09/04/2009
09/03/2009
MIP2-ISAAC
Different ways of closing wine bottles which can then be romantcally opened.Cork, zork and synthetic cork.
The cork has the following disadvantages.It can taint the wine.In hot weather the cork may pop out due to the wine's expansion in the bottle.
The cork has the following disadvantages.It can taint the wine.In hot weather the cork may pop out due to the wine's expansion in the bottle.
08/30/2009
08/12/2009
MODERNISM AND POP
MODERNISM AND POP
The British Society underwent a major change in the post war age. This was a reaction against the old order established in the inter-war years. The effect of consumerism was prominent. According to Whiteley in “Pop Design” the feeling of restlessness and rebellion drove the young into action.
The established order in design of the inter-war years is described as Modernism or the Modern Movement. Whiteley writes art, design and architecture expressed the spirit of the age and the overriding characteristics of the age shaped the artist’s view.
Towards the end of the 1950s a popular culture built on man , woman food, history, newspaper, cinemas, domestic appliance, cars, space, comics, television and information began. This soon became Pop Art.
Along with this came teenage affluence. The young had some huge buying power due to their lack of responsibilities. Their money was largely their own. Teenagers could lavish money on clothes, cigarettes, drink, cosmetics, personal transport and records.
According to Whiteley, British teenagers of the 1930s grew up during a caring Welfare State and relative prosperity atmosphere. It is Whiteley’s view that those teenagers of the 1930s grew up in an unemployment and poverty atmosphere. The teenagers of the 1940s in a war and strife atmosphere.
This was also the time to rock ‘n’ roll. Bikers emerged on the scene with their leather jackets, denim or leather trousers, and heavy boots.
Espresso or coffee beans sprung up in most towns to cater for teenagers who were excluded from pubs due to the legal age limit. The majority could also not afford to go to clubs. Along came the coffee machine and a juke box in the coffee bar. The coffee machine was a Gaggia designed by the Italian Gio Ponti. Italian design was flamboyant, it had panache and emphasised styling just like American Consumerist design.
Picture of the Gaggia Coffee Machine
Many Italian designed products were designed with the teenager in mind. Vespas were sold as providers of pleasure while most scooters were marketed as cheap and utilitarian machines.
American juke boxes could be seen and heard in many coffee bars, cafes and clubs.
The Filben Maestro from the late 1940s
Pop Art: Second Generation refers to the artworks produced by the pop painters. The painters took their subject matter from racing cars, motor bikes, spaceships, film and pop stars, sex symbols, pinball and juke box imagery, and neon – style lettering. The imagery was usually painted in bold and bright colours which often clashed.
Music was an intergral part of the pop culture. This saw the Beatle mania and the transitor radio or trannie. The jukeboxes went into oblivion at this stage. The styling of transistor radios aimed at the youth resembled walk-talkie or the army combat radio, imagery which was associated with movement and action. Injection-moulded coloured plastic casings enlivened the appearance of transistor radios.
Pop Art: Second Generation refers to the artworks produced by the pop painters. The painters took their subject matter from racing cars, motor bikes, spaceships, film and pop stars, sex symbols, pinball and juke box imagery, and neon – style lettering. The imagery was usually painted in bold and bright colours which often clashed.
Music was an intergral part of the pop culture. This saw the Beatle mania and the transitor radio or trannie. The jukeboxes went into oblivion at this stage. The styling of transistor radios aimed at the youth resembled walk-talkie or the army combat radio, imagery which was associated with movement and action. Injection-moulded coloured plastic casings enlivened the appearance of transistor radios.
Picture Transistor Radio by Ferguson 1960
Space and plastics came on the scene in the 1960s, space derived clothes were made in plasticised polyvinyl – chloride (PVC). Pop Fashion designers transformed the image and status of plastic material from cheap and nusty. Italy was foremost in plastics design. Joe Colombo’s plastic stacking chair 1965, Vico Magistretti’s ‘selene’. Chair (1968) in moulded glass fibre Leonardi and stagi’s moulded glass fibre ‘Dondolo’ Fiorenza chair 1968 were all manufactured in Italy and imported into Britain. Most of these chairs were relatively expensive. Robin Day’s ‘Polyprop’ chair was first produced in England in 1963 and sold well. It was cheap and muti-functional.
The Psychedelic Style epitomized the immediate impact and small sustaining power of Pop.
Picture Murphy television set 1968
Some Pop Furniture designers turned to sculpture. Jon Wealleans and Jon Wright designed a soft, PVC seat in the shape of a giant set of false teeth.
Roger Dean designed the ‘Sea Urchin’ chair.Of similar shape and associations to Deans’s chair were ‘gag – bags or ‘bean bags’. These contained polystyrene beads which adjusted to the shape of the body.
Inflatable furniture was also unreservedly Pop.
Space and plastics came on the scene in the 1960s, space derived clothes were made in plasticised polyvinyl – chloride (PVC). Pop Fashion designers transformed the image and status of plastic material from cheap and nusty. Italy was foremost in plastics design. Joe Colombo’s plastic stacking chair 1965, Vico Magistretti’s ‘selene’. Chair (1968) in moulded glass fibre Leonardi and stagi’s moulded glass fibre ‘Dondolo’ Fiorenza chair 1968 were all manufactured in Italy and imported into Britain. Most of these chairs were relatively expensive. Robin Day’s ‘Polyprop’ chair was first produced in England in 1963 and sold well. It was cheap and muti-functional.
Paper products were unreservedly Pop.Paper goods were expendable and transient.
Picture Pop poster dress 1967
The Psychedelic Style epitomized the immediate impact and small sustaining power of Pop.
Some Pop Furniture designers turned to sculpture. Jon Wealleans and Jon Wright designed a soft, PVC seat in the shape of a giant set of false teeth.
Roger Dean designed the ‘Sea Urchin’ chair.Of similar shape and associations to Deans’s chair were ‘gag – bags or ‘bean bags’. These contained polystyrene beads which adjusted to the shape of the body.
Inflatable furniture was also unreservedly Pop.
Picture Blow Chair by Scolari, Lomazzi, Durbino and Des Pas 1967.
In Conclusion Pop rejected Modernism.According to Whiteley the disposable paper mini-dress by Disto, the paper chair by Peter Murdoch and the psychedelic poster by Michael English epitomised Pop to youth as a group. Pop was popular, expandable, low cost, mass – produced , young witty, sexy, gimmcky, glamourous and big business.
REFERENCE
POP DESIGN:MODERNISM TO MOD by Nigel Whitley
The Design Council 1987
MEMPHIS
It is believed the name Memphis came from a Bob Dylan record, “Stuck Inside of Mobile with Memphis Blues Again”. This record played as Sottsas’s and team met at his house. The people who made the original team were Michele De Lucchi, Barbara Radice (Sottsass’s wife), Marco Zanini, Aldo Cibic, Matteo Thun, and Martine Bedin. Except for Barbara radice they were all architects. All but Sottass were under thirty. Only De Lucchi had worked with Alchyma, Sottass former company. George Sowden and Nathalie du Pasquier were unavailable.
Their first drawings were looked at on 9 February 1981 and George and Nathalie were also present. There were more than 100 drawings. At the opening on September 18 there were thirty-one pieces of furniture, three clocks eleven ceramics, ten lamps and twenty-five hundred people. Ernesto Gismondi ended up as Memphis’s president and majority shareholder.
Decorated plastic laminates like snake skin were one of Memphis’s greatest innovations. Memphis took plastic laminates from the hidden places to the living room. As a result, materials have began to be read, chosen and utilized not only as tools or aids of design. Sottass believed when culture, reached boredom then new supports (aids) must be found which have not been used by anyone. New possibilities can be projected on these aids (materials).
Other industrial materials used by the Memphis group were printed glass, zinc – plated and textured, sheet – metals, celluloids, fire flake, finishes, industrial paints. Neon tubes, coloured lights bulbs. Marble was used in unrecognizable uses. It was also taken out of context by coupling it with aluminum, fiberglass, or fireflake paints.
For Memphis designers the problem of authenticity and fake did not exist. What mattered was the image of the final product. The Memphis group also combined used of heterogenous, cheap and expensive materials, rough and smooth textures unclear and sparkling surfaces. This ultimately became a complex communication system.
Memphis also focused on decoration.
There was no colour in furniture until Memphis came on the scene.
The Memphis idea was that Memphis is anti-ideological because it seeks possibilities, not solutions. Breaking ground , shaking things up and setting up fresh opportunities were among its focus.
Reference: MEMPHIS Barbara Radice Thames and Hudson Milan 1984
In Conclusion Pop rejected Modernism.According to Whiteley the disposable paper mini-dress by Disto, the paper chair by Peter Murdoch and the psychedelic poster by Michael English epitomised Pop to youth as a group. Pop was popular, expandable, low cost, mass – produced , young witty, sexy, gimmcky, glamourous and big business.
REFERENCE
POP DESIGN:MODERNISM TO MOD by Nigel Whitley
The Design Council 1987
It is believed the name Memphis came from a Bob Dylan record, “Stuck Inside of Mobile with Memphis Blues Again”. This record played as Sottsas’s and team met at his house. The people who made the original team were Michele De Lucchi, Barbara Radice (Sottsass’s wife), Marco Zanini, Aldo Cibic, Matteo Thun, and Martine Bedin. Except for Barbara radice they were all architects. All but Sottass were under thirty. Only De Lucchi had worked with Alchyma, Sottass former company. George Sowden and Nathalie du Pasquier were unavailable.
Their first drawings were looked at on 9 February 1981 and George and Nathalie were also present. There were more than 100 drawings. At the opening on September 18 there were thirty-one pieces of furniture, three clocks eleven ceramics, ten lamps and twenty-five hundred people. Ernesto Gismondi ended up as Memphis’s president and majority shareholder.
Decorated plastic laminates like snake skin were one of Memphis’s greatest innovations. Memphis took plastic laminates from the hidden places to the living room. As a result, materials have began to be read, chosen and utilized not only as tools or aids of design. Sottass believed when culture, reached boredom then new supports (aids) must be found which have not been used by anyone. New possibilities can be projected on these aids (materials).
Other industrial materials used by the Memphis group were printed glass, zinc – plated and textured, sheet – metals, celluloids, fire flake, finishes, industrial paints. Neon tubes, coloured lights bulbs. Marble was used in unrecognizable uses. It was also taken out of context by coupling it with aluminum, fiberglass, or fireflake paints.
For Memphis designers the problem of authenticity and fake did not exist. What mattered was the image of the final product. The Memphis group also combined used of heterogenous, cheap and expensive materials, rough and smooth textures unclear and sparkling surfaces. This ultimately became a complex communication system.
Memphis also focused on decoration.
There was no colour in furniture until Memphis came on the scene.
The Memphis idea was that Memphis is anti-ideological because it seeks possibilities, not solutions. Breaking ground , shaking things up and setting up fresh opportunities were among its focus.
Reference: MEMPHIS Barbara Radice Thames and Hudson Milan 1984
08/11/2009
08/10/2009
08/08/2009
07/29/2009
LOEWY"S MOST SUCCESSFUL DESIGNS
THE COCA-COLA BOTTLE
Lowy redesigned the Coca-cola bottle by giving it a more subtle curvecious shape.
LUCKY STRIKE
He redesigned the Lucky Strike packet by changing the green colour to white which resembles freshness.He put the logo on both the front and back for easy identification.
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