HOW MY MODEL REPRESENTS A HUNDRED YEARS OF MODERN INTERIOR

Posted: August 26th, 2021

HOW MY MODEL REPRESENTS A HUNDRED YEARS OF MODERN INTERIOR

Introduction

Throughout the hundred years of interior modernism, the society has held divergent views regarding the use of colors in the design. Some artists of the 19^th century considered that color might bring out chaos and confusion in societies via amplified stereotypes, whereas others supposed otherwise. I designed model table (under the inspiration of Louis Sullivan) that exhibits white and black form in a bid to underpin his ideals of design. More so, I modeled a hanging dome-like lamp model that ascribes to the artistic principles of Ray and Charles and David Batchelor. In this regard, I apply constructive relativism as an investigation method of learning of the divergent views and thus seek to bring a neutral point for unity and balance in these two kinds of artistic worlds by combining my two models.

Section 1: Louis Sullivan 1860-1900

Ideals and Principles of the Designer

Regarded as the father of architectural modernism, Louis Sullivan believed in high ideals and philosophies that form always followed functionality[1]. His philosophies were useful in reshaping the 20^th-century architecture through the use of a primary color, white in the design of 19^th-century buildings. As such, he could feature in an object of color revered on the functionalismaspect of his designs as a technique that would mirror the intended purpose of any design.

Exploring the Object of Color

            Exploring the object of the color of a design is significant in understanding the form of a model. As a designer, I amthrilled to apply this object to reflect on the purpose of the model. For example, I regard white as a function of purity among the believers of a particular religious movement the same way designer Sullivan visualized[2].

Interpreting How Ideals of the Designer Manifest in the Model Table

My design model is a relatively small, squared table with overlappingsquares cross-sectional to each other, thus conspicuously revealing white and black throughout the superimposed squared glass boxes with a circle at the center[3].The proportionality of the circular color-based model table features in a complete matching of the shape and pattern of the model table. From my analysis, the application of Rub el Hizb’s symbol pattern ascribes to color uses to amplify an element of functionalism (Figure 1).

Figure 1. A model table from designer Louis Sullivan

Conceptually, the use of white and black Arabic-like patterns signifies Sullivan’s ideals of a color form that follows the intended purpose of transmitting and sharing the Arabic calligraphy via mymodel table. The model table is intended to be functional in holding relatively light-weight objects like flower vases. Notably, this model table is reminding marker of on how designer Sullivan made a significant reference to the end of the Arabic Calligraphyin the 19^th century. Therefore, the white and black model table signifiesthe end of an era where only a few colors were used to mean purity of Arabic calligraphy intransmittingthe morality of Arabs movement globally[4].

Section II: Charles and Ray 1930-1960 – David Batchelor

Reasons for Choosing Batchelor’s Model of a Major Scale Hanging Lamp

The second designer is David Batchelor, a writer, and artist who got thrilled in his works of blending varied unique colors, thus reinforcing the element of aesthetic. I find his artistic works a significant milestone in the practical study of interior design as it is essential in the use of multi-colors coupled with the right light to bring about taste in interior designs. Therefore, I find it necessary to design a hanging dome-like lamp with three uniformed squares attached with a circular object that would underpin his ideals.

Figure 2. A combined model of the hanging dome-like bulb above a Rub el Hizb table

My choice of this particular designer comes out of inspiration fromSullivan concerninga kind of form, proportionality, and functionality elements that he expressed vis-à-vis his architectural designs. There is a symmetrical uniform element of proportionality that make reason that hese two models would act together. In my view, these models would promote the functionalism of aesthetic values via the use of Arabic calligraphy, as shown in figure 2.

Manifesto of Chromophobia from David Batchelor’s Course Reading

I view that the use of the reading Chromophobia by David Batchelor as relevant in critiquing my model of a hanging dome-like lamp over the table, especially by looking at the disagreeing concept of Charles Blanc that color amplifies societal stereotypes.

Explaining the Key Argument on Color

As much there exists a varied societal perceptionconcerning the use of color as an object of interior design, artist Batchelor somehow disagrees with Charles Blanc. Although Blanc perceives color as chromophobia of enhancing stereotypic aspects in the society, Batchelor sees it different. The idea is that color needs to be controlled in a bid to avoid stereotypic chaos that might ruin its good intention among the individuals[5][6]. Conceptually, I suppose that there needs to be a sort of order and classification of color with plans of bringing about a hierarchy that would help amplify its significance in design.

Critique of Bachelor’s Ideals on Color and Choice of the Model

            In my view, I interpretively consider that the use of color in interior design as so essential and vital, simply there would be no good design without color[7]. In this sense, Batchelor’s model of a dome-shaped hanging lamp reinforces the hierarchy concept of color to establish unity and balance in interior design.

Explaining the Juxtaposed Contradictory Positions on Color

            The choice of this interior design model of a hanging lamp centrally focuses on asignificant scale. This element brings stability and strength via the use of ochre yellows, red, as well as ultramarine blue[8]. Therefore, I see the use of color in design is like regarding the constructive aspect of matching feminine with masculinity to promote humanity.

Conclusion

            The combined model of a hanging dome-like lamp with dominant color above the table signifies a hundred years of modern interior. It is a transition period where divergent views on color were amalgamatedto bring an interlinking order between two divergently stereotypic social aspects. The use of white signifies the purity that was attached to the healthy study of black Arabic calligraphy in the 19^th century is indeed exhibited together with the major scale of color like ochre yellows. As much as these two sets of colors ascribe to different theories and movements, their amalgamation has brought about the constructive unity and balance that is always needed to dissipate any kinds of societal prejudices based on color, race, or gender. Thus, it is essential to bring order in the social class of art by letting the divergent views of both extremists flow undisturbed in a bid to attain a suitably proportionate and straightforward society free of any prejudices.

Bibliography

Batchelor, David. Chromophobia. London: Reaktion Books, 2000, 28, p. 225-239.

Cikek, Nurcan G., and Kaan Gokcakan. Characteristics of Colors, Interior Design, and their Psychological and Physiological Effects. The Turkish Online Journal of Educational Technology, 2016.

De Wolfe Elsie. The House On Good Taste [1913]. Stratford: Ayer Company Publishers, 1998, p. 82-85.

Decker, Kris. The Fundamentals of Understanding Color Theory, 2017. https://99designs.com/blog/tips/the-7-step-guide-to-understanding-color-theory/

Olszewski, Andrzej, K. American Streamline, and European Modernism.

Promry, Kathryn. “Introduction to the Psychology of Color: For Interior Designers.”The Art Career, 2019. https://www.theartcareerproject.com/psychology-of-color-interior-design/

Weingar, Lauren, S. The Colors of Nature: Sullivan’s Architectural Polychromy and 19th–Century Color Theory. Winterthur Chicago Journals, vol. 20, no. 4, 2017, p. 243-260.

Wright, Angela B. “The Color Affects System of Color Psychology.”AIC Quadrennial Congress, 2009. https://www.researchgate.net/publication/253271089_The_Colour_Affects_System_of_Colour_Psychology

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[1]Olszewski 33

[2]Weingar 244

[3]Wright 33

[4]Weingar 244

[5]de Wolfe 83

[6]Cikek and Gokcakan 122

[7]Promry

[8]Batchelor 226