Modernism and decorative arts both emphasize geometric modeling, but the difference lies in technology. Decorative art adopts the traditional cabinet making technology, so that its representative works are advertised as exquisite by modernists, and only the rich can make such exquisite works by hand.
After the demise of the French Art Nouveau movement, after a period of blank, a new style appeared. The exhibitions held by Munich designers including Richard Riemerschmid in 19 10 left a deep impression on the French. The indoor works they display are a combination of fine arts and practical arts, which are aimed at a wider audience. All the machines designed are manufactured to a high standard. From then on, some French designers began to take the modernist route, while others absorbed the harmonious interior design thought produced by the comprehensive application of fine arts and practical arts, and used traditional handicraft techniques on the basis of the geometric style at that time.
One of the main figures in this stage is the architect and r6 Ve ra. He believes that France should inherit the style of Louis XVI and combine it with the simplicity of the 20th century and the patterns of18th century. At this time, different from the traditional burning torch and bow and arrow patterns, the basic patterns have become flowers, fruit baskets and pendants.
1925 Paris International Exhibition of Decorative Arts and Modern Industries is the fulcrum of this French style (hereinafter referred to as decorative arts) going to the world. The exhibition was originally scheduled for 19 12, and was postponed to 1925.
Although American designers were invited to participate in the exhibition, they refused to go because they thought there were no "modern" works. But later, a tour of exhibitions organized by various museums and shops in the United States brought this new style to the American public, thus promoting the United States to explore its own style. Like futurists, they are inspired by machines, cars and airplanes. Their design is geometric, but the key factor of American design is streamline modeling.
Technology has had an immeasurable impact on design. Due to the development of aerodynamics, cars and planes are characterized by streamline, so why not design other things as streamline? At that time, almost every household had electricity, radio was a new thing, and household appliances were undergoing vigorous changes. With skyscrapers, you would see the versatility of American decorative arts.
Unlike modernist designers, members of decorative arts advocate decoration. Although they use abstraction, they are not committed to pure geometry, nor pursue the innovation of artificial materials, but prefer to use ivory, shark skin and other materials that are only available in old European colonies. Art Deco movement is a very special design movement in France, America and Britain in the 1920s and 1930s. Because this movement occurred and developed almost at the same time as the modernist movement in Europe, the decorative arts movement was greatly influenced by the modernist movement, and the traces of this influence can be clearly seen from the use of materials and the form of design. However, from the background of ideological development, from the ideological point of view, the democratic color and socialist background of modernism movement have never happened in the decorative arts movement. Decorative art, especially French decorative art movement, is still a traditional design movement to a great extent. Although it has new and modern contents in shape, color and decoration motivation, its service target is still the upper class and a few bourgeois dignitaries, which is quite different from the modernist position that emphasizes the democratization of design and the social effect of design. Therefore, although these two movements occurred almost at the same time and influenced each other, especially the influence of modernism on the decorative arts movement in form and material, they belong to two different categories and have their own development laws. At the beginning of the 20th century, a group of artists and designers were keenly aware of the inevitability of the new era. They no longer avoid mechanical forms or new materials (such as steel and glass). They believe that the British Arts and Crafts Movement and Art Nouveau Movement, which originated in France and influenced western countries, have a fatal defect, that is, they categorically deny the forms of modernization and industrialization. Times have changed, and the forms of modernization and industrialization are unstoppable. It is better to adapt than to escape. The adoption of a large number of new decorative motives makes the mechanical form and modern features more natural and luxurious, which can be used as a new way of exploration. This kind of understanding generally exists among some designers in France, the United States and Britain, especially in the 1920s, when the West flourished and the United States developed at a high speed, creating new markets and providing opportunities for the survival and development of new designs and artistic styles. This historical condition prompted the emergence of new experiments, and the result was another important design movement in the early 20th century-the Art Deco Movement. The name of the Art Deco Movement comes from a large exhibition held in Paris from 65438 to 0925: Art Deco Exhibition. This exhibition aims to show an architectural and decorative style after the "Art Nouveau" movement. The name of an exhibition is usually used to refer to a special design style and a specific design development stage. However, the term decorative art actually refers to more than a simple design style. Like Art Nouveau, it covers a wide range, from the colorful so-called jazz patterns in the 1920s to the streamlined design style in the 1930s, from the simple packaging of British cosmetics to the architecture of Rockefeller Center in new york, USA. Although they have a * * * relationship, they have stronger personalities. Therefore, it is inappropriate to regard decorative arts as a unified design style.
From the ideological and ideological point of view, the Art Deco movement is a reaction to the pretentious Art Nouveau movement. "New Art" emphasizes medieval, Gothic and natural decoration, emphasizes the beauty of handicrafts, and denies the characteristics of the mechanized era; The Art Deco movement is precisely to oppose the trend of classicism, nature (especially organic form) and pure handwork, and advocate the beauty of mechanization. Therefore, the decorative art style has more positive significance of the times. On the other hand, the period of decorative arts movement is the period of modernism. Therefore, no matter how much the movement emphasizes the effect of decoration-decoration is one of the main design contents opposed by modernism-design is still greatly influenced by modernism. Whether in the use of materials, the choice of design themes, or even the characteristics of design itself, these two design movements have many internal relations. In the past, decorative art was often regarded as a design movement opposite to modernism, but research shows that they are inextricably linked, especially the industrial design and decorative art movement in the United States, and sometimes it is difficult to completely separate them. For example, raymond loeway, an American designer, designed the "Office of Industrial Designers" for the new york World Expo at 1937. It is hard to say whether it is pure modernism or decorative art style. The furniture designed by French modernist master le corbusier in the mid-1920s also has both styles. All these show that the relationship between decorative art and "modernism" is not completely contradictory, but they are close and complicated in formal characteristics. As for the difference between them, it mainly lies in their motives and the ideology they represent. Decorative art inherits the long-standing traditional design position of European and American countries centered on France: it serves the wealthy upper class, so it is still designed for dignitaries, and its object is the bourgeoisie; The "Modernism" movement emphasizes that design serves the public, especially the low-income proletariat, so it is left-leaning, idealistic and utopian for small intellectuals.
Some western design theorists call the Art Deco movement "popular modernism" or "popular modernism" because its style is used to design some popular products, such as mass-produced steel pipe furniture, cars and skyscrapers. This title is easily misunderstood, because the main service object of decorative art style is still the dignitaries in society, not the public.
Since the 1960s, more and more design theorists have regarded the Art Deco movement as an extension and development of the "Arts and Crafts" movement in Britain and the "Art Nouveau Movement" in Europe and America. From the perspective of decoration motivation, or from the service direction it emphasizes, this view is of course understandable. But the complexity is that the main development period of this movement is between World War I and World War II, and this is also the main stage of the development of modernist movement, so chaos often occurs. From the name, there is also some confusion. For example, in France, some people call this movement and design style "modernism" and others call it jazz modernism, because one of the factors that affect this style is American jazz music and performance. However, from the standpoint of ideology, there are still obvious differences between the position of serving the powerful and the socialist position of serving the masses emphasized by the decorative arts movement and the modernist movement.
Art Deco Sport Spinning's fabrics and wallpaper lines are mostly taken from beautiful and curved bodies in nature, such as pedicels, buds and vines. Since the birth of human art, the word "decoration" has never left. The origin of human art is closely related to the original decoration. Wolflin, a famous art historian, thinks that "art history is mainly a decorative history". Decoration is the aesthetic core of art created by people in primitive society. Various painted pottery patterns have become specimens of various decorative and formal beauty. Decoration is a meaningful form. It is not only an aesthetic form, but also has a deeper meaning. It contains specific social feelings and cultural awareness. It is not only "decorative", but also "cultural", which brings people aesthetic pleasure from the aspects of order, line, shape and color, and meets people's deeper needs from the aspects of culture, ideal, symbol and history. In Abstract and Empathy, Wollinger said: The essential feature of decorative art is that a nation's artistic will is expressed in the purest way. ..... Decorative art is bound to form the starting point and foundation of all aesthetic research on art, and decoration is also of great research significance to modern design. From the perspective of decoration, we can clearly see the development of modern design.
Gombrich wrote such a sentence in the preface of the second edition of his book "Sense of Order": "Boldly speaking, my purpose is to explain. The psychological study of decorative art announced in the subtitle of this book is to establish and test the theory declared in the main title: sense of order, which is manifested in all design styles, and I believe its root lies in human biological inheritance. Modern design is the product of industrialized civilization. Modern design is an artistic activity to provide services for modern people, and it is also a way of life in modern economic society. In the process of modernism design movement, there are some important design movements, which are always related to the sublation of decoration. Either use decoration or abandon decoration, to a great extent, is the new development of modern design around decoration. ⑴ "Novice Arts and Crafts Movement" and Decoration
From the industrial revolution in18th century to the end of19th century, industrial technology changed people's way of life, and product design developed in this kind of change and chaos. People have a stubborn nostalgia for the form and style of old products in their living habits and psychology, which is reflected in the decorative characteristics of design and the emphasis on traditional decorative taste. The contradiction between decoration and mechanized production is inevitable. Many designers are unwilling to participate in the design of industrial products. Most industrial products unilaterally pursue standardization and mass production, ignoring the factors of decorative beauty and formal beauty, with rough and ugly shapes and low aesthetic taste and style.
185 1 year, some contradictions were exposed at the World Industrial Fair held in Hyde Park, London, England. Most of the exhibits are industrial products with rough appearance. Many products are decorated with some nondescript patterns, trying to make up for their formal ugliness with decoration. But it turns out that the result is even worse. Therefore, a group of people of insight, led by john ruskin and william morris, launched a design style reform movement called "Novice Arts and Crafts Movement", advocating that artists should come into life and create works that are understood and accepted by the public. It opposes Victorian pretensions, advocates simple decoration in the Middle Ages, absorbs Japanese decoration, learns materials from nature and creates new design styles. This is a valuable exploration. Its influence spread all over many European countries, making the Art Nouveau movement flourish in Europe. In this sense, the "Novice Arts and Crafts Movement" opposed pretense with new decoration, advocated exquisite and reasonable design and preserved handicrafts, which had an important influence on the formation of modern design ideas.
⑵ Art Nouveau Movement and Decoration
Inspired by the "Novice Arts and Crafts Movement" in Britain, a large-scale and far-reaching "Art Nouveau Movement" rose and developed in Europe and America at the end of 19 and the beginning of the 20th century, which was embodied in architecture, furniture, industrial products, clothing, jewelry, book illustrations and so on. Even in the pure art field of sculpture and painting, a new design style and artistic outlook has emerged. It involves more than a dozen countries and regions such as France, Netherlands, Belgium, Spain and the United States, and it was not until around 19 10 that it was gradually replaced by the Art Deco Movement and the Modernist Movement. This movement opposes artificial style and advocates returning to nature, which greatly develops the application of plant and animal patterns in pattern design and creates aestheticism decorative style.
Samur Bing, a French furniture designer, opened a studio and design room named "Art Nouveau" in 1895, advocating designers to create new styles. 1900, they exhibited the furniture works of "Art Nouveau", which was a great success, and the name of "Art Nouveau" spread from now on. The works on display have a strong naturalistic tendency. Imitate the shape and structure of plants. This is consistent with samur Bing's slogan "Return to Nature". Art Nouveau created a very special decorative style. "From Henry Vanderfeld's interior design to Kemad's Paris subway entrance design, from Antoni Gaudi's architecture to Kamm's big poster, there is an unprecedented non-historical new decorative style exploration power." This design movement combines arts and crafts with product design by using decoration and naturalism, creating a typical design style at the turn of the 20th century and19th century, and becoming a prelude to the coming modernism era.
⑶ "Decorative Art" Movement and Decoration
The Art Deco movement was a design movement launched in France, Britain, the United States and other countries in the 1920s and 1930s. It happened almost at the same time as the European modernist movement, and they had a certain influence on each other.
With the modernization and industrialization gradually changing people's lifestyle, artists are also trying to find a new way of decoration to make the product form conform to the characteristics of modern life. 1925, a large-scale exhibition "Decorative Art Exhibition" was held in Paris. This exhibition shows people the architectural and decorative styles after the Art Nouveau movement, which is a hypocritical reaction to the Art Nouveau movement in thought and form. It opposes classicism, naturalism and pure handicraft form, and advocates the beauty of machinery. Judging from the development of modern design, it has positive significance of the times. The "Art Deco" movement is not a simple style movement, but also a traditional design movement to a great extent. That is, replacing the old decoration with new decoration, its main contribution is to express modern content in shape and color, and to show the characteristics of the times.
No matter the movement of "Novice in Arts and Crafts", "Art Nouveau" or "Art Deco", they all started from decoration and developed new, reasonable and perfect design styles, thus expanding the artistic value of "decoration". Among them, the affirmation and development of decoration directly constitute the driving force of modern design reform. As we all know, modernist design style is developed under the influence of modern art movement and "new architecture" movement. It has a certain social democratic color, emphasizing mechanical beauty and functional beauty, advocating rational design, advocating simplicity and practicality, denying decorative function and opposing the relationship between form and function, thus developing a different design style.
As early as 1892, Sullivan, an architect of the Chicago School in the United States, put forward: "If we can completely give up decoration for a period of time, so that our thoughts can be keenly focused on perfect architecture and beautiful nudity, it will certainly be of great benefit to our aesthetic taste." His thought of "form obeys function" has become the declaration and core idea of functionalism. Fan, one of the key figures in the Art Nouveau movement? De? 1894 Wilde put forward in his article "removing obstacles for art" that "the first condition of beauty is functional works made according to rational laws and reasonable structures." These thoughts became the pioneers of mechanical aesthetics. Austrian architect Adolf? Luce advocated the importance of function to the extreme. He hates decoration very much. 1898, he wrote in an article: "Seeking formal beauty without decoration is the goal that all mankind hopes to achieve". He also said that "the progress of civilization is equivalent to removing the decoration from useful things." He classified the decoration as "backward", "pornography" and "waste". "Decoration is a waste of energy, so it is always a waste of children's health. But today it also means a waste of materials, and the combination of the two means a waste of assets. " 1908, Luce published Decoration and Sin, which can be summarized by the slogan "Decoration is crime". To some extent, these theories have served as the guiding ideology of the modernist movement, and also pushed modernist design to the direction of functional design.
Bauhaus is the cradle of modern design movement, and it also indicates the arrival of the climax of modernist design. Bauhaus was founded by Gropes in Weimar, Germany in 19 19, and formed a whole set of design teaching system in the short course of14 (191933). Advocating the combination of art and technology has formed a modernist design style. It marks that the original decorative design has been replaced by modernist rational design.
After Bauhaus was closed by the Nazis, its main teaching backbone and students were scattered to Europe and the United States, making rational design ideas spread all over the world. The "international style" in the forties and fifties was the result of the popularization of Bauhaus's design style. The "internationalist style" completely rejects decoration and takes the rational spirit of function as the criterion. Le corbusier, a master of modernist design and a representative of mechanical aesthetics, put forward that "a house is a living machine". This is a classic mechanized and functional design concept.
From 65438 to 0958, the West gleim Building in new york designed by Mies Vanderro and philip johnson is a landmark building with internationalist style, and it is also the product of Mies Vanderro's "less is more" design thought. This simple design, which overemphasizes rationality and functionality, is increasingly lacking in personality and human touch, which makes people more and more bored.
The rejection of decoration by modernist design does not mean the disappearance of decoration. On the contrary, decoration appears in new forms. Peter Collins, a British scholar, wrote in the book Evolution of Modern Architectural Design Thoughts: "Is it true that the excessive use of decoration in the19th century led to the abandonment of decoration, or is it just a change of dress?" He believes that "decoration will die out in the future, it just unconsciously integrates into the structure." Modernist design assimilated decoration and structure and created "decoration without decoration". With people's weariness of internationalism, in 1960s, designers introduced "Pop Design" to satisfy the public's aesthetic taste. Pursue the purpose of appealing to both refined and popular tastes. So colors and decorations are reused. And in the 1970s, various "post-modernism" styles appeared, which opposed the monotonous form of internationalist design.
"Postmodernism" design refers to "the design style of eclectic decoration with a lot of historical decoration motives in modernist and internationalist design".
Post-modernism design is a challenge to modernism design and a decorative development of modernism and internationalism design. It opposes internationalism and minimalism in design, advocates visual aesthetic pleasure through decoration, and pays attention to the satisfaction of consumers' psychology. A large number of historical decorative symbols are used in the design, but they are not simply retro. They adopted a compromise way, combining traditional cultural background with modern design, and created a new stage of decorative art.
In essence, postmodern design is not to overthrow and deny modernist design, but to give it personalized and emotional decorative effect on the basis of affirming its practical functional factors. Charles Jencks, the authority of postmodern design theory, American critic, architect and writer himself said: Postmodernism is modernism plus something else.
Historical styles, such as Gothic and Baroque, are widely used in post-modern design. From classicism to Renaissance, decorative symbols were used indiscriminately, joking, teasing, exaggerating and describing symbols, and decorative effects were achieved through the fusion and splicing of various historical styles. Many works embody this feature. Like Charles. Moore designed the Italian Plaza in New Orleans, USA. AT & amp； philip johnson; T building and so on.
The revival of decoration in post-modernism design lies to a great extent in Robert, an American architect. In order to get rid of the depression brought by serious, indifferent and monotonous modernism and internationalism design style, he put forward a clear post-modernism proposition in architecture for the first time. Venturi thought modernism and internationalism were ugly and mediocre. He humorously changed the dogma that "less is more" to "less is boring". 1969, Venturi used historical architectural symbols to design the Venturi House in Hutao Mountain, Pennsylvania in a playful way. It is the earliest building with complete post-modernism characteristics. With the development of post-modernism design, the position of decoration in design has returned. Peter Hoffman said in the article "American Architecture in the 1980s": "Decoration is no longer regarded as a sin. Almost all of these buildings fully demonstrate a new interest in' decoration' and show an interest in architecture. " ⑾ In the field of product design, represented by the "Memphis" design team composed of Italian Sotesas and others, the design works are unique in shape, rich in color, decorative, popular and entertaining. The notable features of postmodern design are historicism, decoration, eclecticism and entertainment. The application of these technologies has adapted to people's needs in all aspects, and gradually swept away the sense of rationality and indifference caused by modernism and internationalism in industrial products.
Throughout the development of modernist design, we can see the significance of decoration. Then, as an artistic symbol, "decoration" will not disappear in the future design. It is a symbol of art and culture. And the decoration meets people's psychological needs. Like Herbert? In the History and Theory of Arts and Crafts, Reid thinks: "The necessity of decorations is psychological. There is also an emotion called fear in people-unbearable lonely space. " He also said, "The only comment on the decoration is that it should highlight the form to some extent. I avoid using the common word' add' because nothing can be added if it is in the right form. " He emphasized that reasonable decoration will make the work more beautiful. Sousas, a designer of Memphis Group in Italy, said that design should be lifestyle design. Indeed, the design of the future is essentially the design of lifestyle, and proper decoration is an important means to design a beautiful lifestyle. It is to achieve the purpose of "pleasing people" with "proper decoration", which will lead people to an artistic and poetic life.