Blog Assignment 3: selected posts

From Matthew Everitt:

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Should construction be decorated or rather should decoration be constructed? This was a central issue during the design ‘reform’ of the 19thcentury. Designers began to think about the beauty and utility of an object, and how these factors should be taken into account. Owen Jones argued in his writing of ‘The Grammar of Ornament’(1856) that “Construction should be decorated. Decoration should never be purposely constructed”, Jones was looking at the function of a design before the form and how the decoration of the design should not take away from the function but rather add to and strengthen the idea of its function. A.W.N Pugin had the same idea in his head when he created his principles of design. His principles circled around the idea that design should respect the characteristics of materials, not imitate them. These principles provided a standard for many 19th century designs. Why were Jones and Pugin creating these standards for design? Partly because of the industrialisation of their country. The Industrial Revolution saw the invention of mass-production, this gave the middle class the opportunity to obtain goods easily. And ‘one of a kind’ hand made, goods began to diminish.

The 18th century wallpaper pictured above does not adhere to A.W.N Pugin’s true principles of design but rather to his false principle. The design shows depth and a soft style of decoration. Whereas one of Owen Jones’s or Pugins’s designs would have showed a stronger, stylised pattern of nature rather than the soft bush scene seen here. Because it is a wall the decoration should also be strong to support the idea of a solid wall. I agree with Owen Jones argument , because if an object is designed with this aesthetic it has a stronger sense of its function. Observers of the design will either be able to understand it better or their idea of what is will be reinforced by its decoration rather than misconceived.

from Oliver Bucher:

Beauty and Utility

“Construction should be decorated. Decoration should never be purposely constructed.” Owen Jones, The Grammar of Ornament (1856).

What Jones is saying is that ornamentation should adorn the form of a construction and remain subordinate to its function, not heaped on top without purpose or relevance.

In an age where design had virtually no rules or principles to adhere to, men like Owen Jones, Richard Redgrave and A.W.N Pugin, sought to bring order and consistency into the framework of design, still using nature’s forms ornamentally but in a restrained and abstracted fashion.

The work and principles these men promoted were more of a movement than simply a new style in design.

Personally I agree with the argument that decoration should never be purposely constructed, but do not believe this principle should be applied absolutely. The 32 principles in The Grammar of Ornament are not mathematical equations for calculating the perfect design. Designers must be allowed a certain amount of artistic freedom as long as the function of an object is not lost or hindered by its ornamentation.

Above is an example of decoration constructed. Decorating a pair of scissors to look like a bunny neither adds nor subtracts from their function. Bunnies and scissors have little in common; one would have to take a somewhat strangled route to connect one to the other. The designer of these scissors is simply adding this ornamentation to make them more fun and appealing for children. Upon seeing these scissors I thought instantly of the little girl in Charles Dickens’ Hard Times, who innocently explained why she had no problem with tables and chairs being decorated with flowers. In my opinion this is an example of why one should not apply Owen Jones’ principles absolutely.

Bunny Scissors by Pylones USA: http://www.pylones-usa.com/pylones/product.php?product=369&category=13

And the Bunny Scissors Facebook Fanclub???: http://www.facebook.com/pages/Can-this-Rabbit-Scissors-get-more-Fans-than-Jonas-Brothers/292484563588?v=wall&viewas=0

from Ashleigh Woodmass:

Throughout the industrialisation period 18th-19th century beauty and utility became known design politics in regard to true and false principles of design. During the design ‘reform’  designers questioned the relationship between decoration and construction working harmoniously together. Certain standards were set to ensure that designs were morally and socially acceptable. ‘Good’ design was perceived as the respect of the design construction yet still pleasing the eye through suitable decoration.  

Architect and designer Owen Jones played a huge influential part in the design reform through this industrialisation period in the 19th century. 1856 Jones wrote ‘The Grammar of Ornament’ arguing that “Construction should be decorated. Decoration should never be purposely constructed.” meaning that designs should firstly be recognised for the function or construction of the design and secondly the aesthetics of the design in which there should be no false representation of other designs such nature. This is evident through his work such as ‘Decoration for the Alhambra Court, South Kensington Museum 1863’ and ‘Wallpaper with formalised floral motif’ displaying flat, geometric, repetitive and abstracted patterns enough to recognise that there are aspects of nature such as flowers and leaves yet not represented in a false way staying true to the original aspects and construction of the designs. 

I neither agree or disagree with Jones in respect to his theory on what is good and acceptable design. It is hard to relate to the era in which design was so drastically changing nowadays change in design is more accepted and personal preferences are a huge part of that. The image above is great example of a rabbit decoration that has been purposely constructed into a ring which would be considered a false principle of design in Jones eyes.

Image Reference: http://www.thecoolhunter.com.au/lifestyle