"Colours of the Mind”

For hundreds of years there have been many theories developed around the understanding of colour, such as in 1704 where Newton’s Optiks theory was published. Taking colour into his own methods, Newton’s theory was a way to explain the scientific showings of colour through the study of light using such devices like the spectrum. Artists like Newton have influenced the peoples understanding of colour and allowed the creation of a theory of ‘colour vision’.                                                              Goethe, in 1810 was the founder of ‘After Colour’, where we are to understand the perception of colour through a symbolic and physiological theory where his theories were more “a colour theory for artists”¹ These theories help us recognize, as people and artists, how we see colour and how it makes us feel. “Painting is truer for the eye than reality itself. It presents what a man would like to see, and should see but not what he habitually sees”²

The picture above is a piece by the artist Henri Matisse called ‘The Red Studio’ 1911, who was in the impressionist movement. Matisse was influenced by the phycology effect of colours of the mind, ‘Matisse was able to gain a greater understanding of how colour heightens and controls composition by adopting a range of techniques from various movements’³

^{1, 2}  Gage, J. (1993). Colours of the Mind in Colour and Culture: Practice and Meaning from Antiquity to Abstraction (pp.191-212). New York: Thames and Hudson

³Clarke, L. (n.d.). eview. Retrieved 8 14, 2011, from eview.adu PDF: http://eview.anu.edu.au/cross-sections/vol1/pdf/ch02.pdf

Ornament and Crime

“The evolution of culture is synonymous with the removal of ornament from objects of daily use” statement argued by Adolf Loos in 1908 was based on his view of ornamental development throughout the century and its necessity, published in the form of ‘Ornament and Crime’.

Ornament is a decoration used on construction for embellishment purposes; it is not there for use, but only for visual pleasure. Although Adolf tells us, in this theory, of how ““Ornament is wasted manpower and therefore wasted health” (Loos, 1910)¹ is true, his first basis on the book relating culture to the removal or ornament, I would have to deny is my belief. I believe that the usage of ornament applied by designers in modern society, is a way to show the freedom of expression that we can portray as a society, which then we can develop from in a cultural aspect.

As a designer we are told to use our culture and ideas to be put towards our models, we are also told to look at other cultures and see how they live to give us more research and more development we can take from these people and their religion to create.

Here is a modern living room taken by a designer, looking at the culture and religion of one’s country and not only changed the designs of objects, yet the form to create a Japan feel to the home.

This shows our constantly evolving culture through the industry of design: evolution of culture and society.

Works Cited:

 ¹ Loos, A. (1910) Ornament and Crime

Beauty and Utility.

“Construction should be decorated. Decoration should never be purposely constructed.” Words spoken by Owen Jones, architect in the 18^th century. Here Jones is clarifying the importance of construction, and that it is okay to decorate and add visual detail to the design as long as the overall is not too overwhelmed by the embellishment. Comparing this to the Rococo period, this quote is suggesting that it is okay to decorate an item although it does not interfere or help with the overall use of the classical design.

My personal thoughts over this idea are I agree with Jones and that constructions should be allowed to be decorated. I believe that if it is visually appealing, yet still serves the overall intended purpose of its design, therefore the design has not interfered with the construction.  It is more intriguing for the eye than the structure which the design is presented on.

The Pantheon, Rome 126AD, was a well-constructed piece of architecture which can be used as an example of ‘construction decorated’ as many historical pieces from the Ancient Greek period could. Here they have used Corinthian columns for the main structure, therefore the using unnecessary design at the top of the form yet not destroying the overall construction and purpose of the columns. The Column still holds the building together yet has appealing aesthetics to the viewer.

Sensuous Impulse.

As the Sensuous impulse style was a prominent part of the Art Nouveau period which was inspired by the Rococo movement, exploring the nature’s shapes found among plants, roots and leaves. The movement was very popular in the 18^th century, especially in its birth place France.

The piece, Lycée Italien Léonard-de-Vinci, was completed in 1899 in Paris, France by the architect Jules Joseph Aimé Lavirotte.

I believe the overall result of this product is in favour to the 'sensuous impulse' as this design also looks for the natures  's' curve for inspiration and decoration on the exterior shell of the building and balconies.

The style itself represents a symbol of wealth, and was highly pursued. The building displays the curved features of the rococo style combined with the simplistic attributes of natural fluid.

Important Designs.

The Mac Book Pro was designed in the Macintosh line of computers by Apple in 2006.
I believe this model of laptop is an important design towards computer users all over the world, as the exterior of the model is plated with aluminum allowing the product to be light weight and also harder to scratch and damage.
The size of a Mac book compared to many other PCs has many design positives, from the sizing of the laptop itself, yet still having a large hard drive, to the interior of which has given more room for the touch pad and keyboard.  The overall design for this model is for good purposes and appeal.