Beauty + Utility

Image taken from www.dezeen.com.

In "The Grammar of Ornament" (1856), Owen Jones argued that construction should be decorated and that decoration should never be purposely constructed, however I believe that in todays contemporary society both sides of this statement can work together. In the above image we see the combination of these in the product (clock) part of a series of works by Giha Woo and Shingouen. The clock is made of two revolving discs where the hands are the batteries which enable the clock to move whilst also providing an innovative way in which to read time. In contemporary design we often see objects such as this clock as a combination of beauty and utility particularly as we have more conceptual thought behind objects and products. I also think that conceptual ideas are a form of contemporary decoration while the actual aesthetics are kept simple and plain so a veiwer of the object may make their own opinion about it.

The clock above is a clear example of how we may use conceptual ideas as decoration and keep the aesthetics plain. It appears simple but when looked at closely the use of the batteries for the hands give the clock an interesting and intruiging appeal whether intended or not. In consideration to "Design, society and standards" by David Raizman (from The History of Modern Design) it becomes obvious of this evolution of design ideas, especially the transformation from decorative or ornamental design to functional as the reformation occurred. Just like that reformation of design ideas, it is natural that we as a contemporary society have moved away from purely functional design (with a focus on utility) to design which incorporates conceptual ideas (with a focus on beauty aswell), particularly as education is more valued in a contemporary world.

Sensuous Impulse in Design

Sensuous impulse has played a large role in design and is particularly evident in the styles of art such as Rococo and Art Nouveau. The reading (The Continuing Curve by Penelope Hunter-Stieber) described sensuous impulse in design as decorative or feminine, howeve I think that in today's design a more accurate description of sensuous impulse is how incorporate ergonomics into furniture design, product design and alike. Instead of sensuous impulse in design being purely aesthetic as it used to be, now it is incorporated into the things we use and interact with. A good example of how ergonomic design and sensuous impulse combine is in furniture design and how many designs factor in the shape of the human body, how it feels and its aesthetic appeal. For example 'The Orchid Chair' designed by Sebastian Gronemeyer, it is a chair which considers ergonomics (with an emphasis on comfort) while still including the detail and fluency of the organic forms that influence its design. I would consider design such as this today to demonstrate how sensuous impulse is still very much evident in today's society due to the increasing way we want to interact with the the objects around us.

The Influences of the Gramophone

The invention and design of the gramophone(phonograph) is important design as it has influenced the way in which we record and reproduce sound, particularly because of the audio disc(or phonograph record). The gramophone was patented by Emile Berliner in 1887 and the invention of disc records for the gramophone then developed into electrical and magnetic recording. This not only enhanced the quality and reproduction of sound but also influenced the aesthetics of the developing technology so that it became easier to transport and to share media. Some examples of recent items that have developed from the gramophone are records, cassette taps, compact discs and ipods, it is interesting to note that circular elements are still evident in the design of these devices just like original discs from the gramophone.