Craft, design or art?

Preview:

DESCRIPTION

a brief overview from the design point of view with emphasis on the current Dutch design scene.

Citation preview

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

a brief overview from the design point of viewwith emphasis on the current dutch design scene

DESIGNCRAFTS ART1900

1940

1960

1980

1990

2000

2010

1920

all the ideas are expressed in material (usually com-ing from the perspec-tive of one material based discipline)

material is just a means of expressing the idea (especially conceptual design)- working for client(originally intended for)

free of outsiderestrictions - can start from material or from idea

DESIGNCRAFTS ART

1940

1960

1980

2000

1990

2010

ARTS AND CRAFTS

The Arts and Crafts Move-ment began primarily as

a search for authentic and meaningful styles for the

19th century and as a reac-tion to the eclectic revival

of historic styles of the Vic-torian era and to “soulless” machine-made production

aided by the Industrial Revolution.

1900

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

DESIGNCRAFTS ART1900

1940

1960

1980

1990

2000

2010

1920 MODERNISMFUNCTIONALITY = GOOD DESIGN

FUNCTIONFUNCTIONAL CERAMICS(cleaning, washing, eating)

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

MODERNISMFUNCTION

FUNCTIONAL CERAMICS(cleaning, washing, eating)

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

MODERNISMFUNCTION

FUNCTIONAL CERAMICS(cleaning, washing, eating)

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

FUNCTIONAL CERAMICS(cleaning, washing, eating)

AS OPPOSED TO CERAMICS AS SUPERFLOUS GOODS

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

DESIGNCRAFTS ART1900

1940

1960

1980

1990

2000

2010

1920 MODERNISMREADY MADE

DESIGNCRAFTS ART1900

1940

1960

1980

1990

2000

2010

1920 MODERNISMFUNCTIONALITY = GOOD DESIGN

Bauhaus (Walter Gropius)architects became designers

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

DESIGNCRAFTS ART1900

1940

1960

1980

1990

2000

2010

1920 MODERNISMCERAMICS IN BAUHAUS

Theodor BoglerMarguerite Friedlaender

Otto Lindig

Walter Gropius

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

ORNAMENT AS OPPOSED TO FUNCTION

DESIGNCRAFTS ART1900

1940

1960

1980

1990

2000

2010

1920 MODERNISMORNAMENT

Adolf Loos “In a highly productive nation, ornament is no longer a natural

product of its culture, and therefore represents backwardness or even a

degenerative tendency.”

DESIGNCRAFTS ART1900

1940

1960

1980

1990

2000

2010

1920 MODERNISMFUNCTION AS ORNAMENT

Function has become a purpose per se

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

DESIGNCRAFTS ART

1920

1900

1940

1980

1990

2000

2010

1960 CONCEPTUAL ARTSol LeWitt

“In conceptual art the idea or concept is the most important aspect of the

work. When an artist uses a concep-tual form of art, it means that all of

the planning and decisions are made beforehand and the execution is a

perfunctory affair. The idea becomes a machine that makes the art.”

DESIGNCRAFTS ART

1920

1900

1940

1960

1990

2000

2010

1980 POSTMODERNISMMEMPHIS

Ettore SottsassMatteo Thun

“No-one mentioned forms, colours, styles, decorations,” observed Radice. That was the point. After decades of modernist doctrine, Sottsass and his collaborators longed to be liberated from the tyranny of smart, but soul-

less ‘good taste’ in design.”

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

2000

2010

1990 CONCEPTUAL DESIGNDUTCH DESIGN = DROOG

Dutch platform of conceptual design promotes the work of designers who

believe that form, function, use of material and decoration are rigorous-

ly subordinate to underlying ideas. Concept, humour, simplicity, and

comment on the world and its own discipline come first.

READY MADE

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

POSTMODERNISMDUTCH DESIGN = DROOG DESIGN

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

2000CONCEPTUAL DESIGN

IN HOLLANDGROWING INTEREST IN CRAFTS

Awareness that traditional craft is an excellent means of telling stories and visualising ideas has penetrated the world of contemporary art and de-

sign. Traditional techniques are not only the means but also the goal.

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2010

2000

STORYTELLINGEMOTIONAL DESIGN

IMPORTANCE OF CONTEXT

Royal MakkumHella JongeriusMarcel WandersWieki Sommers

Studio JobPiet Hein Eek

Atelier NLVincent de Rijk

Geert Lap

DESIGN IS OVELAPING WITH ART

GROWING INTEREST IN CRAFTSEXPERIMENTS WITH MATERIAL

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

2000

STORYTELLINGEMOTIONAL DESIGN

IMPORTANCE OF CONTEXT

DESIGN IS OVELAPING WITH ART

GROWING INTEREST IN CRAFTSEXPERIMENTS WITH MATERIAL

Hella JongeriusWieki SommersMarcel WandersRoyal Makkum

Baukje Trenning Studio Job

Piet Hein EekLonny van Rijswijck

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

2000

STORYTELLINGEMOTIONAL DESIGN

IMPORTANCE OF CONTEXT

Hella JongeriusWieki SommersMarcel WandersRoyal Makkum

Baukje Trenning Studio Job

Piet Hein EekLonny van Rijswijck

DESIGN IS OVELAPING WITH ART

GROWING INTEREST IN CRAFTSEXPERIMENTS WITH MATERIAL

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

2000

STORYTELLINGEMOTIONAL DESIGN

IMPORTANCE OF CONTEXT

DESIGN IS OVELAPING WITH ART

GROWING INTEREST IN CRAFTSEXPERIMENTS WITH MATERIAL

Hella JongeriusWieki SommersMarcel WandersRoyal Makkum

Baukje Trenning Studio Job

Piet Hein EekLonny van Rijswijck

DESIGNCRAFTS ART

1920

1900

1940

1960

1980

1990

2000

2010

Recommended