Blog 3 - 171 - Antique Hunter

French Rococo

The mirror I have chosen is claimed to be an antique French Rococo mirror.  At the modest price of $200 it remains to be seen whether this is authentic French Rococo or just a revival without being able to view the mirror and identify its materials. However the many conventions it follows are true to the French Rococo style.

Historically, French Rococo designs were that of intricacy. This was reflective of an economically healthy time period for the consumers of art in 18^th century France who wanted homes “richly decorated in rococo style. Comfort became a major issue in the discreet living of the wealthy” (Pile, 2005). The cost of Rococo was high because of the time the craftsman had to put in to the work, which the intricacies of this mirror display. This intricacy was also a direct reaction to the restrictions of the precedent style of Baroque, which Rococo replaced.

In style terms the mirror has the all the core values of French Rococo. The selection of gold, or gold lacquer showed the wealth of its time period.  The aquatic curves, skewed proportions and its Asymmetry of the mirror are or Rococo styling’s as they are a reaction to baroques formality. Adding to this, the fact that the design of the mirror frame is intrusive to the function of the mirror itself is goes against the principal restraints of baroque.  Rococo designers no longer bound by restrictions of function, “architectural and sculptural features are eliminated so that the designer is confronted with a smooth surface, interrupted only by the window recesses and the chimney piece” (Kitson, 1997).

The cultural context in which Rococo developed is intrinsic to this mirror. The form itself shows aquatic curves, A feminine trait that had seldom been seen and is the polar opposite of masculine styles such as Neoclassicism. On a whole it is safe to say this a French Rococo Mirror but this analysis is inconclusive as to its authenticity as rococo has so much more depth to its principals than what we can only view and not touch.

Sources

Kitson, M. (1997) The History Of Art (9^th ed.). University of London, London.

Townley, A. (Ed.). (2005). A history of interior design. Laurence king publishing London, UK.

171 – Blog 2 – Research Statement and Annotated Bibliography

171 – Blog 2 – Research Statement and Annotated Bibliography

My research field is Modernism

1 - German cities and bourgeois modernism

“German cities and bourgeois modernism” studies a certain type of modernism that was created in the late 19^th in Germany. The elitist pioneers of this brand of modernism called themselves bourgeois and set out to bring a conscious change to the way a rapidly industrialized Germany thought about design.

Umbach, M. (2009). German cities and bourgeois modernism. Oxford University Press, UK.

2 - Henry Ford: Mass Production, Modernism and Design

Ward reviews the book “Henry Ford: Mass Production, Modernism and Design” by Ray Batchelor and investigates Batchelor’s reading into Modernism’s place in the change in design of the motor vehicle at the turn of the 20^th century.

Ward, J. (1996). Henry Ford: Mass Production, Modernism and Design Review, 101(3), 96-97.

3 – The Modernist Imagination

“The Modernist Imagination” is a book that brings together a multitude of different minds from a diverse group of artists, scholars, art historians, political theorists and critics to reflect on the modernist’s way of viewing the world in the arts, humanities and social phenomenon’s. It was also compiled as homage to a great humanities scholar Martin Jay.

Breckman, W. (Ed.). (2009) The Modernist Imagination. New York, NY: Berghahn Books

4 – Roots of Modernism  

This page explores the roots of modernism from 1860 through to the dissipation of its popularity in the 20^th century.  It them investigates Manet and his work in pioneering the modernist movement and dissections of his work. It then progresses to explore different artists through the height of Modernisms popularity and explores ways in which the artist and political ideals of modernism have lived on.

Art History Resources. (1995). The Roots of Modernisim. Retrieved from http://arthistoryresources.net/modernism/roots.html

5 – Composition A 

An example of modernist art by Piet Mondrian, 1923. This image displays the founding principles of modernist design and is relatable to any form of design that replicated these fundamental ideas of modernism. 

Mondrian, P. (Artist). (1923) Composition A [image]. Retrieved from http://witcombe.sbc.edu/modernism

Touch/Draw - DSDN101 - Project1 - Hand In

Silhouette of Knifes using Photography as my selected medium.

Individual - DSDN101 - Project1 - Hand In

Isometric – William Farish

Both my precedent image of Farish’s grinding machine and my own adaptation of a craft knife are drawn in 30° Isometric. Like Farish’s image I have embraced his ability to gain an undistorted, accurate view of the craft knife. I have also adopted Farish’s use of rendering to add a sense of texture of the object as well as staying true to Farish’s image by sketching my image freehand. Furthermore, by exploding my view of the craft knife I have developed on Farish’s precedence by giving my image a newfound sense of accuracy and depth giving the viewer a better understanding of the craft knife’s form.     

Extra: History of Isometric

Though isometric as a drawing technique had been used by designers for years before it was Fairish who developed the technique in the 19^th century. What’s interesting about isometric, and the key to its success is there is no perspective. This makes it an invaluable tool for designers and it is now one of the fundamental principals of most design programs. Farish, being a chemist at the time would use this technique to present designs of certain machines like the “Optical-grinding engine” (Pictured above as my precedent), which is said to be the first machine drawing rendered in 30° isometric.

Section - DSDN101 - Project1 - Handin

Draw - DSDN 101 - Project 1 - Hand In

Hatch - DSDN101 - Project 1 - Hand In

Identity - DSDN101 - Project 1 - Hand In

Under The Seatoun Wharf - 144 - Hand In - Project 1

Under The Seatoun Wharf 

With this series “Under The Seatoun Wharf” I will investigate space in which the built and natural environments of Seatoun Wharf share. By using Macro, depth of field and fundamental photography composition I will seek to convey not just an interesting juxtaposition of the space in which these two environments, the ocean and the wharf, meet. But also, the relationship they share amongst this space and their effects on one another in a place few people take notice of. I also want to tie all the images together by first taking more wide open shots, then slowly move closer to my points of focus as the series progresses until finally I am taking macro shots with my point of focus on millimeters from the lens.

I feel my series of images has been successful in portraying an aggressive relationship between the ocean and the Seatoun wharf. By shooting under the wharf I feel I have been able to avoid any cliché images and it allowed me to investigate and portray a space in where there is a constant battle between the ocean and a decaying wharf. The composition of these photos in conjunction with the use of depth of field allowed me to create images that show the weathering of the wharf and natures intention to claim back any Structures that impose. The ability of being able to take macro shots worked effectively as I was able to give a full orientation, and the relationships of the space at different distances from the camera lens up to the point where there is only a couple of millimeters between the lens and the wharf. Having three separate shoots allowed me to compare different lighting situations. The third shoot was taken at 5pm which created long and interesting shadows as well and a warmer feel to the shots. I would like to experiment further with shooting at different times of the day with the next project. 

My name is Will Duncan and I am a first year design student living in Wellington, after recently vacating my home in Christchurch. As well as being an aspiring industrial designer I’m also a passionate musician. It is through music and my high school’s “Graphics” course that I found my roots in design. I loved spending hours creating gig posters and album artwork for the various bands I was in, alongside maintaining a healthy interest in Architecture and Industrial design at school. At the most fundamental level I have always wanted to create and although I am not the greatest freehand artist, design has presented me with the methods in order to not simply “draw” art but construct art.  Many different forms of design, whether it is print, architecture or industrial have always intrigued and interested me. One particular piece of design that has made a lasting impression on me was the inside of the Christchurch Cathedral. The Cathedral was built to replicate the designs of the English Gothic architect George Gilbert Scott. Scott would evoke feelings of awe and insignificance with the massive scale of the structures he designed. I had since then been intrigued by relationship between constructed places, spaces, objects and the feelings they inspire in a person. Scott and other Gothic/Renaissance cathedral architects knew of this relationship, something I aspire to replicate in my designs. I am hoping completing the Bachelor of design innovation will give me the chance to also further investigate this phenomenon and I keenly await the day when I can call myself a professional designer.