D/sign Philosophies: Digital Baroque
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Product Design, Teaching Material, Design, Thinking, Eleanor-Jayne Browne, Industrial Design, Digital Baroque, Old + New, Culture, Design Transformation
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D/sign Philosophies: Digital Baroque
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- For acclaimed British architect John Pawson, the same aesthetic can inform retail chic and spiritual austerity. The many shops, showrooms, and residences he's created worldwide—projects predicated on space, not stuff—have brought minimalism to the public consciousness. Superfluous is not a term in his vocabulary.
- maarten van severen is probably one the most reknown belgian designer. with his simple, clear and well thought-out designs he gained international fame and recognition. his creations were added to the collections of famous furniture manufacturers like vitra, edra and bulo. also the interiors he designed are much discussed. the famous dutch architect rem koolhaas entrusted the interiors of several projects such as the villa floirac, seatle public library and the casa di musica. also rolf fehlbaum, conservator of the vitra-designmuseum approached him with one of his design assignments. as son of an abstract painter (dan van severen),maarten van severen chose to study architecture at ghent art school sint-lucas. three years after he completed his studies he worked in various agencies on interior design and furniture projects. in 1986 he started to make furniture. the first piece, a long steel table, has since then been recreated as an aluminum model, which has been further refined over the years. in 1989 he produced his first wooden table; long, slim and pure in form. in 1990 he turned his attention to chairs. chair 03 and 04 are the first to become industrial produced. in 1998 he introduced the blue bench, which naturally become part of the edra collection. his work, hand produced in his workshop in ghent belgium, reflects his quest for perfection in form, detail and fabrication. many pieces designed by maarten van severen have been showcased in exhibitions around europe. in 2005 he died at the age of 48 due to cancer.
- maarten van severen Together with the British architect John Pawson - who designed most of the when objects work collection – the late Maarten Van Severen is generally considered to be the most important protagonist of minimalism, continually reducing size, weight and form and doing away with all contingencies, until the naked object is revealed. In doing so (and unlike other designers who keep on designing tables and chairs by the dozen) Maarten kept on working with an unseen sense of perfection on every individual table and chair, reducing the history of the table and chair to its very quintessence. That he nevertheless refused to be labelled a minimalist also had its basis in the ruling interpretation of the word, an aberration that has little to do with the pig this 20th century Francis of Assisi had running around his studio, or the abundantly filled trays with a pig's head and other delicacies that were displayed on the opening pages of his first book (published in 2000), together with an image of his sleeping sons, who had given him the pig as a present. Food and women had a leading role in his books. Like a candie with a wild flame that kept on reaching far too high, his life had been devoured by lust. Packed in a piece of the salmon skin he loved so much that he even used it to design clothes, the spoon, knife and fork have several things in common, despite their immediate differences: their reference to archetypes and a great simplicity and humility, devoid of all non-functional decoration. The same characteristics can be found in the great number of cutlery pieces Maarten collected over the years, with the spirit of a beachcomber. Not from design shops, but from popular restaurants after a meal, or from people's homes. Obviously, they clearly belong to the poor and not the noble. This can be seen in pieces from his own collection, which seem to have been nicked from three different tables. In a rather shaky movie, made for his Ghent retrospective, Maarten shows the viewer a fascinating knife from his collection. It once belonged to an old woman, who used string and other bits and pieces to repair it over and over again. Although it looks totally different, Maarten wanted to achieve the same Arte Povera effect with his knife, he said, and one can only regret that for technical reasons it was impossible to add his Comedia dell'Arte effect, a small tongue on the back of each spoon, so that when the diner brings it to his mouth, a tongue is pulled at the person seated opposite. His architectural work includes besides his own projects from a library in the Van Abbe museum in Eindhoven and the house for the Boxy's in Gent also a cooperation with Rem Koolhaas/OMAfor legendary homes in Paris and Bordeaux and the public buildings in Seattle. He also has designed a range of furniture for companies as Vitra, Edra, Pastoe and Bulo. Maarten van Severen's work has been extensively featured in different publications around the world.
- Stainless Steel Kettle, 2006 Ichiro Iwasaki Tokyo-based designer Ichiro Iwasaki won a prestigious 2006 iF award, presented annually in Hanover, Germany for outstanding product design, for a fishing-rod reel. This streamlined stainless steel kettle exemplifies Iwasaki’s minimalist style and attention to simplicity and user-friendliness.
- Together they give spaces form and they design objects, always striving for purity. Their intellectual candour ensures that their work never indulges ephemeral fashions. Their style has already survived a quarter of a century, a fact of which they are rightly proud. That style, to which they always remain true, makes its impact through its simplicity. Their approach is clearly architectural and thus goes further than the simple decorative. True interior design is in reality a service project, a project to create more clarity, to create freedom. Claire Bataille and Paul ibens do not dress their interiors, they structure them. Their projects have to be first and foremost functional. “Only after that do we start to think about adding a little poetry”. They like to create a neutral environment in which all works, all styles are in their place. Claire Bataille and Paul ibens studied together interior architecture at the Antwerp Academy of Fine Arts where they finished in 1963 with greatest distinction. In 1968 they decided to go into partnership. Thirty five years later and they are still together. The passion has not diminished. Their personalities are very different, but they complement each other to perfection. “We have had the same ideas right from the start. When we are working together on the same plan - as we always do - we each put in our own suggestions. Together, we are stronger. We work better, faster and more rationally”. Their office specializes in interior architecture of houses, offices and shops, but is equally active in the designing of public and private buildings. Their work has been realised mostly in Belgium, but also in other European countries and the United States. Their projects have been published and exhibited extensively around the world. Today their team consists of five collaborators. From the start of their partnership, their furniture and objects have been produced internationally. In the beginning of the 1990’s several Belgian firms contacted Claire Bataille and Paul ibens for new designs. Worth mentioning is the H2O office furniture for Bulo which great success lies in the denial of a differentiation between an office desk and a dining room table. It is their ambition to control the interior in the most tiny details that has probably brought them to also design objects. Although these objects are clearly contemporary, the base is mostly inspired by the “Golden Rule”, considered a perfect proportion. They have achieved a great sensibility for pure shape without being detrimental to functionality.
- Culture comes in many forms such as artisanal techniques such as weaving, macrame, lace
- Lacemaking, as part of the textile handicraft, has a centuries-long tradition in Croatia. The main difference between lacemaking in Europe and in Croatia lies in the fact that in Europe it was practiced mainly by nuns and by gentlewomen, while in Croatia it spread from convents and mansions to small rural communi–ties. Peasant women made lace to trim their traditional costumes or for sale, the latter providing additional income for the small holdings. The technique they used and the appearance of their laces differed from the contemporary laces in the rest of Europe, which gives Croatian lacemaking particular significance. Although lit–tle research has been done to date into lacemaking in rural communities, the abundance of surviving laces shows how widespread the art was in Croatia. It flourished wherever women, skilful makers of many kinds of textiles, were respon–sible for supplying the household with garments and furnishings. The skill was passed on from generation to generation - from mother and grandmother to daughter and granddaughter. Lacemaking was also taught in schools and women were introduced to new tech–niques, materials and patterns. But they adopted them only to a certain degree. In the laces which they made for sale to a bourgeois clientele, we can detect the sim–plicity of the original traditional patterns.
- The Lace Fence is an interior as well as an exterior product.Each fence is unique in its design by its craft and assembled patterns.The patterns come in a variety of themes, showing how something which was ment purely functional can also be decorative. The design, quality and density of the patterns are flexible. Meaning that for each application we always create according to its function. For example to prevent climbing on, to hide or enhance its surrounding, to deal with harsh weather or to give an unique custom made look.
- The term Baroque is used to describe the art, sculpture, architecture and music of the seventeenth century. Baroque originates from the Portuguese word barocco, "a pearl of irregular form". In the arts, the Baroque was a Western cultural epoch, commencing roughly at the turn of the 17th century in Rome, that was exemplified by drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music. In music, the term 'Baroque' applies to the final period of dominance of imitative counterpoint, where different voices and instruments echo each other but at different pitches, sometimes inverting the echo, and even reversing thematic material. The popularity and success of the Baroque style was encouraged by the Roman Catholic Church which had decided at the time of the Council of Trent that the arts should communicate religious themes in direct and emotional involvement.[citation needed] The aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and expressing triumphant power and control. Baroque palaces are built around an entrance sequence of courts, anterooms, grand staircases, and reception rooms of sequentially increasing magnificence. In similar profusions of detail, art, music, architecture, and literature inspired each other in the Baroque cultural movement[citation needed] as artists explored what they could create from repeated and varied patterns. Some traits and aspects of Baroque paintings that differentiate this style from others are the abundant amount of details, often bright polychromy, less realistic faces of subjects, and an overall sense of awe, which was one of the goals in Baroque art.
- Federico Barocci, 1598 Aeneas' Flight from Troy A moment caught in a dramatic action from a classical source, bursting from the picture plane in a sweeping diagonal perspective. In Greek mythology, Aeneaswas a Trojan hero, the son of prince Anchises and the goddess Aphrodite (Venus in Roman sources). His father was also the cousin of King Priam of Troy. The journey of Aeneas from Troy, (led by Aphrodite his mother) which led to the founding of the city Rome, is recounted in Virgil's Aeneid. He is considered an important figure in Greek and Roman legend and history. Aeneas is a character in Homer's Iliad and Shakespeare's Troilus and Cressida.
- In Baroque architecture, new emphasis was placed on bold massing, colonnades, domes, light-and-shade (chiaroscuro), 'painterly' colour effects, and the bold play of volume and void. In interiors, Baroque movement around and through a void informed monumental staircases that had no parallel in previous architecture. The other Baroque innovation in worldly interiors was the state apartment, a processional sequence of increasingly rich interiors that culminated in a presence chamber or throne room or a state bedroom. The sequence of monumental stairs followed by a state apartment was copied in smaller scale everywhere in aristocratic dwellings of any pretensions. Baroque architecture was taken up with enthusiasm in central Germany (see e.g. Ludwigsburg Palace and Zwinger Dresden), Austria and Russia (see e.g. Peterhof and Catherine Palace). In England the culmination of Baroque architecture was embodied in work by Sir Christopher Wren, Sir John Vanbrugh and Nicholas Hawksmoor, from ca. 1660 to ca. 1725. Many examples of Baroque architecture and town planning are found in other European towns, and in Latin America. Town planning of this period featured radiating avenues intersecting in squares, which took cues from Baroque garden plans.In Sicily, Baroque developed new shapes and themes as in Noto and Acireale "Basilica di San Sebastiano"
- In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms— they spiralled around an empty central vortex, or reached outwards into the surrounding space. For the first time, Baroque sculpture often had multiple ideal viewing angles. The characteristic Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains. Aleijadinho in Brazil was also one of the great names of baroque sculpture, and his master work is the set of statues of the Santuário de Bom Jesus de Matosinhos in Congonhas. The soapstone sculptures of old testament prophets around the terrace are considered amongst his finest work. The architecture, sculpture and fountains of Bernini (1598–1680) give highly charged characteristics of Baroque style. Bernini was undoubtedly the most important sculptor of the Baroque period. He approached Michelangelo in his omnicompetence: Bernini sculpted, worked as an architect, painted, wrote plays, and staged spectacles. In the late 20th century Bernini was most valued for his sculpture, both for his virtuosity in carving marble and his ability to create figures that combine the physical and the spiritual. He was also a fine sculptor of bust portraits in high demand among the powerful. The appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, and dramatic. Baroque art drew on certain broad and heroic tendencies in Annibale Carracci and his circle, and found inspiration in other artists such as Caravaggio, and Federico Barocci nowadays sometimes termed 'proto-Baroque'.
- The term Baroque is also used to designate the style of music composed during a period that overlaps with that of Baroque art, but usually encompasses a slightly later period. J.S. Bach and G.F. Handel are often considered its culminating figures. It is a still-debated question as to what extent Baroque music shares aesthetic principles with the visual and literary arts of the Baroque period. A fairly clear, shared element is a love of ornamentation, and it is perhaps significant that the role of ornament was greatly diminished in both music and architecture as the Baroque gave way to the Classical period. Portrait of Claudio Monteverdi by Bernardo Strozzi, in the Gallerie dall'Accademia in Venice (1640). * Claudio Monteverdi (1567–1643) Vespers (1610) * Heinrich Schütz (1585–1672), Symphoniae Sacrae (1629, 1647, 1650) * Jean-Baptiste Lully (1632–1687) Armide (1686) * Johann Pachelbel (1653–1706), Canon in D (1680) * Arcangelo Corelli (1653–1713), 12 concerti grossi * Henry Purcell (1659–1695) Dido and Aeneas (1687) * Tomaso Albinoni (1671–1751), Sonata a sei con tromba * Antonio Vivaldi (1678–1741), The four seasons) * Jean-Philippe Rameau (1683–1764) Dardanus (1739) * George Frideric Handel (1685–1759), Water Music Suite (1717) * Domenico Scarlatti (1685–1757), Sonatas for Cembalo or Harpsichord * Johann Sebastian Bach (1685–1750), Brandenburg concertos (1721) * Georg Philipp Telemann (1681–1767), Der Tag des Gerichts (1762) * Giovanni Battista Pergolesi (1710–1734), Stabat Mater (1736) [edit]
- a metaphor for any kind of decoration, a new flamboyance in design, the use of ornamentation
- So if digital baroque is a metaphor for decoration and ornamentation then how do you choose what kind of iconography or elements to apply to products?
- elements are only successful if they have meaning about something or to somebody. Objects and images not only signify their basic function, but they also connote meanings. Both is communicated by means of visual forms (2-d and 3-d shapes, lines,proportions etc.), colors, materials,textures, tones ...
- elements are only successful if they have meaning about something or to somebody. Objects and images not only signify their basic function, but they also connote meanings. Both is communicated by means of visual forms (2-d and 3-d shapes, lines,proportions etc.), colors, materials,textures, tones ...
- Ghost Candelabra Jon Russell, 2004 Taking inspiration from a 19th-century design, this candelabra is made of Lucite® with routed lines and polished edges. Comes with glass-cup inserts that hold four standard tapers. Assembles easily and folds flat for storage.
- The Ghost Clock, also known as Fantome Clock, from design company Innermost, is simply breathtaking. The visual effect of the ghost clock is simply mesmerising. When looking at the Innermost Ghost carriage clock, you are encouraged to slowly walk around the clock in an attempt to decipher the optical illusion. Cleverly combining clear, beautifully engraved glass with a skeletal mechanism and mirrored background gives the contemporary Ghost Clock an unnatural depth of field, and allows both the front and the ghostly back of the clock to be visible at the same time. A perfect contemporary transcription of the classic carriage clock, the Innermost Fantome Clock, is usually found haunting a mantelpiece, bookcase or tabletop. Yee-Ling Wan's Fantome Clock won the 2006 Gift of the Year Award, presented by the UK’s Giftware Association. Dimensions: Height 37cm x Width 25cm x Depth 8cm * Materials: Etched glass, skeletal clock movement, metal rods * The item is supplied in a beautiful printed gift box * Designed by: Yee-Ling Wan, for Innermost
- Since the horological achievements of the early 19th century, it has always been fashionable to own a Carriage Clock. They were considered an important part of the normal travelling luggage of the upper classes. Their revolutionary lever escapement, together with their sturdy leather travelling case, ensured their safety on the bumpy carriage journey's and erratic train rides. A carriage clock is a small, spring-driven clock, designed for travelling, developed in the early 19th century in France. The case, usually plain or gilt-brass, is rectangular with a carrying handle and often set with glass or more rarely enamel or porcelain panels. A feature of carriage clocks is the platform escapement, sometimes visible through a glazed aperture on the top of the case.
- George Kovacs Bling Bling Pendant Light in Chrome and Crystal 48" - GEO-P033-077 This George Kovacs chrome pendant lamp is the ultimate in sparkly, rich design. Tire-shaped perforated steel shade adorned with Swarovski crystals is breath-taking . Uses (3) 60W medium base incandescent bulbs (not included). Measures 48" in height and 14" in width.
- shorter attention span in younger market, design will be changed about 12 times in 1 year
- consumers are more aware of sophisticated modern technology and standards are higher - consumers demand more, more products have to survive on the market place
- cultural meaning can become more important or less important...it is a challenge to understand what you are looking at.
- maurice renoma, 2006 Louis XV plage
- designed by joris laarman, 2003 for droog design. made of concreate and plumbing parts, heat wave shows that a product can be both functional and decorative. with its size and baroque-like design, heat wave needs a large surface area for a good heat exchange. winner of the red dot award, heat wave is a highly decorative piece. only gets luke warm heat. size varies. available in aluminum. not UL approved.
- She was born in Oviedo, Spain in 1961 and now lives and works in Milan. She attended the faculty of Achitecture of the Madrid Polytechnic and the Milan Polytechnic where she graduated in 1989 having completed her thesis with Achille Castiglioni. From 1990 to 1992 she was assistant lecturer to both Achille Castiglioni and Eugenio Bettinelli at the Milan Polytechnic and E.N.S.C.I. in Paris. Between 1990 and 1996 she was in charge of the new product development office of De Padova and with Vico Magistretti developed the products:Flower, Loom Sofa, Chaise and Chaise Longue. From 1993 to 1996 she had an associate practice with architects de Renzio and Ramerino and was engaged in architectural design, the design of showrooms, restaurants and franchising (Maska/Italy, Tomorrowland Stores/Japan, Des Pres/France). In 1996 she became head of the Lissoni Associati design group, working for Alessi, Antares-Flos, Artelano, Boffi, Cappellini, Cassina, Kartell and others. On her own, she designs for Alessi, B&B, Bosa, De Vecchi, Fasem, Foscarini, Livit, MDF Italia, Molteni, Moroso and Tronconi and also stands and showrooms for Knoll Point, Moroso, Sag 80, and Somma. Some of her products were selected for the Italian Design 2001 Exhibition and for the International Design Year Book. She was chair of the jury for the 19th CDIM Design Award. She is a lecturer at the Domus Academy and Interior Design Institute. In 2003 she won the Best System Award for the Fjord Collection (Moroso) at the Cologne Fair and she was awarded Designer of the Year in the International Design Awards by ELLE DECO. In May 2003 she was invited to Melbourne, Australia, to give lectures at the designEX COMFIA. She is currently working in her own practice in Milan in the fields of design, exhibitions, art direction and architecture.
- ROXANNE – William Sawaya 2005
- vanessa hannen
- vanessa hannen
- Truffle is a small armchair made of thermoplastic material available in the floor standing version or raised on a revolving metal base that gives it an unexpected lightness. Low and wide, Truffle is informal and highly versatile in every room; it is moreover perfect for outdoors. It is available in the polished colours white, black or spring green. designer: Massaud
- Truffle is a small armchair made of thermoplastic material available in the floor standing version or raised on a revolving metal base that gives it an unexpected lightness. Low and wide, Truffle is informal and highly versatile in every room; it is moreover perfect for outdoors. It is available in the polished colours white, black or spring green. designer: Massaud
- Franje By Marcel Reulen
- Design language can express the product’s core benefits, create identity for a line of products, help the product relate to its environment, and communicate how the product is used. It is increasingly important as global sourcing allows any marketing firm to source any product. Design language is one way to establish more meaning in one’s product line, reinforce brand identity, and make the company’s products a pleasure to have.