X COMMANDMENTS My ten design-rules explained through histories histories through explained design-rules ten My Lecturer: Xandra de Jongh Gerrit Rietveld Academie manifests and key texts. and manifests Design: Ruben Baart Marko Bakovi Marko Designlab 2015

1 2 Chapter one: Technology versus Craft thesis this read to how on Notes Introduction Endnotes & Bibliography & Endnotes Conclusion X Chapter five: Context IX Chapter four: Form follows function? VIII VII Chapter three: Praxis VI V IV III Chapter two: Material versus Time II I

Context Transparency Processing Machine Processing Etymological Imperfection Flux Colour Material Outsourcing Technology 106 110 60 60 38 38 92 37 37 82 32 12 72 72 93 71 81 11 8 5

3 4 Introduction

5 6 Introduction constantly urges them to seek their placement placement their seek to that them voice, urges same this constantly has everybody that actually am sure I But quite wanderer! confused poor this for calls which out. head, straightening my in frenzy cluttered, a schizophrenic form questions these everyday obstacles, mundane the this all of with Together finalization year. the towards dauntingly, forward up head I popping as are at questions these designer a All myself all? a call to called want I is Do what of ‘designer’? parameters enough) functional the than in more is all (recognition real-life a celebrity even design craftsman, manager, technician, agent, financial PR writer, work? photographer, my a of be I content Can the on without concessions any designer making successful possible it Is commercially a be team? to studio a of to comfort want I the do or embrace practitioner one-man contribute? an to I want Am I what of essence the is ambitions? What world-improving the any in have I Do designer a world? as of position my child is a or What science? folklorist A A fantasist? a or philosopher? a realist or bird mocking A cynic? a or in - human a as not if the- world. designer a insights as me give position my would in that a as thesis my self-reflection of record imagined always I of thesis. my anticipation in writing hesitant curiously been have I I know what you might think: somebody help help somebody think: might you what know I optimist An fatalist? a or moralist a be I Will education, my of beginning very the From one finds himself questioning everything. This This everything. questioning ones, himself new finds opening one and chapters, threshold few the a on closing being of But stopping everything. not examine to intuitively, voice most this as with well as deal I, people, perspective. and context a within a maker, thinker and humble successor of all those those all of me.beforeway the paved who successor humble as and myself thinker position maker, a to is goal my which in overview, their of heritage. understanding an get to similarities and rules the of contrasts the and explore Art will in I texts key Design, and eyes manifests the Through historical of thesis. my in departure of observation point the and for seed the are rules ten These to exist they that and be moulded and applied appropriate an in form. absolute not that are knew I rules And these together. thread everything the binds work, my that of DNA the had I unravel if to as felt It started comfort. of them sense a felt written I down, Having we advantage. our to restraints use us could give would that grip a us practice, give our would on that rules ten design ten commandments; formulate, and on, contemplate to asked (of history them. with deal to design) throughout of devised and instruments questions, the these of exploration an is thesis By doing so, I will weave a rich panoramic panoramic rich a weave will I so, doing By were we academy, art of year third my In

X Commandments 7 8 Notes on how to read this thesis this read to how on Notes there are subchapters discussing the rules that fit fit that rules the discussing chapters, subchapters are these there Within chapters. five are There the second the and visualizeditself, process of how research this thesisthe came about. being first diagram on the inside of the cover, which could be be could which cover, orderconsulted between in in reading, not to get lost.the of a inside included the on have I diagram design, in writing theoretical of of making the on thesis. notes this my visualized in are glance they inside process; an allow with rules, together mutating the sources, These chapter. as the of mentioned be part to deserve sense thoughts, my that of in and formulation all the to they thesis, contributed my in have texts I all though even addressed not that have fact the underpin to this, done ones The writing. thatmy are used the in text are in them not of did all but use essays, actively and texts vast a manifests, of through array gone have I sources. of summary at them find will You the very end of this booklet. thesis. are this of rules conclusion modified the the outcome, is the which and machine research; the with through go start that We rules thesis. ten this of very essence This the is same. the process stay or grow, mutate will change, rule break, the matter, the research into Through diving with. and start to more were assumptions rules less or These chapter. the of context the This thesis consists of two parallel layers: the the layers: parallel two of consists thesis This As this thesis covers a significant timespan timespan significant a covers thesis this As a be will there chapter, each of end the At crossed through . I have have I .

X Commandments 9 10 Notes on how to read this thesis ten simultaneous departure points (the rules) that that rules) (the points intersected on thefrom way departure up. spiralled it simultaneous if ten as it at look departure one should from one point, climbing line content the straight a as regarding list of Instead flow. continuous a to intermittent contribute actively always and are present, commandments The by is linear. that means process no a is process creative workflow. a my of However, version a certain a in reflects that order organized are chapters common These and grounds. similarities their to chapters in according commandments the grouped have I Last but not least, it must be understood that that understood be must it least, not but Last Technology versus Craft versus Technology Chapter one

11 12 Chapter one working hands-on facilitates quick, boundary-less boundary-less and fruitful means of working.quick, facilitates hands-on while working freedom, of lack a and opportunities in missed results away straight precision that incredible tools offer digital on much too my In depending around. opinion, lying were that materials with sketch-like try-outs quick as time of amount often same the something takes try to files digital the are, preparing downstairs tools the fast and handy not how does It matter production. and experimenting moment actual of the to up leading workflow, in difference fundamental the of cause the is this believe I classroom. the in upstairs done work the and cellar) the in located is workshop CAD/CAM downstairs (the offered techniques the between division unintentional an noticed often and my students, observed fellow have I studies, my of course the During ask. may you then, hand would by cut Why to bother cutter. even I laser the of to accuracy inferior be deadly will the be, may it cutting my sharp with however make I cut blade, the all, has After products increased. finished of that as of well as production and models, development and the milling cutting, CNC laser printing, 3D as such prototyping techniques rapid and software manufacturing) (computer-aided CAM to and design) aided other the needs One digital. balance. a the form and analogue In the age of the so-called CAD (computer-the between dialogue a be must There images of printed knickknacks (such as keychains, keychains, as (such knickknacks printed printer, of 3D images desktop the of With growth applied. be immense can the notion same the the of product, final assemblage and production the meaning Room, in my opinion, comes close to a striking striking a to close comes opinion, Running my with in Room, Junkspace essay his in categorize. to Foster, hard Hal is text The today’s society. on consumer contemplation for calls lecture, harshly elaborate an which of form the the in posing questions is same 2002, in Koolhaas Rem architect a to junk useless saturation point we haveof never seen before. accumulation whatsoever, the design bring in to trained not wildcards are who giving people are we to privately out use to handing By printers 3D enough. not is China, huge like insanely players by our accumulated overwhelming homes, and junk shops soulless if As unnecessary towards? the all heading are we abuse and image/object in pollution increase huge the Are cons? forgetting the we forgetting we home are own But your company. of or privacy the in can shapes synthesized all be and anymore, need not do transported be goods to that idea being one revolutionizing the important most the favour printer; in 3D the of arguments the know all We are tremendous. altogether production and relationship products our with revolutionize will desktop the printer that 3D chances the our and flood to seem environment, already toys) and figurines In the case of post-experimental production, production, post-experimental of case the In Junkspace, a text written by the Dutch Dutch the by written text a Junkspace,

I Technology 13 14 Chapter one one of the most influential design critics of the the of critics design influential Loos, most the Adolf of to one himself theorist, compares Austrian Kraus 1912. an in Kraus, Karl by a with written quote begins Foster Room, the In Running chapter Junkspace. Koolhaas’ of different on perspectives light shed each fragmented The subchapters short manifest-in-manifest. almost effective, parasitical very a is result whole The the thing. through remarks he own his whilst weaves sources, slyly external of through introduction background the give and text reflect Koolhaas’ which upon themes into jeremiad dissected Koolhaas’ essentially He manner. intriguing mankind residue planet.”(2) the on leaves the is junk-space universe, the us.(1) is around what everywhere recognizing for already calls it that say present, to the is which ‘foretells’ It a than manifest. thing conventional harder a does Junkspace matter-of-factly. Therefore, states Koolhaas the in century’, twentieth disappeared ‘Architecture makes claim. such Junkspace no that argues visionary its Foster But with will. generations to future all aims often It influence future. the into phenomenon, looks that one modernist a essence The in is manifesto. manifesto retroactive or a – words, manifesto the Koolhaas’ of in variety own Koolhaas his that invented argues has Foster kind is. what of Junkspace breed of justification, rather or categorization, Foster has dealt with Junkspace in an an in Junkspace with dealt has Foster litters that debris human the is space-junk “If running room [Spielraum]. The others, the positive positive the others, The with [Spielraum]. culture room provides running that all is above it that and distinction pot, this chamber a and urn the distinction a between is there show than done have more I and nothing Loos ‘Adolf century: 20th early prepare to is life. in art in freedom for play on insist to that imaginative the invention with it since associated who aesthetics in Schiller, term crucial a ‘play been as has room’ translates which Running Spielraum, that or room, explains Foster to other. belonged the or either side, one artist An play. left and room no was creativity for there that in manner, change fierce a for such pleaded In parties desiring’. both and words, other developing culture, striving, and and living to subjectivity liberal to running the necessary, ‘safeguard room to failed they regressive a risked indifference; both and value, value, and and use art of and relationship the confused mistakes. were Both options Foster the of Kraus, both For art. explains, into object elevate to utilitarian wanted the who modernists were opposite functionalist exact the did who chamber those (the while object pot), utilitarian art the inject into to urn) (the wanted who the to designers, Nouveau referring was Art Kraus pot’, chamber a as urn chamber a as urn pot and those who use thethe chamber poturn.’ an as use who are those into distinction], divided this make to fail who [those ones So how do this quote and its ideology ideology its and quote this do how So the use who ‘Those with that explains Foster

I Technology 15 16 Chapter one craftsmanship today understands that it needs the the needs it that industry.”(3)understands The today craftsmanship. craftsmanship needs it the that is understands today, industry beautiful is What right, is wrong. what is what understand to helps that experiment, to lot a something is that And the mistake. same making avoid to how know You gain you competence. mistake, a make you if organization. better; other Even any a damage make not do you you if hands, mistake, your with do you that yourself, is it how of intensity written.)and vigour remind the as should much that as us, text Koolhaas’ of the much content so not actual is it though (Even print 3D megalomania. unrestricted and consequences unsupervised the of remember to order reread in and read Junkspace should we alike, designers of consumers and method production default the become an seek both language, ‘ world. heteronomous a in place autonomous clarified a with motivated a of architecture dream critics to ‘Both Junkspace is Koolhaas. so then Loos, to ornament If crime a was ornamental. the about fraudulent, the on warning a and criticism violent Loos’ a Adolf with of writings, reminiscent way a in ends Junkspace and worse. starts times hundred a and later, hundred a years then but the problem; of pot urn/chamber reincarnation the is that Junkspace explains Koolhaas’ cleverly Foster Junkspace? to relate “Craftsmanship is something you do by by do you something is “Craftsmanship to bound is print 3D where world a In book ‘Hello World’ that the start of the industrial industrial the of start the her that in World’ ‘Hello described book has Rawsthorn field Alice the in design. of discussion to subject was comparable a situation century 18th the of end the at but trained and exerted little influence over their their over influence little exerted barely and paid, poorly trained was salesmen But designer new production. the for them or interpret engineers to and modellers products, their of draw to salesmen specifications employ to commissions, manufacturers leaving industrial for lost enthusiasm artists how early their describes Rawsthorn than rather exhilarating. destructive, and soulless manufacturing dirty, as regarded marvels, praise to industrial order the in tours had who factory attended once intellectuals and a socialites took The conditions plunge. working life the the rose, Although expectancy factories. noisy dangerous filthy, in often but jobs paid, better for the countryside abandoning by squalor urban rural for exchanged poverty had families of their and millions workers 1800s, early the By away. ebbed industrialization soon of fashion to the However, emerged it. profession execute design the and fulfil to function, developed that was process The design industrial specifications. identical was with example each manufactured that ensure it to quantities, necessary huge was in object an make became to it Once possible before. seen never and as design production towards attitude the transformed Industrialization 1780. around was revolution Today, this could refer to the 3D printer, printer, 3D the to refer could this Today,

I Technology 17 18 Chapter one technologies used in Art and Design, and the the and inability ofDesign, mankindand to keepArt up within these.used developing technologies ever-increasing the regarding states he concern text, his his in on early very impressed, thousands’. Clearly of hearts aspiring and the minds ‘pensive amongst stirred Exhibition the far-reaching consequences’ ‘unmeasurably the of description a starts He with form-language. design and between technology relationship the questioned his and criticism ventilated he essay, this In Art. and Industry, Science, (1851), called London in the Exhibition to Great review a was essays his of One texts. wrote who numerous architecture of professor and critic art fairs.(4) ambitious more bigger, even by another staging one outdo to trying and own schools their design opening by followed countries trade Other of fairs. series a in outputs manufacturers’ showing by their e.g. off engineers, and designers of the improve training to governments their convince to Frederic, tried Alexandre Francois reformer the and social French Britain in Peel Robert States, United the even not If superiorthese?) to home? at hobbyists print equivalent 3D not the to past the of Are future. the designer-salesmen to so the more to possibly and parallel a present, the draw can we (Here work their of questionable. was quality the and and books, shapes from motifs historic copied they Mostly, employers. Gottfried Semper was a German architect, architect, German a was Semper Gottfried in Franklin Benjamin including Politicians, back into use when speculation cannot think of of think cannot speculation when called use are into back comforts to outdated and Old, [...] them benefits master half-imposed the with become to familiar time no has present The [inventions] in a feeling for the suitable and appropriate. Our Our appropriate. and are more best things or less faithful reminiscences’. suitable the even for and feeling beauty, a in formal in them we behind advances, far remain technical many our ancestors. our of Notwithstanding those with we when products us our compare confronts truth shameful follows: as same, it ‘The describes and Semper forms. working, of outdated means old on newly technologies applied day learned that of and designers makers the industrial potential, their of out harvesting most the thus and as developed, forms and technology the aesthetics new use. forming to of put were Instead technologies promise these way the and possibilities, the between observed he imbalance an society, of honour and the of favour well-being in serve would in and probably end the recognized, be to were achievements the shame to putting skill.’ art, human every human of field the ‘encroach into and deeply carve to paint, embroider, machines of knit, sew, ability the and rubber, metal vulcanized galvanized ivory, during form-pressed industry time: design that the in application their and anything new.”(5) “What is the inevitable result of this? this? of result inevitable the is “What Essentially, his point was that even though though even that was point his Essentially, novelties technological of examples gives He

I Technology 19 20 Chapter one craftsman-based knowledge as industrialization industrialization as knowledge diminishing of craftsman-based concern his who described Someone and named support. no, structural with any shapes, barely or complex e.g. achieve, mortal could no what potter possible makes the of and capacities ceramicist, the exceeds it when interesting difficulties new of and problems.array the whole of a print brings 3D bowl the same while like, the look what will predict to glazing and will bake, it and time produce the to predict take to able be the will bowl, ceramicist ceramic simple a and produce To traps mistakes. beginner’s any if prevent and to them how with deal necessary to how and moulding, of quirks wall-thicknesses and limits the pottery. of all craft knows He the mastered has a of who think ceramicist could we jeopardy, this exemplify To and craft. his of work, legacy the his of jeopardize so doing by craftsman the the deprive we of artisan), knowledge the to (printing adhering of chase the to instead cutting of taking By instead detour a experience. of years e.g. with of craftsman expertise a the using by shape, cheaper same and the faster produce can we sake as the for just printing, of print we when appeal benefits; not do these to that even shapes is print we tragedy when the greater benefits, with As today. packed is usage its and printing printing 3D when about arise talking concerns same the believe I today. to However, 3D printing does become become does printing 3D However, worries his translate to step obvious an is It industrialization as a commercial process and and process commercial a as industrialization text the wrote Semper discussed above. after decades 3-4 William was Morris, growing and evolving keep would crafts system of the guilds, where production and and production where guilds, the of system crafts sly the for fall tricks andto bribes of the ‘marketthan vendor’. better consumer, know the but should who fault, at one the see as not do We aggressor it. the accept we so nothing is it, there about do and can we tactics, to aggressive resorting are increasingly consumerism and damaging. being as Advertising it bad recognize from even not do quality and and design good simply we differentiate Today much. that us or bother not plausible, would deemed be not would society rooted possible as from them; analogy, an today’s that in commerce- money much as lives, take to customers’ simply the but to joy they bring to since desire no customers, have their with as war at designer are they driven if the of commercially this speaks of Morris position work. their of spite in quality money, the more of make to souls their designers of sell trend who the fashion. describes urgent very scoldingly a He in point his 1889, in stresses written Morris To-day, of Crafts text and his In Arts 1800’s. The late the politics during design, education art, on and opinions his his of aired he speakers time, popular more the of one craftsmanship. Being traditional to return a championed The Brit William Morris dismissed dismissed Morris William Brit The Morris called for a revival of the medieval medieval the of revival a for called Morris

I Technology 21 22 Chapter one and ‘That he[Morris] had abundant faith in the the in faith abundant had danger’(7) he[Morris] the ‘That sensed and deeply with himself but ‘Morris manner, pity: crude a in not Morris, of ideas age the of arrival machines. of the proclaimed fierce a Wright With Machine’. intensity, the of Craft and title the Art under ‘The published was speech possibility. the Later, architectural modern expand that would machinery recognition early its of because speeches, largely intense and famous one most as Wright’s of history in down Crafts go and would It Arts his Movement. and Morris in addressed he speech a which gave Wright Lloyd Frank American the architect To-day, of Crafts and Arts The resorting of production. mass instead blind to product an the and of for respect understanding regain to the to craftsman return a for individual cry a and against plead a is it industrialization, sense, that In in it Ages. Middle abandoned we the point or the to, from return to continue us for rather order in simply time but in break a as retrogression, a as the in century’ commercialism sixteenth incipient of Ages’(6) ‘confusion Middle the to the of system orderly and logical sacred this of connection that he believed was. industrialization interruption the of the of virtue instead and maker, solace joyful the to product the spoke as itself well as product, the of completion In the text, Wright starts by dismissing the the dismissing by starts Wright text, the In Morris’ after years two 1901, in 6, March On ‘the from shift the see not did he yet But and processes of production, not so much as for for as much so not production, of age the for processes and metaphor a as uses Wright ‘Machine’ the which – because matter, not not does did It machine matter.’ the miscalculated testify. had he will That essay every his [machine] art new mundane object should be made beautiful. These These beautiful. made be most should the even object that mundane belief the unity the function, and materials, form of of integrity the share did Morris: he with which values, service the in fundamental so more did of he – interestingly but others amongst Morris, – against of production virtues the machine defended he – world. Clearly, the in effort.’ human thing precious most the successful most saving in tools the knew, tools it best the contrivances with or art its has age produced ‘Every work, its age. done our of craft the and as techniques machinery new accept should we otherwise would disappear, they because crafts ancient to the that democracy.’of democrat, forerunner great the was machine grand the apparent Morris, become to William as to grown so it Wright was well’, ‘Nor as writes. vulgarians usurping has the it and made, mischief the undo swiftly, and momentum, surely own its will by it that now indicates which point plainly so the to advanced then different. not very had ‘It been have would it his towards age, machine attitude the of known consequences had true the Morris If be, to emergence. true, its enveloping in world Wright, to his and According Morris by followers. recognized not was – object the Wright claims that, instead of clinging clinging of instead that, claims Wright

I Technology 23 24 Chapter one honourable in its repetitiveness and fragmentation– fragmentation– and and repetitiveness its in beautiful be can honourable itself in production mass as complete rejection – that of is industrialized, all as not and architects. reformers social it, as work expressing should for they vocabulary and machine appropriate the an of found nature the simplicity; grasped for they call until this understand and fully ideas not did outmoded with working Morris’ were that followers insisted he purpose pretence, any their without express to buildings frame steel allowed the that to for Pointing task perfect technology. a was machine building’, office ‘the modern Wright to tall According insist.’ we Democracy which of upon basis the thereby the of man, life simplest the broadens and human frees lengthens which labor, tool the by come. made to Art the distinction A and old the of Art distinction the splendid between a not, or it whether own yet Artist, will the he for made finally ‘The has labour. Machine repetitive of drudgery individuals the from liberate could it because democracy of precisely expression the for and tool ally an ultimate as the machine the life, saw modern Wright in whereas factor the dehumanizing saw a as Morris machine whole, a as technology ways. Embodying parted Wright and Morris where were and Arts the Movement. Crafts with shared he convictions, very Although I do not agree with Morris’ Morris’ with agree not do I Although machine, the of role the about ideas The on the other hand, is advocating the machine with with machine the advocating is Wright, hand, legacy. other its the and on of craftsmanship to respect understanding and the to without about sets something man produce when of consequences the importance and the craft regarding beliefs his share do I had an impact that was both immediate and long long and immediate both was that impact Manifesto an had Futurist the that explains Danchev very are indeed.”(8) poets good artist-manifestoists then steals, said, poet Eliot good T.S the as and borrows, appropriation. poet of bad art the If the also of is art The manifestos form. making self-referential and self-conscious Communist The Manifesto. original political the a of and genre, reinvention new a once at Artist’s was the It of idea manifesto. first very he the but unleashed Futurism, also of founding the not he announced only Futurism, of Manifesto The and document Foundation historic his F.T revealed When movement. Marinetti new a stabilize recruiting a to with intention usually and text, change or for poetry calling prose, of or form the rules of in or set a in demands fragmented either founders’ its principles, bearing decade, after repeated been decade has a that as format a manifest is the phenomenon Design, and Art of history the craft poetry the all itself. within has off cuts he that intensity, such In his book 100 Artists’ Manifestos, Alex Alex Manifestos, Artists’ 100 book his In highly a is It perform. to is manifest “To throughout texts important mentioning When

I Technology 25 26 Chapter one all that is grotesque and antithetical (tradition, (tradition, antithetical and down grotesque is that trampling all spirit, the of demands satisfying the all science, and the technology of all with resources constructed his been in have which should eyes house, Futurist the opposite. for exact pleaded the He for urged Sant’Elia Crafts, Futurist of Architecture,Manifest manifesto in thewrote namehe 1914, contributing of in thehis was, Futurists. he visionary the As monumental air. a on put he ideas, presumptuously not did architectural radical to said. he came it city,’ the When of level the raise innovative us an in ‘Let way. attic) to basement possible (from all using structures and past, present, the the rejecting to revolutionizing committed were as was, Futurists, He the all influence. great an as had he little built architect, had he of though Even advertisement wares. an his as tailor the by Milanese clothes grandest free with a provided was was he style, had dandy; Sant’Elia the of ones. one and – ambitious most Marinetti from the save of – forces Futurists creative important most probably the was of one Sant’Elia art Antonio of means. other continuation by a as manifesto the cleverly describes Danchev Marinetti. by unstoppable inspired the or composed them of Futurists many the by alone, years few were next more the in fifty — published manifestos an artists’ of triggered It avalanche persuasion’. and tempers nation shortened every and ‘of tongues loosened It lasting. If William Morris called for a return to the the to return a for called Morris William If conditions of modern life. He found that this new new this that found He life. modern of unique the in conditions solely found be for can reason whose existence architecture an profiles of volumes, and harmony new a lines, new forms, determining new ornamentation) aesthetics, style, the elements of the utterly new mechanical world world mechanical in new utterly inspiration the of that find elements the must and artificial– materially spiritually are who – we the from nature, of art their elements for the inspiration as drew just ancients ‘that, states It towards Craft). (and attitude Technology Futurist the points the illustrates of One clearly futurists. the proclaims of he visions which the in demands, of he list a manifest, assembled the in on Later CITY.’ FUTURIST AND HOUSE THE problem: of pressing solution and the new in the and frontiers in new open for minds search the their throwing of classical of instead models recopying are onanistic the young into the where forced intelligentsia, the of internment camps the academies, the venal of the by complicity perpetrated of imbecility architecture, supreme modern ‘the the day: and his in life of architecture way the of disgust his fiercely he describes developments, architectural discontented the with Clearly prostitutions’. ‘rapacious architectonic and houses’(9) modern mask of to used skeletons the elements stylistic of various mixture most the ‘moronic a it from calls he onwards, architecture 1700 all must Dismissing decorative the abolished. be all that of law continuity, any to historical subjected be not could architecture

I Technology 27 28 Chapter one of everything; then the Nazis took over Germany, Germany, over took Nazis the then centre the been everything; had of it two years, prior fourteen the For in Europe decades. across had that design crystallizing about been ideas radical all becomes of It focus the mission. new a and name rebrands new a and Velde, with it der van Henry the by designer established Belgian originally Art Weimar, the in over school takes Gropius Germany. collapse the Imperial followed of that of traumas midst de in revolutionary the born was is Bauhaus B the book his Bauhaus, in for describes we Sudjic that Deyan design As know. modern of platforms most the of influential one for plan and would template which the be Program, and Manifesto Bauhaus adapts always will.”(10) which man’s creative to itself technique, all than important glorifications of the Futurists. tech- institution the with new line in not a was which formed, was WWI, after War But World First climax. a the as with of promise, futurists’ machine-fetish the global a in obsession transformed an that aggression; driven development machine and technological speed, was with world whole obsessed the where time a in operating complete most the synthesis, the most efficacious integration.’ expression, be must beautiful most the architecture which of and created, have we In 1919, Walter Gropius publishes his his publishes Gropius Walter 1919, In more always is imagination of boon “The were Futurists the that claim might You the United States, and set off to teach at renowned renowned at teach to off set and States, particularly United world, the the of parts other Bauhausler to the all migrate (nearly everywhere Bauhaus The spread out. ethic wipe to them for idea strong too Bauhaus was the But down. school the shut and by doing so, secured a financial royalty for the the for royalty financial a secured and so, doing by commercially, sold were that workshops the industrially, in products a manufacture found to had way they philosophies craftsmanship, their regarding his maintaining to in Next convictions. one-dimensional very was of means Morris production; industrial and crafts between balance the was which Bauhaus. environment, active highly a in inspirational, executed time this but ideologies the Morris, to of throwback a is sense. it essence, traditional In the in between artists and barrier craftsmen arrogant an raise class that the without distinctions craftsmen of to guild wants new he a that create explains Gropius the of rank. craftsman highest a Bauhaus, therefore, the is of eyes artist the The in craft. the of by effort rescued be only cooperative can which Arts isolation, in collective exist their that and belong breed, same essentially the to sculptors and architects, painters that designers, states He Bauhaus. of and principles instructions aims, program, the naming by altogether), and institutions reshaped thenew world to its own image.(11)start or universities, Unlike Morris, the Bauhaus sought a sought Bauhaus the Morris, Unlike vision, his proclaims Gropius Manifest, his In

I Technology 29 30 Chapter one but that working only with digital techniques lacks lacks techniques soul. digital with only out-dated, working is that but today analogue believe solely I working producing. that and working with of ways harmonized analogue always but a as technique, model-making, production towards tool a as used and appropriately well-considered are they as production, of long as means in general in prototyping rapid techniques and print 3D by technological driven the in future believe do I to, adhere mostly price a in objects his range appropriateoffer for these to masses. the of inability because respect, paradoxical certain a in that failed however, say, Morris would Many to masses. design bigger crafted the proper, bring to accomplish wish to sense, Morris’ a in succeeded, They school. The Bauhaus-philosophy being the one I one the being Bauhaus-philosophy The (1901) Frank Lloyd Wright,The Art and Craft of of Craft the Machine and Art Wright,The Lloyd Art (1901)Frank and of Crafts industry todayand Arts ,The Science Morris Semoer, William (1889) Gottfried (1852) (2013) Hal Foster,Junkspace with Running Room Running with Foster,Junkspace craftsman Hal (2013) Sennet,The Junkspace (2008)Richard Koolhaas, Rem (2002) and Program Architecture? Manifesto is Gropius,Bauhaus (1919)Walter Gropius,What Walter (1919) Crime Futurist of Architecture is Manifesto Sant’Elia, Ornament (1914)Antonio Loos, Adolf (1908)

I Technology 31 32 Chapter one a task, and constantly learns new techniques in in techniques new learns constantly executes and who one task, the a also but only designs, not who is one who the craftsman, and an maker practitioner, omnipotent sole a be he can specific Or a to? project entrusted he people the the amongst divides but tasks overview the not keeps he who Is one? someone generous designer delegating, the a of also role not the Is way? every the on decode step to single having so, by doing by and, everything do to himself want the to in it is designer but the of favour essential, not if of good, amount is certain a curiosity Surely, been. I ever am has Nor he sure processes. and techniques deciphering and machines, studying row, a in grimy days some in up studio, locked is longer no that is designer individual an time modern about a it, Think see I it? As is but it. designer, a be someone to for aspires advantage who big a is Youthis that work. say things might how with a obsession have I rooted that deeply concluded we fast), drunk were we getting nonsense; of lot a and (alongside discussion much analysis After examination personalities. our of philosophical a in drank, we ourselves beer the found by we intoxicated to slightly Reluctant home, go station. central bank the Amsterdam on IJ, opposite river the who by sitting were I those and to faster. parts and better delegate job so, the do do to will allow not does On a windy autumn evening, my best friend friend best my evening, autumn windy a On time the if skills; new master to try Always a place where I start to pinpoint the matters of of matters the pinpoint to start at I am I where place motors, a motivational that my to life triggers what ultimately, and, time have I my that all say to devoted able quite not am I Although profession? his with up keep to order stumbled on such a machine on the internet, and and internet, the on I machine a such chance, on By pace. stumbled own my in to secrets, one, its own to unravel wanted I one. to what buying and when for were, look possibilities how its idea what no worked, it absolutely had I for one though even getting of while, a idea the with toying been had I it and time. its in piece Brother, by state-of-the-art tech high a was released machine the 910, electronic Brother a is first It 70s. the scream buttons and Its past. the from yellow/cre one more beast but a not was future, the though, from machine newly My knitting future. the acquired from insects strange of science-fictional reminiscent legs, standing black parts, spindly and on bits complicated metal and delicate antennae, numerous its with workshop academy, the textiles of the in had I though, it. before use one to how seen of idea slightest without the having Holland, North in obscure an somewhere in village recall) can’t I of machine? result the a as buying project the make other I the Did it was (or around? way machine, knitting a acquired which level a corresponds my with needs and aspirations.to ‘devotion’ my I up so, doing yanking by am And precisely. more importance For one of my projects, the Daily extreme, I extreme, Daily the projects, my of one For me plastic housing, and retro typefaces typefaces retro and housing, plastic me ’

II Outsourcing 33 34 Chapter one of (machine) knitting, but my hacked machine is is machine project. next a patientlyawaiting hacked my but world knitting, (machine) complicated of the in know to of is there fraction a what only learned have promotion! still a I Today, getting was were machine My of. machines capable modern things the be all would do it to so able it, upgrade and would She machine my hack project. graduation her use for could she machine if my asked and day one me department approached textiles the from girl surprise, great friendly my a to But computer. to the easy to connect relatively hacked be can behind which 940, the generation one was My 910, the computer. a model, on machine created files, digital ability knit machine’s to school the biggest being the school, difference of the to knitting-machines comparison in modern machine my of abilities the restraints learned and quickly I patience), of unbelievable amounts requires knitting (the workshop a made had learn. I to ready was and deal, good anymore. production in not sought and highly after, were and which of add-ons some of kinds all accessories, with and filled boxes part, big five double-bed a also but knitting back, basic a machine bring only not did I I what in. by brought amazed were academy, assistants the to workshop back the got I when lucky; been had I I academy, forit. go the to decided from workshop consultation textile quick the a with After budget. my within fell it By spending many tedious hours in the the in hours tedious many spending By knitting to a different party altogether. The point point The altogether. party different a the to outsourced knitting have would even I never had machine, I a if bought hand, other was the On outsourcing hacking. the the case, this In forms. many in ourselves as either the ‘craftsman’ or the ‘industrial ‘industrial designer’. the or ‘craftsman’ the either as ourselves profiling before worlds both from best the and harvest economically, time of use make should we say I it. against fought contemporaries his and while Morris today, of machines prototyping rapid industry the the and to applied be can this use machine, make to the of urged Wright and Futurists The and quoted. researched have I gentlemen great the of between those lie outsourcing on convictions that my In sense, elsewhere. lie would focus Our time. a of be waste would probably ourselves hide then the profit, tanning maximizing thus waste, cowhide minimum one of with out most the harvesting about is specialist. a it of If help the with process tanning dive the least into at or ourselves, it tan for should we finish, its example, and leather about is project project the the of If nature itself. the in lies a of specification skill the certain mastering of importance the as every for project, different is outsourcing of degree altogether. The craft who different a leather-tanner, the practices from it own acquires his he tan not leather; does also of shoemaker parts A some work. his outsourced often Morris William ‘crafts-advocate’ Even degree. creative some the to in process inevitable is outsourcing that is The idea of outsourcing can manifest itself itself manifest can outsourcing of idea The

II Outsourcing 35 36 Chapter one (2008)Richard Sennet, The craftsman The Sennet, (2008)Richard and ProgramArchitecture? is Manifesto Bauhaus What Gropius, (1919)Walter Gropius, Walter (1919) Crime Futurist of Architecture is Manifesto Sant’Elia, Ornament (1914)Antonio Loos, Adolf (1908) of Craft and the Machine Art The Wright, Lloyd Art (1901)Frank and of Crafts industry todayand Arts ,The Science Morris Semoer, William (1889) Gottfried (1852) Material versus Time versus Material Chapter two

37 38 Chapter two lower end and higher end stores all over the world. world. the by over all stores end promoted higher and end lower coats fur example conscious PETA Another the are basis. daily a on can us we around interiors find car painted ‘wood’-panelled and jewellery, plastic gold-plated the all rims, of tire Think chromed home. to of closer examples fakeness’ find ‘accepted can we But theirs. although be might reality, it our not is while this that tackiness, knowing of extremities in the on entertainment gloating of element an Of is No. there norm? the to course, But translate screens. tendency TV this our does to cities, plastic American other and fantastic Hollywood, of the by studios bombastic channelled are which shows dozens the reality at of looking when way least, that At gone. seems it long is tan or nose fabricated fake a a having sporting nails, ashamed fake be to have wearing of you that idea faux The and teeth everything. faux diamonds, glitter, of synthetic amounts glamour, mind-blowing with neutrality. more it for confronted go make colour, to Material a it dye picking not durability. do When like colour; appealing. concept, own or its has cause be can higher a material others. of more than kind appropriate One considered more be others. to considered not than is valuable material of kind When we turn on the television, we are are we television, the on turn we When of intention the without colour impose Never One exist. not does hierarchy Material

open-mindedness towards all kinds of materials is is materials of kinds all towards this know we open-mindedness design, of terms in us. look among we many When by responsible also more but as accepted, regarded only not is fur faux Chanel, seem to have had affinity with raw found materials. materials. found raw with affinity always I had have to addition, In seem set capacities. new and a with properties of structure a structure, evolved new a simply into they ; once inferior been them had think they how not to did I of service. stage dutiful next the their into as developing were they disintegrating, though slowly were regarded that simply I clothes, these caring. not know of now I matter it, a of not was it thinking but rips clothes, by in holes unbothered and was who world the not the was in I kid only course, Of it. about fuss mother to and seemed peers my while up, ripped or growing torn clothes about worry to I bothered seems), never it have banal (however To examples life. few a ‘creative’ name my throughout well teenage as and years, childhood my towards throughout attitude material, alternative this to inclination not were materials invented these yet, I wouldthat guessfact containers? your the answer toTupperware be ‘no’.in Ignoring his truffles sending Or chocolate guests Versailles? in chaise palace vinyl his proof in dirt longue a in reclining imagine you XIV Could Louis properties. status and their of richness instead exclusivity, their for materials valued past, were recent the until Up new. relatively By brands ranging from H&M to Prada and and Prada to H&M from ranging brands By In hindsight, I can see evidence for an an for evidence see can I hindsight, In

III Material - IV Colour 39 40 Chapter two champions the application of cheap common common cheap of he application manifest, the his In champions architecture. linked in usage material, its to towards attitude describe to makeshift first this the of one was before, mentioned better. are solutions dirty Sometimes improvisational, sketch. the cheaper, of the characteristics lacked essential remake fresh the to that came I conclusion marks, the pencil and tape better without with paper version new the and on worked steps, my ‘neatly’ retracing was I while sketched but the model, remake to was along My all value. and intention form new a into previous its worthlessness exceeded which tape, unity a and foam formed with together inscribed paper, of pencil scraps sewn, intricately go. the the on end, it the on In measures and notes piece, the with scribbling cautious or gentle particularly which towards. heading was I knowing direction or shape, without foam of with pieces scrap together paper quilting and stitching started drawing, laboriously I paper, limitations and wrapping brown of qualities the my of Exploring process chair. the paper during me on This dawned me. to first idea prevailed values same the sometimes my on, later roommates.) and, mother my them. of in horror found I great that (To qualities and some for collected I treasured streets, the on out thrown Junk Antonio Sant’Elia, the Futurist Dandy Dandy Futurist the Sant’Elia, Antonio not was I so sketch, mock-up a was It something, of making the during that found I Futurists, he rejects all that is massive, voluminous, voluminous, massive, is that all rejects the he of name the Futurists, In lightness. and maximum elasticity obtain to order wood, for in brick and substitutes as stone fibre glass, textile and steel, concrete, cardboard reinforced as such materials begins with a story in which he describes how he he how describes he which in story Marinetti a with narrative. begins bigger a into rules, of them set a included in but isolated demands publish and not did wishes his Marinetti However, proclaimed manifest. thing the sole in the was progress destructive sort’.(14) any of academies and libraries ‘destroy to museums, encouraged ‘the and as world’ war the of praised It hygiene civilization. the of industrial language new form and and beauty the bourgeoisie the of championed taste cultural condemned outdated the Manifest Futurist the that Groys explains Activism.(13) Art On his essay in Groys captivating Boris was clearly, very point described this has who Someone 1909. in newspaper the Figaro of page front was the on that published F.T.Marinetti, by written Manifesto and Futurism, of Foundation the Manifest Futurist no for waits themselves. time Futurists and forthe even not one; of accelerating is speed times the modern city; own its Every build do. we must as long generation as last not clear will very it things make that as They lasting. architecture and this see monumental not do Futurists striking the is that What is costly.(12) and antiquated durable, It has been said that this ideology of of ideology this that said been has It debuting the in clearer even made is This

III Material - IV Colour 41 42 Chapter two his aforementioned friends will be, in their turn, turn, their in be, will friends and he aforementioned which his for the generation new a envisions of emergence Marinetti when text, the repeated is in on defeat of later figure the Groys that out points introduction, an as failure program. this own to its of Next failure with the of opens description manifesto a the Thus, is against. manifesto the directed people same a the by ditch the fishermen; of few out pulled were group his and revolutionizing way. and Futurist the way; new a in again, Marinetti event, light the this saw During womb rebirth. a mother’s by the to followed return as holy a ditch of the in up analogy an ending car the the and race, observes speedy cleverly essay, his this in At nurse.’ Groys, point, Sudanese my of breasts the of black much so me saintly reminded that sludge giving brimful ditch, a withof muddy water!..mother O HowI I relishedditch. and a your strength-into ground the flew left wheels and the hard disgust braked my I to nuisance!.. a What ‘How accident: ridiculous! car a events, of turn describing by sudden a continues He did they themselves. And ‘divest’ down.’ us of weighed finally that courage ourselves the divest to for, desire dying the worth than all at other Nothing Death.. lions, after young like chased we, ‘And And continues: car. He fast did. a in they ride a take to idea contemplation the with collective and long a discussions of interrupting night were friends his and himself Marinetti continues to describe how he he how describe to continues Marinetti far away in the country, with an incessant rain rain incessant an with country, shed, the humble in a away in far night, will winter’s a they ‘on them friends, find his and him come, destroy to try generation and coming this of agents the when the hated ‘pass beauty in the characteristics of raw, common and and common raw, materials. of available characteristics find the should in we beauty luxurious, be and to is superior what of as seen predecessors, our set and ideals history by preconceived the worshiping of Instead materiality. towards notions my their and in approach ground common of find name do the I in but new, old, is the that all of of favour obliteration in the not am I attitude in monumentalism. towards concealed truth a is there believe I and ruins, debris, catastrophes. only behind progress leaves of which failure a itself, as failure he But this project. own understands his of failure Marinetti the view, envisions retrospective this past in the of And thing already. a become it already had it as had as collapsed, retrospect, in Marinetti career modernity at artistic looked his of contrary, beginning the the On from design. of means more by it make to efficient it, improve to modernity, on intention no point has his visualize that to show passages Marinetti, very these that explains Groys the around hands our flickering warming flameshuddling together, us see ofanxiously ourthey’ll and present-dayit, upon drumming books.’ However radical the Futurists may have been, been, have may Futurists the radical However ’ eists’ that should be obliterated. But But obliterated. be should that eists’

III Material - IV Colour 43 44 Chapter two of colour, where red stands for aggression and and aggression for stands red where symbolisms colour, and of meanings have the I And mentioned even jargon. not designer times graphic ancient latest from the to ranging facts, many many, and interesting more context in colours additive systems, systems, colour colour subtractive About wheels, colours. colour complementary colours, brightness, primary saturations, hues, about theory, colour can we that disposeaddition of? stylistic a crucial it is colour when is and When situation? what have I in for would go to colour what And adding appropriate? is when colour But possibly. Yes, historic and significance? values its colour considering even dismissing I am without But a criterion. as design colour serious accepted never of have I thousands and products; polish other nail cars, the of of colours forecast the trend magazines, gloss of dozens of as regarded be decorative. should thus and instead one, purpose practical a of stylistic a to fulfil hues to seem different only me thousand a in with material packed same the shelves overwhelming with stores crammed Daunting students. other of ‘designing’ the process in role prominent a choosing and played one colour where experience student, brief my fashion a in as roots its of finds cause the friction believe this I with. relationship ambiguous There is much to be found on technical technical on found be to much is There colours seasonal shifting constantly The an have I concept a been always has Colour into the theory of colour, as I just described, I described, just I as go colour, of would I If theory the history. into art history extent, design lesser in a to essays and, and texts research my manifests, to area restricted have I my to. going is direction the not research is this But not. what and love it does offer an insight into the process of a great great a of process the mind. into insight but an read, offer to does it easier work the way. make the not does along This edited and draft altered first be a to was it intended likely, most in but written rules, loosely separate findings his leave to Wittgenstein intended whether sure not is It stand own. their apparently on others while other, relations each have with which of in some remarks, fragmented is manifold volume small The and simple thing. a is uniform colour that idea as the way a in destroy to them if treats and colours Wittgenstein of kinds luminosity. different of of colours, features the different address themes issue. principal The philosophic single a on concentrates philosopher a who shows that one documents is few the Colour of on Remarks life, eighteen his of last the months in Wittgenstein material by of written Comprised time. his of influential philosophers more the of one 1889, be in to proved Vienna and in born was He sense. philosophical, most ethereal its in colour have about who few the written of one is Wittgenstein Ludwig be would I thesis. another which fill to able with realms into venture would

III Material - IV Colour 45 46 Chapter two Both compelling theories that I believe Wittgenstein writings. his through explore to Wittgenstein attempted believe I that theories world. compelling Both physical the in exist and us, the to around objects inherent are colours that believe you world or the in itself, not and heads, our in are colours that theory the accept you either words, other (16)In consequence of the nature of coloursstraightforward themselves’. a as colour of experience the see subjective who ‘those and colour’ of devoid as world ‘essentially the see who those between divided remains colour on speculation Contemporary door.’ newly-painted stall the of front in ox We the order. like of there kind stand some to into inability concepts an the merely is bring ‘there clarified: perceptions be colour could of logic the faith Wittgenstein little had answers, than Confronted mysteries more colour’? of with a history such ‘natural there a Is as thing reality? in found never mere abstractions, colours ‘pure’ Are world consciousness? the of and objects of world the relationship the between is What colour? a white is Why considered not bright? colours bright questions’: makes what ‘puzzle called Wittgenstein what of concepts the about ‘white’ and ‘grey’.”(15) good propositions in are grey is These it light. another in light, is poor colour a in this white context one in me and To grey. white me other to the seem can one in the colour, sense, same the another being as sense one in see I Remarks on colour produce a wide range range wide a produce colour on Remarks which surroundings my in places two “Of its surface part of which is turned toward the light light the toward turned is of rest which of the part than surface lighter its far is has it that But grey’. highlight light a shiny a see it really ‘I call to say: to absurd or be ‘grey’ would it white; shining glazed dark corridor where I perceive it to be black, I will will I shouldor be. itis know I itblue, because call black, still be to it perceive I where a in corridor hanging dark it see I but blue, is jacket my know I colour? If different or shade different a perceive our eyes when colour, one of boundaries and the to knowledge cling we do Why always. regard this with colours at look to ought we whether and surrounding colours, and shadow light, as variables by different influenced be, can colours of perception the different how wonder but help not are could you I if And lucky. hours, twilight ghostly those to during get see only you believe I which glow, to seemed violets that iridescent and blues were There shade altogether. different a into colours other room, turned my and in colours most away sleep. to washed back go twilight not The could and bed, than in lay earlier up usual, woke I when day this one had I realization possibilities. of brings layer new fixed are vibrant and a exist colours the that without world assumption the at look To others. thoughts in had inherent I some and formulated cases, some in successfully perspective new a remarks activate did Wittgenstein’s but answer, cannot I one be to appearing differently coloured.without (Appearing notit, just being.)”from away part and “The bucket which I see in front of me is is me of front in see I which bucket “The The question whether colour exists or not is is not or exists colour whether question The

III Material - IV Colour 47 48 Chapter two colour in its direct environment and impose it on on it impose and environment extract direct we its could in colour itself, If material the text. in his in present not adhocism of in speaks project Jencks the of question? circumstances and the on place based is history, it when appropriate invention is the – or it – of colour of usage Could the that earlier. be it posed I that insights questions the own my sparked for has it and mind-set, modern does the give inside post-But an in torule me, this and style language, the cityDNA, are positive catalysts in for invention’. inevitable are history architecture. straightforward clarity purity, the and simplicityagainst of modernism, in favourargue of non- to is He prepared clearly architecture. devoted a post-modern on being to commentator addition in designer historian, and theorist architectural an is – book his in manifestos 100 describes Danchev Alex as – Jencks Architecture. Post-Modern of written has propositions Jencks 13 Charles 1996, In minds? modern itself. used material But what constituted the of usage colours post- in the to and inherited black, and colour grey the white, non–colours, only less brown a of surface.”(17)(e.g.) impression the colour, of produces shades which the of composite the colour, the rather mean but wouldn’t we which by surface, a Jencks does not refer to colour explicitly. explicitly. colour to refer not does Jencks and ‘Memory states: propositions his of One or more tolerates Modernism of severity The of colour-impression the of speak might “We of material-based technological developments developments technological material-based of of certification colour the etymological in process?for look we Could material? the question. According to Smithson, the chair has has chair the Smithson, to According very this question. answer to theory Smithson a Peter developed has architect Bauhaus, in for is B explains book Sudjic his Deyan As to object? an as appealing so it everyone is why But object status. an and become power of has It world. design the the of beyond bubble men, common of penetrated has consciousness that the object first history. the rich is its of chair The because gained significance has it cultural object, utilitarian Secondly, an although landfill. a at worse ends or product drawer, a the in up before time of knows matter one a just object, is it sensitive other or technologically set or trend television phone, all, new a After designing when immortality. not of if sense longevity, certain a professional obtain to order in and time again, time developed and made been has objects, for experiments? suited material subject popular a amongst such designers? AndWhy why been has it been so well-time. always of chair trials the the has withstood new has for that test-bed materials research a over been has chair, The years, the design. in of evolution story the materialistic tell can that other, object, any one than is more there history, design throughout When looking for a sequenced display display sequenced a for looking When First of all, the chair, more than many other other many than more chair, the all, of First

III Material - IV Colour 49 50 Chapter two embodiment of change, caused by the machine age. age. machine the by the caused was It change, of legs. four its embodiment of rid of getting shape by the chair the redefined and steel, experimenting tubular with started others, among Mies and Rohe, der Stam van Mart Breuer, Marcel chair. steel the to chairs masses. cheap good, brought relatively He a way. in simple shapes complex make which to him techniques, allowed bending wood machinery in developing by investing and by making He chair chair. a of deskilled concept doing By whole the process. changed he so, industrialized fully a into carpenter’s a craft been always has turning that by chairs something of Thonet production the Michael until revolutionized joining, or of turning means by carving, constructed always the were around They chairs world. for material default the always has been Wood design? of episodes evolution the various in the throughout the chair in a of seen we form have innovations aesthetic and blind on ourselves space.’(18)impose first skin. we our chair beyond a With territory of sense chair our a With extend we them. wear we when gestures our postures with and style, their with clothes, our cute its of look’. because ‘human-like words, other in Or, anthropomorphic properties. its to due powers attractive such The next step in the evolution was the tubular tubular the was evolution the in step next The technological of impacts of kind What with starts territory marking of act ‘The build Utopia, but Stam could at least pay a plumber plumber a pay least at could Stam to but able Utopia, actually build be not might the They about world. point a modern make to forms new objects domestic radically in familiar remake clarity: to wanted striking ‘They with change the describes Sudjic making around 1933 when Jean Prouv Jean when 1933 furniture in around time making first the for used were Plastics one. grim a promised, foretell once they they today, future that bright the decades, of the instead throughout have intensely so used distributed, been commonly so are them. materials without These life a that, imagine lives cannot we daily today, our in so themselves root would they and intensely world, to way modern its the on was revolutionize materials of that set At a chair. time, the in of point stance cultural and the production, revolutionized have Eames and Thonet seems today. even which contemporary and modern language, form plywood, new a the with articulated combination in for and aluminium furniture cast his introduced and also He shapes surfaces. multiple-curved the complex forcing by into heights plywood new to he but technique all, the at lifted technique new a not was curved This into shapes. plywood mould to methods breaking ground- devised He evolution. chair of chapter gas of feet few a pipe.’(19) than more much with nothing like, of look aid day the one might age an what machine at Utopian hinted that something up knock to Charles Eames was a key player in the next next the in player key a was Eames Charles ’ e, a French French a e,

III Material - IV Colour 51 52 Chapter two the very idea of public mistrust towards plastic. plastic. towards mistrust public of idea very the of ideas quality.’(20) constituted what conventional and the handwork of of ejection tradition on based it aesthetic ‘new accepted, a be to needed was plastic If skilled, not cheap. is is it itself and chair and the skill of expensive, level very high were a of demanded tools chairs and plastic moulds the the Although them. public the wonder mistrusted No along. come had effortless shapes seemingly shiny slick, to these now used But they radiate. message the was with hands experience’ of skilled years by ‘Made showed ‘struggle’. products The physical a quality. of products in certain a skill see to used public were bigger People the from? of come plastic in Where mistrust plastics.’ this did injection-moulded of 1960’s, use the the until with happen not of did That handwork no kind. with any chair, create and mass-produced truly a manufacturing, of would process chair the entire an transform for material legs. or single a arms ‘Using structural seat the the for for not back, chairs, and their of parts for designers plastic Other used Sudjic. for writes substitute material’, ersatz real’ ‘ an a as seen was about ‘Plastic thought plastic. people way the but change to had production, also of means with in deal to problems had only technical not of designers that reality life the into daily quickly so furniture spiralled in design plastics of usage and armchairs. his development of The one for Plexiglas used designer, In 1966, a text was published that deals with with deals that published was text a 1966, In and there were worries that prevailed with the the with prevailed that fake, worries as were there conceived and was it plastic: decade-old the towards examines attitude he not text, is his In glitters that stainless. All written has wit great conviction, with and and persuasively, Banham Rayner confusion of a car dealer when confronted with with confronted when dealer the car a of sketching by confusion plastic as such materials design-worry of against attitude the explains Banham this towards capacity’.) ‘boundary-less seemingly prediction our to when back shudder we thinking today have (Tragically, to seemed existed. has plastics properties and boundary-less capacities seemingly the with deal to how of and on. later industrialization techniques new emerging that the with concerns the risen are have ‘design-worries’ amongst These Semper, others. Gottfried and Ruskin, Morris John by William it, introduced been calls he as consequently worry’ has ‘design and the in 1850’s celluloid, the of of form middle the in by Parkes introduced been Alexander have plastics difficulties, technical to due come to years many for the of state ‘the art’.about other worrying the of and itself, tradition the industry plastics design, the modern of being one – resources opinion his important in most – the two of introducing by Banham this metal. and examines wood as such materials, out-performing other were plastics that acknowledgement Since the emergence of plastics, the question question the plastics, of emergence the Since furniture in used be not would it Although

III Material - IV Colour 53 54 Chapter two light bouncing back from control consoles and and consoles control the from in back bouncing reflected age light new the saw by Chicago Marinetti of night, lights the in ‘Frank rejoiced follows: Wright as Lloyd it phrases to us Banham taught too. it love eventually and loved shimmer, and theorists glitter design of man. generation common greatest the of The dream vulgar a shimmering just of not love is this mistake, finish, no high Make shine. shimmer, love: clearly we of that deprived things be would we mean explains. would Banham that not, But is it something be to pretend cheap a as latter substituteor trick. the steel denounced and stainless plastic, over genuine on insist Banham would tradition, explains, classic the Yet dangerous accident. steel an makes in that snagging, breaking of and risks tearing diminishing by stainless could than ever job steel better a not. did was it plastic but steel, Ironically, stainless clear like under shone It sealed foil plastic. metal be to proved stainless but of made steel, be to a implied by was which protected was bumper minicar red According the minicar. Banham, red to a in around own driving Banham’s of family, story the tells first. example the Another preferred have would dealer implies car the clearly This molding?’(21) styrene shot glass one- of back the on crystal gilding vapour crafty under just or sealed art, specimen goldsmith’s the exquisite of an it ‘Is car. his on acquired newly mercilessly shone which car-badge, new a Design-worry would allow plastic, if it did not not did it if plastic, allow would Design-worry Breuer put that magic into production on furniture.’ furniture.’ on production into magic Marcel and that put Corbusier Breuer Le gun, field light a of on magic metal on the by struck them. was built Leger Rohe der Fernard van Mies like and symbols, buildings for crystal called Gropius plants, electrical more importantly, the shine would possibly make make possibly would shine and the bright, and importantly, more shiny where goods out these if churned goods, which factories of the conditions forget bleak to were prone more design of where arts People its born.’(22) and satanic industry dark which in those of mills miseries was, the that replace life to of is, way and new clean the symbolizes start, fresh design the modern of us shininess tells ‘the that theory another yet And 34:35). shining’ was Exodus – face Moses’ pages that see many many, would on (‘They virtue with word rings the where ‘shining’ bible, the towards older, even points reason Another, tournaments. during men aristocratic respected of armours history, polished through of back, because bouncing it for light the of fascination a is answer inherited One has us. man in that embedded so is the why sparkle for question the lust answer to try that theories ‘Mehr demand Licht’? dying Goethe’s life, teach in design echo, to modern us of masters it? great desire the man did of Why heart for the does desire why But universal glitter. mankind’s satisfy exists to that complex primarily industrial an of rides back design the upon industrial Banham, to According Throughout the text, he gives multiple multiple gives he text, the Throughout

III Material - IV Colour 55 56 Chapter two visually prejudiced. ‘Beady little eyes that can tell tell can that eyes little ‘Beady less prejudiced. far and visually sophisticated, become have millennium. People new the and 90s smartphones, 80s, 70s, media, the social internet, since up text: popped Banham’s have that things not the and mention Cinerama’, to Moore, Henry custom-car art, Pop shows, surrealism, Angels, action Hell’s Batman, painting, movies, hand-held young: was sculpture, ‘junk Bauhaus the since because happened has prejudices, lot a visual ingrained disabuse of to students necessary, longer no to is it According Banham, up’. lifted be honest shall the low, humble and brought be shall craft. his of sophisticated The relationships primary and elementary the materials with again zero to begin to made returned and be to is student Banham ‘The it’, to writes. simplicity noble a has ‘It Academie included.) Rietveld Gerrit (The all world. the Academies over Art by used Bauhaus system, the within teaching exists that course Vorkurs, basic the of the idea the explains introducing Banham by this behind. fall sources design’s of psychological many constantly, etcetera developing are – methods – production new resources materials, physical new while that fact the the is of one reasons Banham, come to materials According then? from ‘inferior’ so-called this does towards where But refusal things. shiny loves mankind as moment a for well. miseries own their forget them Good. So we now have an idea of why why of idea an have now we So Good. the Biedermeier woodwork to join Gropius at at Gropius join to woodwork of out Biedermeier crawled who the peasants what from mystical the education suited of type different clearly very jokey, a more need is it because and paces latter the fifty prefer at chrome spray from stainless painting, as we were in sculpture class? I remember remember I class? sculpture in a were we not as Surely painting, colour? of What me.) sculpture a to mean: alien it was did sculpturing but experience had design, (I with panicky. slightly utterly and being confused remember I and first the education, of only was weeks It it.’ above of cloud a sculpture with a colour ‘Make words: of that handful a leaflet just tiny a had on class, assignment an sculpture given in were we academy, art of year beginning first very the the of In paper. on words after the place in putting snapped that has memory a up realization brought This questions. by wrong colour the of role asking very the conclude can I miscalculated have I respected, be colour should material inherited the the of that be material, not the on should imposed colour that If rule the chapter. to one in back go we grouped are material of rule the 3D ‘design-worry’. today. today’s of topic main even the is printing current is that one is technological developments behind falling the of ideas idea the psychological text, his the wrote in Banham when academies 60s, art the of that more than lot a is progressive probably – Netherlands at the – in today of least education the Although Weimar.’ There is a reason that the rule of colour and and colour of rule the that reason a is There

III Material - IV Colour 57 58 Chapter two more exclusive ones. Value is obtained in form, form, in obtained is Value with ones. exclusive materials more ‘cheap’ of usage acceptance unconventional for of and produced, grown, dug, locally, sold, found, availability, and properties their is thesis this ofclosure. sense in great a brings that something notion same four the it with later concluding and years a forgotten with long had I freshman try-out nervous a as of education idea my The starting sculpture. paint memory the feather by goose greatly the of amplified is material, that to equal discovery is a It same. the larger the does to colour whole, properties their lend building a Materials agent, block. binding visual a form, as physical used be its of can regardless in colour, The component itself. constructive a as object, seen an be should prettify it to afterwards applied afterthought is or that ‘sauce’ a addition, degrading an of as colour instead So thing. same the essence the doing, was teacher seemed tolove I it. what know Although exactly not feathers. did I the to comparison in contrasting its of properties because binding black the chose I being itself foundation. paint a the with formed cloud, of feathers the sort of All up. with side pointy direction, same their the in and neatly paint the erected in stayed stuck all their they so with down, table, side the soft to perpendicular stuck and feathers table, goose wooden a paint on relief acrylic a grey sculpt and to black used I end, the in that I plead for usage of materials chosen for for chosen materials of usage for plead I in are colour and material that believe I (1852) Gottfried Semper, Science industry and Art Art and industry Science Semper, (1852)Gottfried ‘value’ materialistic in the the old-fashioned to senseopposed of theand word. complexity craftsmanship or simplicity idea, execution, (2014)Deyan Sudjic, B is for Bauhaus for is B Post- of Sudjic, (2014)Deyan colour propositions 13 on Architecture Modern Jencks, Remarks Vegas Las from (1996)Charles Wittgenstein, Learning (1977)Ludwig Venturi, (1972)Robert not is stainless glitters Seriousism that All with Banham, Down Reyner (1966) Taut, Bruno (1920) Futurist of Architecture Manifesto Sant’Elia, (1914)Antonio Manifesto Futurism of and Founding The Marinetti, F.T (1909)

III Material - IV Colour 59 60 Chapter two rejection of Ying and Yang.(23) Instead of clinging clinging of Instead Yang.(23) a and as it Ying see of I 'real'. rejection and cluttered everything organic, is with that associated having of spotlessness 'designed' non-acceptance films universal a these indicate opinion, my do in prognoses, meant not serious are be to they Although anarchy. dystopian a like towards favela or lightness, and hyper-designed cleanness either towards heading can we imagine Apparently, space Elysium.) called luxurious a habitat and place Earth, takes ravaged a film both The on screened. Elysium 2013, film in the example, (For appear. may it whatever in medium other, each from are they separated always happens, it when but rare, is combination A both of destruction. and chaos of post-apocalyptic a or prophecy heights, all-time at technological design utopian of one two of either one in categories: roughly future be distant) to or (near our object your want not do You lifeless. the sterility. are for not and Imperfections product. account, the fact. in of cracks this this finish and Take ages or celebrate coincidental traces. rips, it possible if leaves Material materialization time things of and that process a account in dematerialization. in always taken are be should It Science fiction has a tendency to portrait portrait to tendency a has fiction Science but cleanness, balanced a for aim Always time. frozen of expressions are Things ridden apples propped up as plastic jewellery in the the in jewellery plastic as up propped apples ridden daily our to but consumption. shiny, From unnaturally pesticide- victims, faces surgery of mangled bodies the to and referring not traces am I the time. accept of should we vanity, youthful a to life and strivings, its developments, and its desires. desires. its and developments, its future strivings, of and out life shut was 'He poor follows(25): the as of man fate rich the of description his Loos concludes corpse. exhibited object, publicly museum a of mummy, a kind a thing, has designed himself a man become the design, total of aesthetically. world also a but In of literally just design not overall house, the the in fit to had later did man and the bought Everything the permission. without designer's anything change the longer no finished, can is man house as designed soon as for thoroughly his designer, the of everyday his dictates the to subjected life totally man by This designed artist. house an entire man his have to Viennese rich decided a of who fate imagined Loos the Adolf man, describes rich little Poor Described essay 1900. the as in early as from date environments stylist.”(24) mere the of perfections icy transform and usage. their to according gracefully, age and that products design sustainability quality, in invest endlessly, should we discarding and industry. producing of fashion the of Instead rotation high-paced smartphones the of and lifespan low the to supermarket, The examples of the overly designed designed overly the of examples The the in none error; honest in hope is “There

V Flux - VI Imperfection 61 62 Chapter two in ‘All that glitters is not stainless’. He explains explains He stainless’. not is level, glitters that another on ‘All in again yet design, in freedom of a is it but thing.”(27) imperfect, deeper far seems that attention. perfection a deep is given This are matter the really and that things unimportant and rough don't left that are things matter where perfection, of kind this total towards design. reaction alarmed design, his by Loos machined of and that deadness does the Morris proclaiming by offspring. its and the by conjured industrialization freedom, of loss the both against that fact warn the two: the by common a shared see do ground I active.) was the Morris about time same Crime and Ornament Morris' of called ideals antithesis an wrote (Loos ways, many that taken are take a tollmeasures on our physical and emotionalcleanness, health.sterilized, of aestheticized pursuit this clutter In bugs, life. of of free signs and and pristine kept world, make-believe painstakingly a illusion, film an the is It of world screen. minimalist science austere the or fictional apple the as pesticide-infested message poisoned same the bears me to Loos by is He finished! complete!'(26)is He with Indeed! about corpse. walk own to one's learn to time the is Now felt: He Reyner Banham too has addressed the notion notion the addressed has too Banham Reyner for strive to try must you wholeness get “To in nemesis Morris' was Loos Although described design total of idea the sense, a In wrong. 'No other profession', he writes, 'not even even 'not writes, he and profession', right other is 'No what wrong. told be to basis, meetings to regular go a on designers in professional That case, design. his of branches all in remarkable be to necessary seems reassurance moral that meeting with the determination to do better and and better do to determination the the leaving with while meeting end', an time to our come that has agree dancing for 'gladly all and they that Banham, states explains he it!' love of 'We out.' sands the and running time explosion, population the preached hellfire, and microphone 'men the year at after stood have year where theorists, designers design fellow and with had has he the to end meetings an to many coming freelances of freedom dances.”(28) for time no have shall We And soon, my friend, descend; Birds and Sonnets The earth compels, upon it end; its towards Advances free-lances as Freedom “Our point, his Macneice: Louis by poem illustrate a To includes he public self-regarding.' so general not it the to were and guarantee design great a be modern of could forces of driving one is principal the preoccupation moral 'This self-examination.' continues: He public by to pure rage morally this has itself keep medicals, the of the oath like probity Hippocratic of oaths massive by bound those Banham connects this concept of the the of concept this connects Banham

V Flux - VI Imperfection 63 64 Chapter two many objects with exactly the same measures, measures, same the exactly with produce to objects used many were tools and Moulds mass of production. emergence the by aim caused the been designers, always of has perfection He that imperfection. describes of notion the with addressing present and the history the great a does summarizing Sudjic job Bauhaus, for history? is B from book his learned In be to there is what design, in named arena politics.cordoned-off Is the same for not true design? firmly a cannot by and life regulated of be elements all in for lies potential the empowerment and agency for search the suggests that statement This part be revolution'.(30) to your want of don’t I dance, States can’t I United 'If 1885: the in to moved and was Lithuania who in born Goldman Emma the from activist quote a of anarchistic me reminds turn Banham’s in freedom. writing a jeopardizes is but which thing, more, good and more of future bringer healed possible green, a a as seems designer the Society recognize to creativity. all into chokes that designer the restraint a cripple not should these but responsibilities responsibility, social true. bear do very witty, Designers Very head. the on nail the hits grounded, all are birds and nobodyThe dances?!'(29) flat. seriously so falls poetry everything that taking by salved have consciences their designers the so where What's world a about 'Better? good seriously. more situation the take When looking at the concept of imperfection imperfection of concept the at looking When Banham question, very this with me, For of celebration the the Machine. was It and Modernism. of language very ideology the of into pursuit transformed This perfection specifications. and characteristics through 'the exercise of skill or persistence or or persistence or skill of exercise simply 'the outcome through desired the or expect skill and template mechanical a on rely blindly imperfection, of cannot you qualities positive to the order in justify explains, Sudjic As grasp to measure. and difficult more is positive. imperfection be However, also can which different a quality, of simply is kind it perfection, to inferior not old-fashioned industry.an to belongs ,which become has It ideology an needed. longer no to is order low in costs objects keep identical of perfection production of the for pursuit very this moulds, produce to us without allow that techniques development more the of with however, considered Nowadays, was defect. line a from production deviated that synchronized this of Everything edition'. birth the was limited This 'the retirement. amount before certain parts, a of produce to were of moulds quality, deterioration this prevent To 'brothers' 'sisters'. earlier and their of would ghosts into bold, and blur slowly sharp once their in lines, The quality of castings. decrease the in wear resulting would out, mould the before of 'offspring', number their certain a produce to able always Moulds and tools used in production were were production in used tools and Moulds Imperfection is not a defect nowadays. It is is It nowadays. defect a not is Imperfection

V Flux - VI Imperfection 65 66 Chapter two worked in ever since: 'A vocabulary of finishes', finishes', of vocabulary 'A have since: ever designers in worked vocabulary tools visual and the shapes formed have These processes. by constructed industrialized themselves were plastic which inject to moulds, in factories used the Designers over decades. built systems modernist by formed production.' mass with deal equipment to developed intellectual the to on depend credible to longer no continue is it then object, needed an tool no make is to there 'When Sudjic observes: Almighty. cleverly The of face the in religious humility and humbleness of carpets their expression in an as mistakes weaved this They thought. understood world very Muslim the of ancient The weavers carpet ourselves. to close is that familiar, something something of recognition imperfection the while allows nature, human to antithetical therefore and – superiorfalse.(31)imperfection to is – harder is design in striving that perfection for assumption the why is machined of This work. stability and comfort the repetitiveness the being of net, to safety are a process without taken design be his of steps sense, the All certain a in exposed. is, imperfection of the explores qualities who of designer case The the in value imperfection. particular no has desired a is attribute, usually which work, consistency the machined of words, other In different judgement.' a of of kind exercise the demands It consistency. Today, the visual language of design is is design of language visual the Today, ways many in is itself by Perfection that will define it.' Meaning that the aesthetic of of aesthetic the that Meaning it.' define will Imperfection, and that Perfection the between of idea the relationship changing new is a it And creating of vocabulary. middle the in are Sudjic 'we that past. the states on based is that vocabulary a everything related to 'obscure' Japanese traditional traditional Japanese 'obscure' to related summarize to critics everything and books by adapted magazines, been has western time over wabi-sabi term the October. next Tokyo close to it off keep set I will I when and Japan, with anchored fascination booklet my the matter, the not with did It bored if question. as hand their they with away which swatted classmates, my for old concept an be to known and seemed wabi-sabi slight and disappointment, surprise my To culture. attraction Japanese the lifelong to my of had I confirmation though as the felt found It me. to so known seemed and which familiar language, to crystal-clear spoke a in Kohen, me Leonard by written brown golden booklet, little The deeply convictions. own my rooted of framework had the I found knew I and finally me, gripped it Philosophers. & Instantaneously Poets Designers, Wabi-Sabi; Artists, for called book a up picked I chance, the since itself Industrial Revolution.changes radical such never has undergone today of equipment the and all, After machinery be? not it could radically How is sense changing. traditional its in machine the In his book, Kohen introduces the fact that that fact the introduces Kohen book, his In by until wabi-sabi, of heard never had I

V Flux - VI Imperfection 67 68 Chapter two wabi-sabi's of inherentaspect 'incompleteness'. another indefinable simply is missing knowledge point, vantage wabi-sabi of this part From are itself. qualities these and because mysterious elusive, stay to needs It being it avoid misinterpreted. to obscured has been wabi-sabi of intentionally understanding rational Throughout history, accident. by not This, is from. Kohen, learn to explains teachers as or way, books no are intellectual there an in wabi-sabi not about have learned Japanese the of rational most a in because but things way, explaining of the of instead logic the heart and vagueness mood, of communicating in nuances better the be may because only language not is Japanese This feeling. can this few very articulate culture, Japanese of the of one concepts be to core supposed is even wabi-sabi that though explains He to Kohen. is it writes explain.'(32) difficult how about offer words and apologetic hesitate, few a head, their shake will Japanese sabi to us 'Westerners'. to attempted has introduceKohen the true and decipheredopinion, my In meaningprofound of more wabi- and origins. deeper much it.) has mentioned I wabi-sabi when But eyes, my their why rolled explain would classmates (This word. dirty almost a has it become Kohen, to According mockingly and ethereal. mystical Western by dramatically as portrayed media unfortunately are which arts, Wabi-sabi can in its fullest expression expression fullest its in can Wabi-sabi most is, wabi-sabi what asked 'When sabi had quite different meanings. Sabi originally originally Sabi meanings. different and quite wabi had words sabi Japanese the that materials. explains natural Kohen with produced and and simple are unpretentious, objects Wabi-sabi particular beauty. a of least, type very the at life; of way a be Both are abstract, nonrepresentational ideals of of ideals nonrepresentational structure. abstract, to are Both integral not is eschew that Both time. decoration the any of sensibilities dominant, the established against reactions designs. strong and are Both spaces objects, all to manmade of apply 'Both manner follows: as describes He similarities the differences. the and similarities the modernism, parts: with two in chapter the decades. divided over He know to grown have we familiar, more something something with it wabi-sabi of comparimg by notion the attempt communicate his to is It try to modernism. to wabi-sabi compares and ideal aesthetic an temporalevents. outward, the art objects, literature, and material embodies Sabi hand events. other the on spatial construct, inward, the life, philosophical of a way a Wabi notions: words. several individual envelopes as exist still they even though connected, are words the aesthetic Today, of value. meanings to positive more started into evolve combined words the both in that was It century state. 14th emotional cheerless discouraged, a dispirited, suggested and nature, society, in from alone away living of misery the originally Wabi meant 'withered'. or 'lean', 'chill', meant Interestingly, in one of his chapters, Kohen Kohen chapters, his of one in Interestingly,

V Flux - VI Imperfection 69 70 Chapter two (2014) Deyan Sudjic, B is for Bauhaus for is B Self-design to Sudjic, Deyan Obligation (2014) The Groys Wabi-Sabi Boris (2010) Kohen, Leonard (1994) not is stainless glitters that All Banham, Reyner (1966) man Rich Futurist of Architecture Manifesto Little Poor Sant'Elia, (1914)Antonio Loos, Adolf (1900) of Crafts todayand Arts ,The Morris William (1889) sun. hopefully rising but the of land the to first, journey my last, not I during to, something closer is get to This hope Japan. of history nuanced and the in culture also but book, Kohens in only the illustrates he wabi-sabi. of notions Thus, richer. expression its contamination make and corrosion while believes richer, wabi-sabi expression makes purity contains that belief Modernism a degradation. to wabi-sabi accommodates maintenance, for calls intuitive. is modernism wabi-sabi While rational, is progress. in modernism believe not While does faith wabi-sabi expresses progress, in modernism While relative. is sabi of array vast a differences. While modernism is absolute,giving by wabi- continues He beauty.' There is much more to be discovered, not not discovered, be to more much is There Chapter three Praxis

71 72 Chapter three connotations does this form/colour/texture have? have? form/colour/texture this does visual What connotations audience/user? starting my the is is Who What point? consideration. designing, historical of of and process the production; before comes will that system the product. the of produce but object, the the is of It not design, efficiency. and implies It preparation product. a planning, of) (parts producing physical of the the action is it technique; assemblage, of production of making, of process a is machine. the machine second The the the and call process, will I first etymological The parts. is two into process the divided opinion, my In dealt I way projects. the my and with configurations decipher my to choices, my trying was I maker. more a but as thesis, stances a my of were boundaries the thoughts my forming not perhaps Or writing. I before start to years had topic thesis my on contemplating without the out of come not instead if will process product outcome, the the the effort. as and Design product important important. as is more process The previously steps your on of build language Always form made. and point. starting etymology the back The etymological process is the process that that process the is process etymological The been have I introduction, my in said I As process. the of importance the Acknowledge trace technique, or form inventing of Instead trial and error and modification that in the end end the in that modification and the is error It and process. trial etymological the the both and by machine embodied is that There aspect provoke? more one choice is this will What baggage of field? kind this in before done been has What the future, but by thinking up processes to shake shake to processes up the very essence of the system itself.’’(33)thinking by but improve can future, design the that not things is It more out. creating churns by it that the products the of envisioning beauty solely by instead ourselves machine, blinding of the of pleasures the enjoy us locally. Let distributed be scale to smaller on productions work cities, our into profitable, back be come still and yet big very fragmented) be (or somewhat small stay can so ideas up industries that conjure to means have now technological We the production. and doing machines, of ways new innovative envisaging means the on contrary, processes, better on handmade and Working ones. products both for manufactured true is This industrially focus a aesthetics. and entails materials things on better Making make to things. processes those better of interests creation our the point to towards time is it Now, make to things. worked better designers decades, ‘For interview: phase next the to development. of aspects some from taking and one, learning step Always experiment, previous or your idea on model, expanding learning always way; mistakes, certain from a in product the steer will Dutch designer Jurgen Bey said in an an in said Bey Jurgen designer Dutch

73 74 Chapter three differences of mentality. The differences between between differences The the mentality. also of but differences differences, noticed I linguistic the stories, only and not language her with, up Through grew I Dutch. language the to language comparison in Yugoslavian the of nuances not subtle!) (sometimes so subtle the her discovered I Through words, metaphors. and sayings grandmother’s language, my of because also but imaginative content, their of because only not exotic me, and to enchanting highly Yugoslavian sounded pre-war 1950s the of stories mischievous The to play. child’s resorted and trees her and climbed she when sisters childhood, her of often stories would tell grandmother my my For amusement, about. great grew that birds, mushrooms plants, few the about and all learn a would I Hardly forest.) trees. small of strips few a by grass-fields few a surrounded comprised they to huge reality, In seemed me. ‘woods’ the then, our to (Back close house. woods the through supper, walk after would we day Every with grandfather. my time and her spending loved I worked. mother and my while studied basis, daily a on me grandmother my babysat kid, a As and live. mother my both grandparents my where place the too. still is arrived Utrecht grandparents up my end to Later, life, Utrecht. new a in of pursuit in years Tuzla left old, twenty-one then mother, my out, civil broke the war before months few a Just Yugoslavia was then. but back Bosnia, called now is what in My parents and I were born in Tuzla, a city city a Tuzla, in born were I and parents My case this attitude allowed me to rid myself of of myself rid to me allowed my in attitude that this believe case I mind. open with and sides both objective an observe me let which interesting an me perspective, gave upbringing illusive the and East-European reality, Dutch modern sober my words, they love the ‘whole class of things’ rather rather things’ of class other In ‘whole the love they manifestations. words, and aspects their of its all object in the love desire claims, wisdom’. Socrates of lovers, ‘lover the All literally is Thus, philosopher wisdom. the meaning sophia, and or love friendship, meaning philia, of philosophos, combination a of etymology the on focusing philosopher by the defines Socrates The in Republic. Glaucon brother older teacher and his Socrates between dialogue the describing by or ourselves with the world around us. differently for tools interacting or alternative viewing devises and the is brings who philosopher person the say would I answer to had question, I If this or philosopher? what, the But is who today. one rather, intelligent an of still choice is her words witty, although me, To achieve to anything. wanted I if work to get and ‘philosophise’ much not so should I that and was plans out’ strategies, ‘thought of sort lot a some with into her scheme of talk to tried trouble of out opposite, the myself or, talk to attempted I when say free person. nation- a me made and configurations, nationalistic Plato also gives answers to this question, question, this to answers gives also Plato would grandmother my things the of One

75 76 Chapter three Those shackled experience no more of each other other each of more no experience silent. shackled remain Those other whilst noises, their with actions accompanying some the in puppeteers; air of the in manner implements’ humans of of sorts group ‘all hold separate a fire, the of wall side the the on Behind appear.’(35) puppets which the above make and they show puppet when a people giving hides are they which screen along the ‘like running length wall its low a with and humans fire the shackled between the runs path them A above and light. behind provides burning at fire look A and another. heads one their the turn of even to wall rear unable the cave, see only can they so childhood, shackled since been have beings they human There which dwell. in itself, cave the entrance as long wide a as with cave a imagine asks to Glaucon Socrates chapter), this of the of one as commandments number same the (coincidentally found I chapter. that this for relevant particularities the I what distil to and read, have instinctively react merely far can I work, it. his from deciphered have to heart. pretend and not mind do I open an with the and Forms, of Cave, the of Theory Allegory The writings, particularly his on embarked philosophy have of I studies altogether. the and Plato, in of beginner readings the absolute an am must I it that thoughts, emphasised own be my to them link and theories it’.(34) of example particular ‘one simply than In book VII of Plato’s Republic Republic Plato’s of VII book In Plato’s of description a with proceed I Before and the sounds that contrast these sights. They They sights. understandthese them not as shadowscontrast them, but asof that truth. front sounds in the cave and the of wall’ by the cast on ‘shadows fire the the of see they of what group than second humans the by carried implements the or everything governed in the visiblewhich realm’.the years, ‘caused the it and that seasons understanding upon gaze itself’, and sun day ‘the of light be the he with would cope to able afterwards Only heavens night. by the and themselves’ bodies heavenly ‘the themselves turn in objects and the water’, and the in people of – things– other ‘reflections then shadows, looking at by first acclimatise to time prisoner require released would the To blindness, sun sunlight. the his into overcome out him necessary bring to be force would it use to light, was he blinding the since by and, pained state, former his sure to be would return to individual The now?’ agrees. him to out Glaucon pointed true being more was be to what before than saw he things ‘wouldn’t the Indeed, believe he truth. the agree to to closer was unlikely he be and that painful’, find ‘he’d things that these all suggests Socrates placed now him, of objects front the in of sight the by wall, the confused of and shadows the No out make light. to the able towards longer walk and and turn to released were compelled captives to the of one affairs of and end’ state an this brought ‘nature if happen This analogy is the vessel in which Plato’s Plato’s which in vessel the is analogy This would what imagine to Glaucon asks Socrates

77 78 Chapter three also be the choice of a process instead of an an of instead process a of could (it choice the vase a be be also will it decides numerous after considerations, designer, The its outlines. vague determining and choice to topic of moment moment this the translate could we design, In vase. a e.g. is, him. thinks he before what of shadow cave the sees He the in see shadow the clearly to determine needs and first In process? prisoner the designing opinion, the my to ‘truth’ of the out process this finding relate we can how And ultimately, truth? and, the light the towards moving when things, real directly. the perceived be cannot of which shadows or physical our projections in are world perceive we that real the things The mimic Forms. literally but real Plato, not to are objects according visible The they unchanging. because are themselves perfect are perfection. of Forms The ‘blueprint’ mind. objective one’s an is with Form Forms A of the world is the grasp knowledge to true ability that believed pure he most the things; are all of Forms of matter, to basis Superior essential the reality. is it that and world the world, substances, of own our to world parallel is the that Forms of argued all of Socrates Plato’s essence the them. is of it core; of the at Form is the but world Chairness the in there chairs example, For countless is. are it thing of would kind thing a the be which not without that are various they of objects; essences the are – them calls he as Theory of Forms is captivated. These Forms – So what processes does the prisoner undergo, undergo, prisoner the does processes what So on the wall behind him. But the light prevents him him prevents light the clearly. see to eyes adjust. to need His But him. shadow the behind cast wall has the on what that and of up, looks He silhouette the light. sees the towards turn to unshackle to himself needs prisoner the Secondly, object). the way. They suspect the road to be increasingly increasingly be to road on the Forms suspect the They all way. and the fire the they –, past sun venture the – to need light all of that source know the reach designer to and prisoner both end, designer. the the In for goes same The manifestation Form. the the of to and contributed have slopes rocks, slippery loose its all way with the Form, that the towards understand will He true its what of constitutes. form fraction a merely shadow, was its on shadow its relying as only by vase the impossible was it imagine to understand and vase, the of Form designer. way. the the for on goes rocks same loose The to due he slip chance or a is stumble there will goal, he the if on but eyes it, his towards keeps go to only start way will the he and clearly, it to silhouette the a see at can is he where prisoner the point When is. there one consuming the of glare time- and mostthe is difficult the struggle This sun. meets he when prisoner with the deal to has struggle same the is struggle designer the This of on. moving and before first, them them address establish to needs He other variables. numerous and material user, parameters: of history, number a on decide to needs now Once there, the prisoner will see the true true the see will prisoner the there, Once and object, the established has designer The

79 80 Chapter three (2002) Rem Koolhaas, Junkspace Architecture an Koolhaas, Towards Rem (2002) Corbusier, Le (1923) Futurist of Architecture Manifesto Sant’Elia, Republic (1914)Antonio The Plato, BC) (380 would cave the in be to accept never they will know the whole truth. staying as it they know towards go they to but have endure, to harder become to increasingly light sun’s the and bumpy, and rocky Form follows function? follows Form Chapter four

81 82 Chapter four still and insomnia. by struck when off drift fantasizing, often for appetite infrastructures. this lost never I tube-like by house tree interconnected around, villages lying junk made shelters imaginary of out make-shift cities, another, fantastic to place utopian secret that one from helicopters objects bring miniature various drone-like about contraptions: fantasizing I time And of track things. lose could Making drawing. to was seemed which naturally, and go understand, did The I elders. thing the one by understood my not of was others but of age, ahead was I had that always I out. impression the figure to trying was grownups, I the which of code the in as perceptions the peers, in my of interested as my not with affairs, preoccupied own child, serious a have I been me. told always uncles and during aunts - my and – holidays grandparents my the stories in the of comfort safety sought I more the peers my and from became, I disengaged I socially older more The the got, playground. the of the over bustle and solitude hustle in drawing social preferred I overly an child; never was I am I making. ones the currently and life in on later choices made career have I and study the to recognize omen can an I as that now pastimes and be occupations with whole. should larger the to elements All contribute hide. and or up exposed cover Never When I became a pre-teen, I discovered the the discovered I pre-teen, a became I When busy myself kept always have I child, a As Although completely unaware of the history of of history the of unaware design. to completely related Although slightly could was I that that on hands my everything get registering design, of started sorts I all and to expanded fashion, by quickly drawn this was but I first, At design. of world invention? its we since made, developments have the against true following hold Form of Function notion us the does brings that So question: the to stereotypes. in archetypical embedded remain society’s that the design of modern of reminiscent notions is and media, been the has by years, the propagated over that, image a simply is superficial It have. probably prejudice people a is many – that design good only the reduced is clean, design that – years the over developed I design to related was and was thuseyes, interesting. my in that, observing by simply everything to unconsciousness, able my was into sink function, follows Form that somehow But notion me. the to alien completely still Post-Modernism were and Modernism as Of not. terms were course, that those to superior were abstracted shapes reduced clean, the that Somehow, emerged notion furniture. austere furniture minimalistic ornamented and between there difference that vast a was recognize could I “styles” them. with different brought these implications language, the form sensed in and differences time of of aware matter was a I only before was it aesthetics, and design “It is the pervading law of all things things all of law pervading the is “It which feeling this that understand I Now

IX Transparancy 83 84 Chapter four and Delight’, while Mao Zedong believed in in believed Zedong Mao while Commodity Delight’, and ‘Firmness, motto the his under run has practice Rome, ancient from architect an in belief cave. the of his allegory his in and described form Plato ideal of is teachings view the of This echo the Sudjic. to writes (37) route the is perfection’, visual efficiency perfect that also but conviction the efficiency, achieve to the only which not with means suggesting world used. the of first view a was is ‘It ‘funtionalism’ term one, the before functional long a as question as just aesthetic an become had much belief the this dictate to Therefore, shape. needed is that would everything things of provide purposes and technical on scrutinizing focusing that belief a history, been has throughout there that explains Sudjic function’ follows suggests. ‘Form phrase famous utilitarian the less than and complex more is of idea functionalism philosophical the Sudjic, to functionalism. of According history the at of look us First let why? But all, one. outdated an is follows ‘Form function’ of notion Both the that books. their concluded in have question this with dealt have law.”(36) the is ever This form that function. follows expression, its life in the that soul, recognizable is the of of heart, the of manifestations head, the true all of all and superhuman, human things things all of physical metaphysical, things and all of inorganic, and organic Functionalist ideals are not new. Vitruvius, Vitruvius, new. not are ideals Functionalist Rawsthorn Alice and Sudjic Deyan Both functional ideal may be much more aesthetic than than aesthetic more much be may the ideal that us functional reminding beauty.’, is ‘Beauty Truth read Urn truth. is Grecian a to John Ode in in ideal lines Keats’ functional The when Beijing. Beauty’ rebuilding possible, if and Economy ‘Utility, an Architecture), written in 1923, was an an was 1923, in written (Towards Architecture), an Architecture un Vers Corbusier. Le was their since beauty of prevalence. notions competed has traditional and our with critics, and put been has theorists by that forward evolution Darwinian discipline of kind a technical a is of out of idea growing the that values formal explains Sudjic lines elegant aircrafts. the in and found bridges, of the wonders cars, racing of structural features example, streamlined for the of Think, new. is This relatively technology. something high is kind beauty find different a can of we which in years. source of another hundreds But for techniques preserving complicated the grandfathers, and craft fathers the their learnt from that masters by made Japanese cabinets, black-lacquered ancient over the Or changed time. haven’t which shepherds sheers centuries, for used metal-coiled the of For think demand. example, material and form physical a optimal and towards natural most its and achieved generations, thus for worked time, usually over was it perfected because object, craftsman-made utilitarian. One of the advocates of beauty in technology technology in beauty of advocates the of One the in beauty found always has Mankind

IX Transparancy 85 86 Chapter four the claim of the Americans over Europeans, the the Europeans, over Americans the of importance; of claim the claim the that rivalling was explains Wright Danchev point. a to up approved Corbusier, hand of other the on Wright Lloyd architecture. Frank not propaganda, Le work called Corbusier’s Stijl De of Members in year. same written the Construction, Collective a entitled Towards manifesto a out 1917,rushed Stijl, in De formed movement Dutch the of one founders Doesburg, the of van Theo jealousy. amount certain professional a of was there Danchev, audience. to bigger According the of those bit than a were ambiguous more Architecture un Vers to architects other designers of and responses the that manifestos painful in other regression.”(38) the sequential, flower, full allied, in one the firmly things two Engineer, the Architecture; of “Aesthetic Sudjic. structural says to demands’, solutions the optimum and the of materials, expression to truth of simplicity, pursuit same the unadorned shared they that biplanes, and ‘suggesting motorcars images against Basilica, Parthenon Pisa the the of against set silo had He grain sleek statement. a huge a made buildings this, with practical and, utilitarian with historic architecture monumental of images Corbusier Le juxtaposed else. had anything than because imagery more its of public, the it bewildered and book, a as shocked issued when but articles of newspaper, a series a in as began It work. emancipatory Alex Danchev explains in his book 100 artists artists 100 book his in explains Danchev Alex nature of our own opportunity, time and place, place, and time opportunity, by own Are, our ‘We of nature Americans: the of behalf on Wright argues Architecture’, first new the a in ‘Towards out In pointed chapter.) I as Morris, doing William was with he as (Just Old. the over World New a ‘machine for living in’(41), (an improvement improvement (an in’(41), living for ‘machine a of suggestive production. was mechanical smoothness and language forms The simple design. of within for process search a objective was the It work.’(40) their and from sentimental irrational the eliminate to modernists the purported method, scientific the the of and analogy machine, the of says. metaphor the Sudjic so’, was ‘Using actually that rational, object an appeared that believed functionalism. of ‘Functionalists religion of form the in pseudo-scientific the century, 20th the of the in part early modernity for mantra It 1896. the in become Chicago would in Sullivan, first Louis Wright’s Lloyd mentors, Frank of a one by from taken written text excerpt an is function’ follows ‘Form and public general his peers.the both on has impact huge a Architecture made un Vers is Corbusier’s Le thing One sure, for itself’.(39) of even sense has own it its than in estate known higher a sees now neglected, that us, world in old an because imitating been ourselves have we in it see to to fail We … expression “new” the highest give to people logical the Le Corbusier was the one to call ‘the house’ house’ ‘the call to one the was Corbusier Le formulation specific the that explains Sudjic

IX Transparancy 87 88 Chapter four inadequate an be would amountit of information.of it) on chair sit a of to case ability the (in the function basic most the just rudimentary, that way a such affect in questions outcome the these All of EUR? chair a 2000 it or Is 200 20, range? price the is surroundings What the like? will be What public a library? in a Or like space children? for in room a used in be Or it Will office? be. an will to purpose want its what would I know chair, a design someone to If me ask object’. would an for set attributes detailed more functional a of of would considerations ask the to question ‘require better a Sudjic, purpose. to its of view According shallow and discuss literal to most mean the would account, social in and expressions hierarchies ritual its taking without actual its in efficiency. interested but less machine, somewhat the were of they rhetoric and love in imagery fell the and war with of beauty the other the celebrated on hand Futurists The of outcomes.’ promise the optimal it with brought method that a for design of basis the into them made metaphysical and or ideas poetic took essentially ‘He been had what differently: slightly it engineers. describes and Sudjic scientists as means themselves with propose to designers and architects sentence equipped sole he this a with and like be machine’(42)) must house gigantic Futurist ‘The Sant’Elia’s of As Boris Groys explains in his essay essay his in explains Groys Boris As but object, an of function the about talk To the hidden essence of things rather than designing designing than rather things of revealing essence of task hidden the the itself sets and traditional arts the at applied aims about objects, only of is design appearance that the criticism the design internalized modern Self-Design, to Obligation in substantially size. decreased and became modular, boards, and completely chips the the as components, mechanics, internal its by nor dictated shape anymore, its was needed not was left housing room the The within digitalization. of with emergence changed the everything However, within motion housing. its their and parts, all for mechanical space the enough still providing and while it, use sheltering to way optimal shape the the and emphasized indecipherable, object without the possible, making as much as exposed mechanical were Their parts work. they how that way, clarify a such would it in designed cameras where like instance, parts, for moving with objects useful the new this of approach. manifestation the as totalitarian ultimate Gesamtskunstwerk the shift with this to attitude, subject in was that branch first Furniture the was things.’(43) of the nature expose to undesigned order true, in the centuries of over practice arts the applied through on things of accumulated had surface that the all purify and to sought eliminate design ‘Avant-garde surfaces. their But still, digital cameras have more or less less or more have cameras digital still, But of all that sense, undesigned this in was It

IX Transparancy 89 90 Chapter four that has brought us in the Junkspace, which Rem Rem which Junkspace, the in us spirit brought has postmodern that the exactly is say that would I because no, situation? the to it or according more bore is a less is whether hybrid choose to able not contemporary man truly the one Is in move only? us lets direction that mind-set a applicable. not that is universally But be still a is could believe that I phrase which Rohe, der van more’, is Mies by ‘Less is coined mind-set borrowed Modernists been the has from that in all phrase at be Another will it future. if the knows who and today’s society, in digital applicable be always not may follows ‘Form of function’ idea Modernistic The degree. be cannot that one used anymore. is function, claim the follows form Therefore, that works. that elegant, an design is it beautiful still but its applications, and other book many address compass, dvd calculator, camera, player, clock, system, game navigation telephone, a console, as functions its betray appearance would iPhone’s the in begins Nothing Rawsthorn book(44). her Alice question, meant is this it With what do? to guess possibly first you very could the how for one time, across came you seen If never have before. you one that for imagine to iPhone Try the Take example. form. original did their however, keep not things, Other use. to most feels now comfortable by which camera, the archetypical of the shape to used are we model, because old probably analogue, an of size and shape the I agree with Rawsthorn and Sudjic to some some to Sudjic and Rawsthorn with agree I 21th century. If modernists insisted to rid ourselves ourselves rid to insisted the modernists to If translated century. 21th then but us, not is with it if here already reintroduced, be partly modernist the should ghost believe I a sides; not is it choosing of think I question sharply. so describes Koolhaas (2014) Deyan Sudjic- B is for Bauhaus for is B Sudjic- Deyan (2014) design life meets World:where Self-design Hello to Rawsthorn, Obligation Alice (2012) The Groys Boris (2010) Architecture:Non-Straightforward A GentleVenturi, ManifestoRobert (1966) Architecture New a Towards Wright, Lloyd Frank (1928) Construction collective a Architecture un Doesburg,Towards van Theo (1923) Corbusier,Vers Le (1923) Crime Futurist of Architecture is Manifesto Sant’Elia, Ornament (1914)Antonio Loos, Adolf (1908) of Crafts todayand Arts ,The Morris Republic William (1889) The Plato, BC) (380 we techniques, that. just do should current of use our make in to and world, ornamentation thoughtless cluttered, from

IX Transparancy 91 92 Chapter five Context Objects are props in a world created by the the object. by the to created context world a Give in props designer. are Objects at and hideous things to use. If what we use every every use we what If use. to look to things things hideous and at beautiful with life, from divorced not fated they are but touch to each other? these co-exist, do Or worlds exist? separate two design and a art Does between art? area not and grey design about still talk and undeniably boundaries and these art push of you can premises far the how enter to begin design? it does When contextual of extend? boundaries what the to are did, it What if And, existed. something that if like sure not was I story. with design background a wanted I unhappy. university very me make technical a would at taught of design spirit the in industrial products knew producing also I simply that direction, design knew a choose to instinctively had I I Although was made. choice easily the so not case, my In which choose. to decide we department before techniques of and array an to perspectives exposed all are and We sculpture performance. design, ranging drawing/painting, courses from and crafts, year media, a with mixed of commence their of collectively regardless interests, students, all of year where first studies, the is it Bauhaus before, the on mentioned Based model year. basic the called is that The Rietveld Academie has an arrangement arrangement an has Academie Rietveld The context. larger a in objects consider Always “There should be no such thing as art art as thing such no be should “There

X Context 93 94 Chapter five product. It is a visualized comment on the power power the on comment visualized a the is It product. advertising both worlds, video The opposite two other. the shows on up fluffed and side, one extravagantly on plain-clothed rendered and is who anonymous actress same both the with object, main a displayed as tray the two with shows both screen worlds, dual The other. each to parallel research visualized a as frustration. my of in star a to make tray to my for decided I film story. no but shape, a was commission, there make-believe a be. for made should hand my Although of my object an with what about conflict in beliefs was tray, existence the sole of its felt design but the with finalised content the was I with product. unsatisfied my to left not was I and, did I surprise, Finally, giving assignment. by the to someone or in something as deceive moment, would last I if very the until I work the life. creative postponed professional, my to in want on not later did do I what of was task embodiment this exact because the greatly, suffered I modelling 3D skills. our practice to hypothetical company, a for tray airline food to in-flight an design assignment the given the In were we time. year, first second the for it) of objects lack of the rather (or contextualization with frustration my to nothing have hide.”(45)shall we then by caprice, together or thrown chance not and art, with made is day In the movie, there are two scenes that play play that scenes two are there movie, the In addressed I Juxtaposed, movie short my In and exposure circumstances. branding, on also but its on depends qualities, own only not be, however might it bad) product, (or a good that fact the on presentation, of what is traditionally rooted in our society, we we society, our in rooted of notions traditionally is what essential the the to down design it and boil art and between we relationship When the at art. look with and confused be art not never is should design why describes elaborately (Objects history are props in a throughout world created by design the designer).and relationship art between difficult the to (if research to to have belongs we it any), domain which get To of one. truth the designed a to of instead an as approach classify artistic would it) about (I many wonder that idea certainly an is It exist object. to the needs complete that to story or of world a is scenario, rather design, or the context, about The write one. to like different a would I chapter design this the in during process, important very hoc is ad consideration contextual that the While in chapter.) described previous chair, the of (Think function the of circumstances. and of parameters consideration the existing as namely coined, context how usually of is an instead creating context, own about is autonomous rule tenth to The regard art. in and used design often is it that as word context, popular a is term the with deal to like would The video is a good example of how I how of example good a is video The In her book Hello World, Alice Rawsthorn Rawsthorn Alice World, Hello book her In

X Context 95 96 Chapter five engagement in other disciplines. Leonardo da da Leonardo an disciplines. with other still in but engagement artists, the of status the with increased Renaissance, the in came Change Republic.) The in artists repeatedly over craftsmen praises Plato why is with (That dealing ones, craftsmanship. practical the were reputable only applications The case. the regard, not was same the this in but held were that disciplines mean the would all this think word, might single One a in techne.(47) combined were All disciplines Greece. these ancient in or music and craftsmanship medicine even art, design, between distinction the explore to try them from Art’(46)thatdivides tissue scar continually as it ‘Designers describes follows: Sudjic Deyan ever. and than more Greeks, today ancient the of time designers the many of since ever interest the something triggered is has that tension This is utility. which by art, of unburdened work a than have to significance taken less is it therefore and understood useful, is as design down, delegation Deep the or production. of clients with agreements functional the it be qualities, because constraints, interesting numerous its less of intellectually and commercially be to tainted, considered is on hand, Design, other the themselves. work the all in produce - not but cases - often and want, express they to free whatever are artists because intellectually superior, considered is and Art good, is bad. is art design said, bluntly that, establish can According to Rawsthorn, there was no no was there Rawsthorn, to According architectural drawings as well as infrastructural infrastructural as well as drawings many made has he architectural and a engineer, and also but philosopher painter, a as merely not Vinci, was Da know, all we Renaissance. the during universalis thrived homo who the of example good a is Vinci great, practical exhibitions, where the public were were public the where in exhibitions, displayed practical were and great, prizes won out, products the churned and they machines, factory most and biggest sophisticated the where the was machine, It the of Art. era towards leap huge a made design isolated. increasingly own grew they their where to workshops, confided were not, they were because students, simply academy other art the the on unlike Craftsmen hand, society. and within rooted more influential even become and could opinions, that, societal through and political and their discuss ventilate could teachers and forum a as students where emerged also academy the tutored but were anymore, students young where was It place a format. only new a not into evolving However, was well. academy as the principle this 18th followed and 17th the century in followed craft. that then Academies status The higher a gained first art the that was It time practice. could highest one the was application craftsmanship the that changed notion that general institution first Rome the in was 1577, opened in which The Luca, San Design. di from Accademia Arts divided opened, Academies interestingly, and Art first the the In century, 16th late projects. ambitious other amongst plans Immediately after the industrial revolution, revolution, industrial the after Immediately

X Context 97 98 Chapter five war against the domination of individualism, of of individualism, of domination world the the in against plane war spiritual the have on part taken consciousness, same the and one by impelled design, industrial of and subscribe intellectual debatestandards to it. raise to determined revolutionaries, prolific as emerged German the Werkbund and Eastern Constructivism the of European Members century. twentieth early it. from far about but enthusiastic industry, the towards they hostile less explains were Arts Rawsthorn the and movement. Craft industry and the of pulling the and between tugging positioned were which Jugendstil Germany, and in Belgium, and Art France the in Nouveau Austria, in Secession there Vienna the movement, was Crafts and future. Arts the the to in Next resonate would which different disciplines, embracing of set precedent did they encouraging an conservative, Although pre-industrial craftsmanship. revive to – aspired – which now know we movement, as Crafts and the Arts be the of would basis which paradigm, new a audience. set the by would It discredited its was lost and soon, industry the novelty one, chapter in described As its appeal. and granted depth was it intellectual but own Art, as to status same considered the not have was newly design This industrial industry. the emerged of times qualities those in - the overwhelming - experience and see to to invited ‘The Artists of today, all over the world, world, the over all today, of Artists ‘The the in affairs changed measures Drastic and art, life, in unity culture.’(48) the for international an of materiality or formation spirituality all with fighting are sympathize who therefore They arbitrariness. and emotional damage. And most importantly, importantly, most And physical damage. both emotional process and to had and were traumatized teachers still many War, World First the after of end year one the 1919, in revolt. founded to was school started the As unsurprisingly and textile and departments, ceramics the towards were pushed students being female actively, not other although the On hand, neighbourhood. and students the town of the in rowdiness the of about complaints residents local constant faced Gropius this. all, for of reasons First of number a and were chaotic, There were muddled. school the of years early the explain that to proceeds ethos that for Rawsthorn emerge.’(49) time to took it reality, in dynamic But more society. fair, a build to students together its work to encourages and cited manifesto, the disciplines in the as well as performance photography and design, championed which progressive a as institution seen now is ‘It writes: technocratic. and Rawsthorn egalitarian the visionary, that but school was nothing known we’ve for that talent publicity, great Gropius’ of it because However, also was known. is school the The of unity. new a influence in painting and architecture, sculpturing embracing school, of before, type new a discussed was As it doors. her opened Bauhaus the Under the influence of the Constructivists, Constructivists, the of influence the Under

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X Context 103 104 Chapter five they have other routes, but perhaps we should should we destination. same have the might they that accept perhaps but routes, and other same, have the they not are They has ambivalent. terminology become their that point design the and reached art have both that we fact the art, accept with should design comparing Rather up. keep constantly to than order in to them us for with call along mutate changes daily accelerating our in These embedded reality. and linked which devices, increasingly are personal through speed mind-blowing real-time in communicated environment beyond, way (digital) and direct our nearly of in person details every personal from intimate to possible: news is global that and everything of imagery information intensified layered, with increasingly bombarded are We designers, thinkers. and and makers artists between functions and cross-contaminated roles races, configurations; and genders, preferences blurred everything: hybridized of from art divides design.’ that to ‘scar-tissue much the is in there discover believe I of consequences Gesamtskunstwerk, the totalitarian Although the avoid should we visualisation. delicate its extensive and of form research, the in more not but Maybe life, art. daily and in design of unification Doesburg), the van in Theo and Mari Enzo Moholy-Nagy, We live in an era that is spinning into realms realms into spinning is that era an in live We (1922)Theo van Doesburg, Manifesto I of De Stijl De of I Manifesto Doesburg, van (1922)Theo man rich and Program Manifesto little Poor Gropius,Bauhaus (1919)Walter Loos, Adolf Republic (1900) The Plato, BC) (380 (2014) Deyan Sudjic- B is for Bauhaus for is B Sudjic- Deyan (2014) design life meets World:where Self-design Hello to Rawsthorn, Obligation Alice (2012) The Groys Boris (2010)

X Context 105 106 Conclusions I to other the balance. a needs form One digital. the and analogue I for sterility, you do not want your object to be lifeless. be to object your want not do you sterility, for IV of finish the are product. the Imperfections fact. this possible if and celebrate account, in it this leaves Take time and traces. cracks , ages rips, Material in always are things a process or of dematerialization./ materialization that account in taken be should III of finish the product.coincidental the are this celebrate Imperfections possible fact. if and traces. it account, leaves in time this and Take cracks ages, rips, Material in always are things a process or of dematerialization./ materialization that account in taken be should III be can material of considered more appropriatekind others. than One others. more than considered valuable be to not is material of kind II to harmony. other the contemporary a needs form One digital. the and analogue

There must be a dialogue between the the between dialogue a be must There Things are expressions of frozen time. It It time. frozen of expressions are Things One exist. not does hierarchy Material There must be a dialogue between the the between dialogue a be must There Always aim for a balanced cleanness, but not not but cleanness, balanced a for aim Always It time. frozen of expressions are Things

X Commandments 107 108 Conclusions The process is as important as the outcome, if not not if outcome, the as important as is process The VII the of effortless. out come instead will product the and product process the not Design if outcome, important. the as more important as is process The VII made steps as well in as history. yourself, by previously made steps steps on made; build Always your of starting-point. language form and etymology the back VI previously steps on made. build Always your of starting-point. language form and etymology the back VI is Colour toequal material. component. constructional a as it use V neutrality. for go colour, a more it picking When make appealing. to dye not do Material colour, own its durability. has like concept, or cause higher a V radiate to object your lifelessness. want not do you sterility, for IV

Acknowledge the importance of the process. process. the of importance the Acknowledge trace technique, or form inventing of Instead addition, stylistic a as colour using of Instead Acknowledge the importance of the process. process. the of importance the Acknowledge trace technique, or form inventing of Instead of intention the without colour impose Never Always aim for a balanced cleanness, but not not but cleanness, balanced a for aim Always VIII fluently out come natural. will the of product the and instead product process the Design important. more designer. Give context to the object. the to context the Give by designer. created world a in props are Objects X whole. larger minimum. bare the to the Reduce to contribute and exposed be IX be exposed and contribute to the larger whole. IX better. job the do parts will who delegate so, those do to to allow not do circumstances VIII faster. and who better those job to the do parts will delegate so, do to allow not does

Always consider objects in a larger context. context. larger a in objects consider Always should elements All hide. or up cover Never If skill. new a master to try Always Always try to master a new skill. If the time time the If skill. new a master to try Always Never cover up, or hide. All elements should should elements All hide. or up, cover Never

X Commandments 109 110 Endnotes & Bibliography & Endnotes (2) p.viii London, Editions, Hill Nothing Room, (1) Craft versus Technology one: Chapter (14) 2014 june #56, (13) Futurist Architecture (12) Chapter two: Material versus time pp.22-39 London Books, Penguin (11) (10) Futurist Architecture (9) Books, LondonStuckists,Penguin p.xxi-xxv the to Futurists the From (8) Machine the of Craft (7) To-day of (6) and Art (5) pp. London Books, life,Penguin meets design (4) (16-08-2010) Lucchi de Michele Podcast; (3)

Rem Koolhaas, (2002) Koolhaas, Junkspace Rem Running with Junkspace (2013) Foster, Hal F.T Marinetti, (1909)The Founding and and Founding (1909)The Marinetti, F.T journal e-flux Activism’, Art ‘On Groys, Boris of (1914) Manifesto Sant’Elia, Antonio Bauhaus, for is B (2014) Architecture? is Sudjic, Deyan What (1919) Gropius, Walter of (1914) Manifesto Sant’Elia, Antonio Manifestos: Artists’ (2011) 100 Danchev, Alex and Art (1901)The Wright, Lloyd Frank Crafts and Arts The (1889) Morris, William Industry (1852)Science, Semper, Gottfried World:where Hello (2012) Rawsthorn, Alice Premsela by Culture Industrial of Pioneers

111 112 (29) Garden(poem) (28) Imperfection of (27) (26) Design (25) (24) another. they one as to other each interrelate to rise give they natural how the and in world, interdependent and complementary, interconnected, actually are forces opposite contrary apparently or how describe to used concepts (23) stainless not (22) stainless not (21) p.86 London, Books, Penguin (20) p.77 London, Books, Penguin (19) (18) Angeles Los Press, Colour,ofCalifornia University (17) Visions of Color in World History (16) Angeles Los Press, Colour,ofCalifornia University (15) Futurism of Manifesto

Reyner Banham, (1966) All that glitters is is glitters that All (1966) Banham, Reyner the on Sunlight The (1936), Macneice Louis perfection (1991)The Alexander, Christopher man (1900) rich Loos, little Poor Adolf Groys,(2010) Boris Obligation The toSelf- Charles Rennie Mackintosh, Quote are yang and yin philosophy, Chinese In is glitters that All (1966) Banham, Reyner is glitters that All (1966) Banham, Reyner Bauhaus, for is B (2014) Sudjic, Deyan Bauhaus, for is B (2014) Sudjic, Deyan Quote Smithson, Peter on Remarks Wittgenstein,(1950) Ludwig Rainbow: the Weaving Finlay,(2007) Robert on Remarks Wittgenstein,(1950) Ludwig (32) 230-238 pp. London Books, Penguin (31) (30) stainless not (42) (Towards Architecure) an (41) p.200 London, Books, Penguin (40) Machine the of Craft (39) (Towards Architecure) an (38) p.189-210 London, Books, Penguin (37) Considered Artistically Building (36) Chapter four: Form follows Function? The Republic, Dover Publications (35) Edinburgh University Press, Edinburgh (34) (33) Chapter three: Praxis Philosophers,Imperfect Publishing,Point& Poets Reyes p.15Designers, Artists,

Leonard Kohen, (1994) Wabi-Sabi;For Wabi-Sabi;For (1994) Kohen, Leonard Bauhaus, for is B (2014) Sudjic, Deyan Quote Goldman, Emma Antonio Sant’Elia, (1914) Manifesto of of (1914) Manifesto Sant’Elia, Antonio Architecture un Vers (1923) Corbusier, Le Bauhaus, for is B (2014) Sudjic, Deyan and Art (1901)The Wright, Lloyd Frank Architecture un Vers (1923) Corbusier, Le Bauhaus, for is B (2014) Sudjic, Deyan Office Tall The (1896) Sullivan, Louis (1894) Jowett), Benjamin by (translated Plato Republic, Plato’s Sheppard,(2009) D.J Quote Bey, Jurgen

113 114 (54) p.124 London Books, life,Penguin meets design (53) p.117 London Books, life,Penguin meets design (52) p.116 London, Books, life,Penguin meets design (51) Einheit neue eine (50) p.111 London, Books, life,Penguin meets design (49) Stijl (48) p.109 London Books, life,Penguin meets design (47) London,p.152 Books, Penguin (46) (45) Chapter five: Context p.6 London, Books, life,Penguin meets design (44) Design (43) Futurist Architecture

Quote Charles Eames World:where Hello (2012) Rawsthorn, Alice World:where Hello (2012) Rawsthorn, Alice World:where Hello (2012) Rawsthorn, Alice – Technik und Kunst (1923) Gropius, Walter World:where Hello (2012) Rawsthorn, Alice De of I Manifesto (1922) Doesburg, van Theo World:where Hello (2012) Rawsthorn, Alice Bauhaus, for is B (2014) Sudjic, Deyan Quote Munari, Bruno World:where Hello (2012) Rawsthorn, Alice Groys,(2010) Boris Obligation The toSelf- Buckminster Fuller, R (1969) ‘Operating manual manual ‘Operating (1969) R Fuller, Buckminster not is stainless’ glitters that ‘All (1966) Reyner Banham, Bibliography Marinetti, F.T (1909) ‘The Founding and Manifesto Manifesto and Founding ‘The (1909) F.T Marinetti, Loos, Adolf (1900) ‘Poor little rich man’ Loos, Adolf (1908) ‘Ornament and Crime’ Le Corbusier (1923) ‘Towards an architecture ‘ Lang, Peter (2003) ‘Life Without Objects’ (2002) Rem Space’ ‘Junk Koolhaas, (1994)’Wabi Leonard Kohen, ‘ Sabi a of Furniture Dealer’ testament ‘The (1976) Ingvar Kamprad, ‘ Architecture Modern Post- of (1996)‘13 Propositions Charles Jencks, Groys, Boris (2014) ‘ OnActivism’ Art Groys, Boris (2008) ‘Obligation to Self Design Gropius, Walter (1919) ‘What is Architecture?’ and Program’ Manifesto (1919)‘Bauhaus Walter Gropius, Room’ Garland, Ken (1964)Running ‘First FirstThings ‘ with Junkspace (2013)‘ Hal Foster, Crime’ and (2010)‘Design Hal Foster, Stuckists’ the to Futurists the From manifestos: Artists’ (2011)‘100 Alex Danchev, of Work Antonio ‘The Sant’Elia’(1995) Esther Meyer, Costa da must blaze’ ‘Architecture (1980) Himmelb(l)au Coop Earth’ spaceship for

115 116 Wright, Frank Lloyd (1959) ‘Manifesto to to apprentices’ ‘Manifesto (1959) Lloyd Frank Wright, of Craft and the Machine ‘ Art (1901)‘The Lloyd Frank Wright, (1993)’Manifesto’ Lebbeus Vegas’ Las Woods, from ‘Learning Wittgenstein, Ludwig (1950)(1972) ‘Remarks on Color ‘ Robert Venturi, Architecture:‘Non-Straightforward (1966) A GentleRobert Manifesto’Venturi, Seriousism’ with (1918) Theo Stijl’ De of Doesburg, I van ‘Manifesto ‘Down (1920) Bruno Taut, (2014) Sudjic,Deyan for Bauhaus’ is B ‘ (2008) Richard Sennet, Craftsman’ ‘The and Art’ Industry (1852)‘Science Gottfried Semper, Futurist of Architecture’(1914) ‘Manifesto Antonio Sant’Elia, the of Group’ Constructivist ‘Manifesto (1922) Alexander Rodchenko, Rawsthorn, Alice (2013) ‘ Hello World ‘ Rams, Dieter (1987) ‘Ten Rules of Good Design’Plato(380BC) Republic’ The ‘ world’ real Platform21 the (2009) for Manifesto’ Repair ‘The (1971)‘Design Viktor Papanek, day’ To- of Crafts and (1889)Arts ‘The William Morris, Futurism’ of