Design Influences, Styles and Movements Flashcards
Arts and crafts (1850-1900) influences
A reaction to the loss of traditional skills and overuse of ornamentation that was perceived to have resulted from the Industrial Revolution, as personified by the Great Exhibition of 1851
Arts and Crafts (1850-1900) inspirations
Medieval craft guilds, simplicity, natural forms and beauty of timber
Art Deco (1925-1939) influences and inspirations
The end of the First World War
Aspirational consumers
Popularity of travel
Growth of mass production
The Paris Exhibition of 1925
Discovery of Tutankhamun’s tomb in 1922
International styles such as Egyptian temples, Aztec motifs and African carvings
Arts and Crafts (1850-1900) Features
Honest, handmade traditional methods such as pegged mortise and tenon joints
Machinery only used to assist in tedious tasks not to replace skilled craftsmen
Simple and functional
Beauty of materials such as the grain and figure of oak clearly displayed
Use of patterned, natural forms on tiles, wallpaper and textiles
Rebelled against mass production - manufactured by an individual or small group called ‘guilds’
Only the wealthy could afford it
The William Morris chair 1886
Arts and Crafts (1850-1900) designers
William Morris
Charles Voysey
Richard Norman Shaw
Art Deco (1925-1939) features
Ziggurat, stepped decorations and building styles such as New York skyscrapers
Sunburst motifs, often found as decorations and radio grille designs
Chevron patterns, zigzagged, trapezoid and geometric shapes
Stylised, geometrical form of products, from jewellery to furniture, contrasting with Art Nouveau
Distinctive circular patterns, bold straight lines, subtle use of colour and shade, often abstract
Unique style of writing - thin to thick
Bold colours as well as black and chrome
Art Deco (1925-1939) designers
Clarice Cliff
Eileen Gray
Rene Lalique
Walter Dorwin Teague
Modernism: Bauhaus (1919-1933) influences and inspirations
Post-First World War idealism
Abolition of censorship
Arts and Crafts’ views on form and function
WW1 industrial methods and materials
Art Deco - geometrically pure forms
Modernism: Bauhaus (1919-1933) features
Founded as an art school by Walter Gropius but closed due to pressure from the Nazis
Course covered materials, form, metalwork, furniture design, architecture, graphics etc - students of different disciplines would learn from one and other
‘Form follows function’ - rejected the use of liberal use of decoration of Art Noveau
‘Everyday products for everyday people’ - affordable to a wide range of consumers
‘Products for a machine age’ - use of modern processes and materials
‘Geometrically pure forms’
Used modern materials such as tubular steel in contrast with Arts and Crafts’
Modernism: Bauhaus (1919-1933) designers
Walter Gropius
Marcel Breuer
Marianne Brandt
Mies Van Der Rohe
Post-modernism: Memphis (1981-1988) influences and inspirations
A Milan-based collective of designers rebelling against the functionality of modernism saying it was boring
Art Deco and other movements and products that interested them such as Pop Art and children’s toys
Post-modernism: Memphis (1981-1988) features
Playful Bold Bright Colourful Sculptural designs that often overlooked functionality
Anthropomorphic and zoomorphic (e.g. zebra print) features - to create ‘friendly designs’
Simplistic, abstract and often random juxtaposition of geometric forms designed to shock
Range of non-traditional materials such as plastic laminate, neon tubes and printed glass
Target market was richer individuals and galleries
Post-modernism: Memphis (1981-1988) designers
Ettore Sottsass
Michele De Lucchi
Martine Bedine
Design movements that I need to know about
Arts and Crafts (1850-1900)
Art Deco (1925-1939)
Modernism: Bauhaus (1919-1933)
Post-modernism: Memphis (1981-1988)
Wassily B3 chair (1925)
Bauhaus design
Relatively cheap
Made use of modern mass production techniques
Simplistic yet thoughtful design
MB-118 chair 1928
Bauhaus design - Marcel Breuer Minimalist Very functional Aesthetically pleasing New materials and manufacturing techniques
The Etruscan 1984
Post modernism design - Danny Lane
Visually, high impact
Artistic, ornamental, display/exhibition piece
Lacks functionality
High level of craft skills
One off manufacture
Modern, non-traditional materials - glass is brittle, sharp and cold
‘Saville’ armchair 1890
Arts and Crafts movement chair made via William Morris’ firm
Exquisite patterned fabric with natural forms and carefully crafted polished wood
Comfortable
Chrysler building 1930s
New York Skyscaper
Made use of stainless steel
Makes use of Ziggurat combined with sunburst motif variations
William Morris
Socialist opposed to the poor working conditions of factories and the inferior quality of goods being manufactured at the time
Carlton dresser
Designed by Ettoire Sotsass in 1981
Striking angular structure with bright colours
Barely functional
Designed for maximum aesthetic impact - it is a statement piece
