just as guilty as the next person). However, clothing that is made with cheaper, fake materials tends to be a lot less sturdy and long lasting as something made of leather or silver. I think it has led us to think of clothing as disposable, rather than an investment.

"Manifesto of the  Bauhaus in Weimar" (1919)

 What seemed to me to be Grophius' most emphasized point is that art and craft should not be separated. He believes that craftspeople should create works that have just as much time, effort, and creativity put into them as an oil painting or a marble  sculpture. I really enjoy this idea because I see product design, furniture design, etc to be an outlet for creative expression. When everyday objects are crafted and designed beautifully, it makes one's entire living environment more pleasant and beautiful. It brings the art into our lives.

This lamp by designer Shpelyk Roman is an example of an artistic and functional object.  It is designed to imitate a sailboat; the cord and wooden stand suggest a mast and the angle of the lamp can be adjusted by loosening or tightening the slack in the cord.

"Type-Needs Type-Furniture" (1925)

3. When Le Corbusier says "To search for the human scales, for human function, is to define human needs," he means that the intellectual effort given by the designer to find create a perfectly useful object is, in essence, an effort to find what people need in the object. He explains that tools we have invented and created (such as the desk, pen, etc) are in fact "artificial limbs"(85) and extensions of ourselves. These objects make our lives easier; they take away some the pains or dullness of labor. Therefore decorative art also falls under the category of a "human-limb object" because  a decorative work makes our lives more pleasant, more comfortable. It improves our lives just like purely functional tools. However, he believes that some objects and things are more important than others. The beauty of the Sistine Chapel is more important than the beauty and functionality of a desk chair, but just like "the cut of a man's jacket is of secondary importance in his life." Finally, he argues that human comfort can be derived from something as simple as a pen making it possible for a person to write, to a room designed with regulating line and painted a pleasing color.

Frank, Isabelle (editor) (2000). The Theory of Decorative Art: An Anthology of European and American Writings 1750-1940 New York: Yale University Press 

Journal 3"Significance of Applied Art" (1907)1. Hermann Muthesius was speaking at a time when things were just beginning to change from the over-the-top Victorian decor to  I was really fascinated by  Muthesius' opinion on imitation materials. It is a concept I had never really thought about before, but I certainly noticed a connotation between poor quality and imitation. I think nowadays there has been a shift from furnishings imitating materials to clothing imitating materials. The number of imitation leather, faux designer purses, and cheap metal products is staggering. But it gives people the ability to dress like the rich and famous without spending the same amount of money (and I am just as guilty as the next person). However, clothing that is made with cheaper, fake materials tends to be a lot less sturdy and long lasting as something made of leather or silver. I think it has led us to think of clothing as disposable, rather than an investment.
"Manifesto of the Staatliche Bauhaus in Weimar" (1919)2. What seemed to me to be Grophius' most emphasized point is that art and craft should not be separated. He believes that craftspeople should create works that have just as much time, effort, and creativity put into them as an oil painting or a marble  sculpture. I really enjoy this idea because I see product design, furniture design, etc to be an outlet for creative expression. When everyday objects are crafted and designed beautifully, it makes one's entire living environment more pleasant and beautiful. It brings the art into our lives.
This lamp by designer Shpelyk Roman is an example of an artistic and functional object.  It is designed to imitate a sailboat; the cord and wooden stand suggest a mast and the angle of the lamp can be adjusted by loosening or tightening the slack in the cord.

"Type-Needs Type-Furniture" (1925)3. When Le Corbusier says "To search for the human scales, for human function, is to define human needs," he means that the intellectual effort given by the designer to find create a perfectly useful object is, in essence, an effort to find what people need in the object. He explains that tools we have invented and created (such as the desk, pen, etc) are in fact "artificial limbs"(85) and extensions of ourselves. These objects make our lives easier; they take away some the pains or dullness of labor. Therefore decorative art also falls under the category of a "human-limb object" because  a decorative work makes our lives more pleasant, more comfortable. It improves our lives just like purely functional tools. However, he believes that some objects and things are more important than others. The beauty of the Sistine Chapel is more important than the beauty and functionality of a desk chair, but just like "the cut of a man's jacket is of secondary importance in his life." Finally, he argues that human comfort can be derived from something as simple as a pen making it possible for a person to write, to a room designed with regulating line and painted a pleasing color.
Frank, Isabelle (editor) (2000). The Theory of Decorative Art: An Anthology of European and American Writings 1750-1940 New York: Yale University Press 

Function and Beauty

"The Theory of Decorative Art" pretty much describes the importance of the coexistance of architecture and interior design and how architecture is like the big picture; whereas, interior design is all in the details.  Architecture is like the exterior of the building and the roadways and sidewalk traffic on the outside as opposed to interior design which is the flow of people taffic on the inside.  

In "The Significance of Applied Art" Hermann Muthesius discusses the significant points of art.  He categorizes art as artistic, cultural, and economic.  He also goes on to talk about how interior design is a different language.  It is an artistic langage to be interpretted by those who experience it.  Muthesius also compares modern art to other art periods like the Renaissance period and others.  Modern art is just like all the periods before it, only simplified.  By simplified, I think it is actually simplified visually, but interpretting madern art is far more complex then deciphering older art works in my opinion.  I think a perfect example of this would be the Mondrian paintings.  They are so simple aesthetically, but they can be interpretted so intricately.  Mondrian painting

Crafting

In this reading, I understood that craftsmen and artists are equally important, but they are not the same thing.  I feel that a good designer is both an artist and a craftsman.  Both are seperate skills, but they are highly related and vital in interior design.  

Type needs: Type-Furnature

Le Corbusier mainly touched on the point of function v. beauty.  Both must exist in order to be good design.  Just beacause something is functional doesn't mean it can't be appealing to the eye.  Practicallity is vital is design, but the practicallity must look good.  The combinations of looks and function allow for one to exist peacefully in a space which is the main goal of design.  

These stairs are functional, but they are not aethetically pleasing in any way

These stairs are both functional and beautiful

The Theory of Decorative Art

            In the “Significance of Applied Art” Hermann Muthesius states that applied art has constantly been changing in the eyes of the public over the years.  Artistically the designers and craftsmen may change their style in order to fit a certain trend and or to appeal to a larger audience.  Culturally people are constantly changing their minds therefore no one thing can stay in style for very long.  In an economic sense, today applied art is not a major profession bringing in the major money for people.  However the fact that when demand starts to be higher for trendy art items prices can be jacked up and there will be a variance of class level standings.

Trendy Colors

            In “Manifesto of the Staatliche Bauhaus in Weimar” Walter Gropius makes the very important point that in order to be a successful designer you must have a passion for craft.  I completely agree because craft work is inspired by personal expression and in order to design well a person must have an open and creative imagination.  Crafts help people express themselves and if one is good with communicating their own visualizations then they can be successful.

Handmade pottery on the wheel

            In “Type-Needs: Type-Furniture’ le Corbusier says : “To search for the human scales, for human function, is to define human needs.”  By this le Corbusier means that function is the most important part of why he designs.  Basically without considering the human needs it will be impossible to create a design that solves a problem. 

 Fatboy furniture designed with the human in mind

The Theory of Decorative Art Readings

The Theory of Decorative Art

In reading The Theory of Decorative Art, I have a new understanding of architecture and interior design.  The two correlate very much and are very similar.  Architecture deals more with a bigger picture though and interior design focuses more in depth with the design.  From the readings this is what I've gathered:

"The Significance of Applied Art"

After reading "The Significance of Applied Art" I understood a few major points from Hermann Muthesius.  Significance of art is artistic, cultural, and economic.  Interior design is a different language - an artistic language that needs to be deciphered.  Muthesius compares modern art to many other periods of art such as the Renaissance art, Roccoco art, and German art.  He uses these to parallel the different forms of art.

One of the things that I stumbled upon in the reading that I found quite fascinating was "To respond to the conditions of the age in which we live, we must first do justice to the specific factors that govern the individual object" (pg 76).  What is the purpose of what we are trying to achieve in other words?  What is the ultimate goal?

I also found it interesting that he noted that design is a "...violation of these three principles" (pg 77) referring to artistic, cultural, and economic principles.  

The reading explained how new applied art is becoming a culture and already is in Germany; that it has become a universal movement.  Here are two modern art examples that I find are universal movements:

The block idea and spatial overlap with glass windows as a substitute wall has become a universal thing.

Modern furniture with little color and simple block patterns has become universal.

"Manifesto of the Staatliche Bauhaus in Weimar"

In the reading from "Manifesto of the Staatliche Bauhaus in Weimar" I think that the most important point that Walter Gropius was trying to make was that interior design and architecture need to have unity; the two cannot collide, but need to collaborate.  I would say that a good example of collaboration between the two is an example of Frank Lloyd Wright's projects, for he designed each house, but also designed everything inside and picked out all of the furniture.  Below is perhaps, Wright's most succesful and well-known piece, Falling Water.

The top picture and bottom picture collaborate because they both have the steel frame that is painted crimson in them.

 "Type-Needs: Type Furniture"

In reading "Type-Needs: Type Furniture" by Le Corbusier I understood that the human measurements are very important.  From the statement "To search for the human scales, for human function, is to define human needs" (pg 84) I understood that the forming things that fit the human body are the essential and most important things that one can do.  Studying the human body and making everything to scale of the human body is important.  For example, stairs have a certain height that is considered regulation height.  This is the height that is comfortable for humans to walk up.  If one stair is heightened or lowered by even an eighth of an inch, then people will trip walking up the stairs.  But when we learn about the human form, the human mannerisms, the human shape, we can define human needs.

Frank, Isabelle (editor) (2000). The theory of decorative art: An anthology of European and American writings 

1750 – 1940. New York: Yale University Press.

journal 3- the functions of the decorative arts

i have written what i learned from various readings about functional art below:

herman muthesius- the significance of applied art

muthesius characterizes applied art in 3 aspects: artistic, cultural and economic. its artistic sense started out being an expression of the artist, but as time progressed, creators looked at past ideas and art forms to create. applied art has a cultural sense because we use these forms every day. our use for things may change over time as a whole and there is a need for things now that there wasnt a need for many years ago. it is very progressive. finally, the economics of applied art influence the product because cheaper materials make for a better value for the manufacturer and such. all three factors influence the final product. 

the influence of stained glass windows used in a modern home

walter gropius- manifesto of the staatliche bauhaus in weimar

gropius stresses the importance of the structure of a buliding or product. if the structure is not sturdy or working, the product will not work to its full potential. while ornimentation is important and adds beauty and catches the eye, it is not the most important part.

the gargoyles on notre dame cathedral do not give any structural support to the building but add something very interesting to look at

le corbusier- type needs: type furniture

le corbusier's most important point is that human scale is important for all products. an artist or designer must take into account a human's needs before designing their product because if it is not to scale, it is pointless. all humans have the same basic needs when it comes to sizing and scale of objects, even though their individual bodies are different.