Modern Design - è bella designs interview
Apr 14th, 2008 by rlsorbe
What is modernism in modern design? I struggle to find a universal definition that successfully describes modern design, and find that modernism varies depending on who you are talking with, and what you are talking about. From fashion and furniture to architecture and graphics; or from a ‘new school designers’ to someone from older trainings: What is modern design?
I was recently discussing modernism with a friend, and she referred me to a paper on Landscape Architecture theory by James Corner. Taken from his paper Theory II Three Tyrannies of Contemporary Theory and the Alternative of Hermeneutics, ” In the progressibist view, by contrast, history runs the risk of being turned away from altogether. Instead of looking to paradigms of the past, the futurist looks to radical invention of both social program and formal relationships. That is, by turning away from tradition and history, looking instead to a utopian future, the progressivists believe that they are actually being true to the relativity of their own time. This is in fact the basis of Modernism and underlies the tendencies of the avant-garde.”
Exploring further, I want to share an interview found in the Economist. The interview is with local Boulder designer Nicole Linton from è bella Designs. Her input uncovers a definition of modernism in modern design from an interior perspective:
Interview discussing Modern Design:
For close on ten years, Nicole Linton has worked directly with Peruvian weavers to create dazzling rugs that combine craft skill and modern design. Inspirations range from pre-Columbian patterns to the Bauhaus work of Anni Albers. Her abstract patterns and strong colours draw on modernist art as well as on earlier formal traditions in Asia and Latin America. She improvises with simple shapes—discs, squares or smooth curves—to hint at natural or man-made forms—waves and cityscapes, for example—without being literal or decorative. She uses only the finest materials—alpaca or alpaca mixed with merino wool, which give her rugs their irresistible sheen. Nicole Linton’s clear-cut forms and lush textures create a perfect setting for the best modern furniture.
Q: Nicole, what does “modern” mean to you?
A: I don’t think “modern” can be limited to Europe and America. Particularly when it comes to design, there are wonderful formal traditions in earlier art and in folk art that fed into modernism.
Q: Can you give examples that have meant something to you?
A: Well, I think, in Japan you have obviously Zen art. I have a very pure, simple range called Zen. Then there is pre-Columbian art that is so rich in abstract patterns. And even things like patterned ceilings and leather work from the renaissance are all part of our visual memory.
Q: Not everybody hears “modern” as meaning “new”. Is “modern” still a style for today?
A: Oh, absolutely. I don’t think modern should just repeat the past. It has to live and grow. Somehow we have to get back that originality in modernism, that shock of the new. For example, my three-dimensional designs are certainly different. Some people might even find them a bit strange at first. After all, floors are flat. But I like that edginess. And they feel great on the feet.
Q: You’re not the first to do three-dimensional rugs, are you?
A: Not at all. I really admire Nani Marquina’s work. She showed the way. One thing that’s special about my work, though, is the use of alpaca, which gives an amazing volume.
Q: What is your design philosophy?
A: It’s hard to say exactly. But I’ve never seen modern design as being some kind of struggle between craft and industrial values. After all, the Bauhaus brought these two things together. I think that’s very much at the centre of what I’m trying to do with my textiles. I love formal patterns. But I also love the craft feel of beautiful materials.
Q: Tell us something about those patterns, about your designs themselves, I mean. From the rugs I’ve seen, you create shapes that are completely original but are as definite as letters of the alphabet.
A: I do try to go for simple shapes with clear outlines. But I also like patterns that without being blurry are open-ended in some way. I don’t want people to look at my rugs and say, “Oh, that’s a tree” or “That’s a mountain.” Not at all. But I do like to take shapes and contours from natural things without telling a story or drawing a picture.
Q: You work directly with your weavers. Tell us something about what that means for your rugs.
A: I’m very particular about who I work with. When you’re there, you can do lot’s of things you couldn’t do with a middleman. Obviously, I can talk through designs. I can check quality. But there are other things you might not think of. There are lots of grades of alpaca, and I want the finest. I can see the conditions the weavers are working in. But maybe best of all, we’ve been able to create workspaces within people’s homes. I’m proud of that.
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So, I ask our users; What is modernism in design? What does this mean to you and what are some examples throughout the various design industries?