ergonomics and beauty

A movement toward minimalism meshes well with the idea of work-related, or office, space. Clear, consistent productivity and safety are the aims in a result-oriented setting. Simplified spaces are appropriate for this. Our current interest in clean shapes probably began during the 1930s.

Looking at the 1930s desk below, the burls create variation in tone across its smooth surfaces, and the wood veneer technique shows the care with which it was constructed. In these ways the piece is linked to the detailed/ornate furniture that historically preceded it. However, its sleek design shows a step toward what we now consider modernity. Style like this was the start of a streamlined aesthetic.


Art Deco desk, 1930s

Mid-Century modern furniture maintained this focus in clean geometric shapes, although materials were changed. Many contemporary office (or home office) furniture designs appear to be inspired, in turn, by Mid-Century modernism and space-age aesthetics.


Space Lounge, Jehs+Laub, 2006


Globus desk and chair, Michiel van der Kley, 2007


Oficio, Luiza Barroso and Quentin Vaulot, 2008


Around Clock, Anthony Dickens, 2000s




Some contemporary work-related products with clean lines are also imaginatively playful:





Baobab Desk, Philippe Starck, 2005


Pushpin Lamp


Formulas and Stockmarket ties, Josh Bach

The preference for modern visuals fits well in the context of cerebral work. It promotes a calm atmosphere of organization. There is a lack of clutter. This may help us direct our energy efficiently. Ergonomic environments are designed according to physical and psychological requirements with the aim being increased production. Sleek office products would encourage this, as they make our environment more structured and less distracting.

Computers/monitors, for instance, often have clean lines. While we may not consider computers strictly related to "work", some kind of mental activity and devotion of time is needed to operate a computer. What is conducive to this? For some, it is a simplified, but still attractive, look (e.g. Neovo E-Series LCD display). For others, it is more personalized, tactile, and other-wordly (e.g. custom steampunk laptop), proving there are always exceptions to the rule-- exceptions which may gain a lot of support through subculture popularity.


Neovo E-Series LCD display


custom steampunk laptop

How much is the average person taken into account in the manufacturing and sale of artistic products? Our tastes may be considered, but unfortunately prices often rise in accordance to the artistry of objects, making items less available to the general public. For example, the Globus desk previously shown is priced at $9,653. (In my first blog post, I mentioned the Hudson Furniture Atlantis chandelier, which was released this year for $30,000-- another unusually exorbitant price, but it would really light up a communal ice cave.)

We need art in typical objects like desks and lights; this shouldn't be limited to expensive pieces. Anyone should be able to access daily-life art, because, as humans, we appreciate it. Decoration has long occurred in work-related items (e.g. Chiricahua Apache quiver), suggesting our love of, and ability to produce, art in any object.


Chiricahua Apache quiver, 1890


photo credits: Dominique DeBruyne, Fritz Hansen, Artifort, Luiza Barroso and Quentin Vaulot, Anthony Dickens, Vitra, hotgadget.com, Josh Bach, Neovo, Datamancer, and intothewildwest.com.

cars (transportation)

Other goods that have followed the progression of natural pigment to detail to polish (see previous entry) are transportation vehicles.

Even the most basic element of transport, a wheel, can become artistic when painted. This is the first step: natural pigment.


painted and carved wheel, Taormina, Italy
©2008 Marshall Ikonography and World of Stock

In the 20th-21st century, cars are evidence of how objects have become progressively minimalist in shape. Shown here: art deco automobiles versus modern cars.


1930 Duesenberg Model J


1932 Cadillac 355B



1938 Jaguar 100

----------------------


Lotus Elise


Porsche Boxster


Bugatti Veyron


Fisker Karma Hybrid

photo credits: Marshall Ikonography and World of Stock, ultimatecarpage.com, concorsodeleganzavilladeste.com, and unknown sources.

communication

In reflecting on 20th/21st century aesthetics, it is clear that changes occurred over time: detailed Victorian, undulating Art Nouveau, geometric Art Deco, Mid-Century modern and space-age, "contemporary" styles which can draw from all of these designs. Prior to these, there was ornate Rococo and Baroque. But even before any of this, there was very basic decoration.

Considering what has been visually appreciated, there seems to have been a shift from the most easily obtained pigments, which happened to be earth tones, to a concern with ornate detail, to a fascination with "alien" or highly manufactured, glossy, bright surfaces. As new materials become available, the idea of what is fresh or appealing also changes.

The aesthetic has gone through phases (natural pigment, detail, polish) dependent on the mode of creation. Our communication tools are an example of this.

In the 1800s, Europeans used pipe tomahawks in trade and in establishing friendship or enmity with indigenous tribes. These tools were a type of communication. Pipe tomahawks were designed in Native American style with natural materials and earth-tones-- the kind of design that is at the core of human decoration. There is no pink plastic in the wild, but there is still the urge for cheerful embellishment.


pipe tomahawk, from Shoshone artifacts, 1800s

When phones were invented, they changed over time according to a 20th century aesthetic evolution. Early telephones (e.g. Swedish Rikstelefon) had elaborately shaped handsets and ornamented bases. These were eventually replaced by sets (e.g. Princess phone) which were brightened with color and simplified in shape. Detail was removed. With the advent of cellphones, shapes have become even more sleek and compact.


Swedish Rikstelefon, 1896


Princess phone, 1960s


Nokia Sirocco


Nokia Prism 7900 and 7500


Nokia 7280 Lipstick


Sony Ericsson K8501


Apple iPhone

There are exceptions to this progression in design. For example, hand-made letterpress printed stationary is created and sold by Egg Press today. The materials, method of production, and even use of this communication tool is nostalgic. Still, the images printed on the cards look fairly modern due to their graphic, clean shapes.





Egg Press Stationary, hand-made since 1999


photo credits: Smithsonian Institution, Wikimedia Commons, Nokia, Sony, Apple, Egg Press.

living spaces

Some manufacturers may aim only at offering marketable items, rather than artistic ones, but consumers will value objects that go beyond function or even craftsmanship. They will enjoy creative design. This is reflected in the availability of a range of visually innovative products that delight and surprise the eye.


(Hudson Furniture birch coffee table, 2006)


(Geoffrey Harcourt Cleopatra lounge, 1970)

Although we may buy something partly for its appearance or its imaginative form, we may still not consciously consider this a purchase of art. Our underlying attitudes toward this kind of object, however, do mirror our attitudes toward art. We appreciate its playful originality (e.g. a clock with telephone dial face), its aesthetic (e.g. Hudson Furniture Atlantis chandelier) and sometimes the established recognition of its good design (e.g. Alvar Aalto vase, 1936). While an object like the Ant chair may be produced many times according to specified standards, and seem less artistic in this way, Arne Jacobson's design itself was created to be unique for its time. Considering this, the number and uniformity of a product like the Ant chair becomes more comparable to multiples of prints. In the case of prints, their method of production usually does not detract from their acceptance as art. Consumers also use objects to express themselves via their chosen environment. Expression is part of art. We treat goods as having expressive qualities, whether they were meant to or not. Things can have utility while also functioning emotionally for us as art.



(clock with telephone dial face)


(Barlas Baylar Hudson Furniture Atlantis chandelier, 2008)


(Alvar Aalto vase, 1936)


(Arne Jacobson Ant chair, 1952)


(expression through environment)


Our subconscious desire for art is apparent in our relationship to almost any kind of consumer item. We create items to be visually interesting even when it isn't necessary, because it is a human activity to do so. It is the human way of relating to the material world. We have consistently been drawn to art in our daily lives.

As the subject of this blog entry has been living spaces, a basic historical example for living space would be the cave paintings in France. Were these a case of the need for documentation or a sign/marking for the purpose of the place? Was this good craftsmanship? A representation of reality?

Or were these paintings also a step toward examination of our world through sight? Some impression to share? Did these paintings manifest a more primal need to create, and to celebrate the exciting act of vision? Also, were they made in a cave only in order to protect them from the elements, or was art becoming part of a daily life setting?



(Lascaux caves)


(Lascaux caves)


(Lascaux caves)


(Peche Merle)


Art can run through practically any part of life. It seems that humans have taken this to extremes.

We are especially capable of this, compared to other animals, due to our variety of modes of production.



(Art Deco Nightstands-- wood, burl veneer)


(Mr. Impossible by Philippe Starck, 2007-- polycarbonate)


(Todd Bracher side table, 2005-- polypropylene and lacquer)



(Couture Rugs by Angela Adams, 2003-- wool)



(Rugs by Amy Helfand, 2004-- wool)


Humans experiment with different mediums, until art cannot be defined in only traditional terms. Art becomes the imaginative or aesthetic spark that we perceive in a wide field of creative activity. Our consistent inclusion of art in our goods, albeit subconscious at times , shows our need for it. To the degree that we require or desire art, we are human.

photo credits: Hudson Furniture, Artifort, Iittala, Fritz Hansen, ursispaltenstein.ch/blog/weblog.php?/weblog/2007/07/10/, sandrashaw.com/AH1L02.htm, spacetoday.org, judeart.com/Pic17Exp.htm, judeart.com/Pic17Exp.htm, Canonbury Antiques, Kartell, Zanotta, Angela Adams, Amy Helfand, and unknown sources.