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ezgi tombak

on 4 January 2013

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Transcript of ANTI DESIGN

ANTI-DESIGN *What is anti-design
*Idea of anti-design
*Subverting the aspect on furniture
*Reaction against Avant Garde
*Anti-design movement
*Artists of the movement
Vico Magistretti
Gianfranco Frattini
Livio Castiglioni
Enzo Mari
Piero Gilardi
Paolo Lomazzi
After 80. Affects of the Anti-Design to the close history
Contribution to contemporary design Anti-Design was a design flow and style art movement originating in Italy and lasting from the years 1966 - 1980. The movement emphasized striking colours, scale distortion (ie. giant chairs that make you look small), and used irony and kitsh. The function of the object was to subvert the way you thought about the object. In architecture this was also known as the Radical Design period. The design movement was a reaction against what many avant-garde designers at the time saw as the perfectionist aesthetics of Modernism. The Modernist designers placed emphasis was on style and the aesthetics of good form by many leading manufacturers and celebrated designers (some of whom were being paid big bucks in the process). This sense of dissatisfaction with the increasingly lack of the social relevance of design for the sake of greed led Italian designers to stage a revolt. These design rebels increasingly aired their grievances during the late 1950s and into the 1960s. However Anti-Design didn't officially start as an art movement until 1966. The Anti-Design movement sought to harness power of design to create objects and living quarters that were unique rather than embracing style, mass production, consumerism, sales and greed. Their designs were meant to be functional, not necessarily beautiful. Where Modernism followed the idea of objects should be permanent, Anti-Design rebels felt objects should be temporary, as quick to throw away and be replaced by something new and more functional. This would certainly mean consumerism and profits if people keep coming back for more, but the message was very different. Anti-Designers wanted people to THINK about the objects they were buying, even if they ultimately threw those objects away. The Modernist palette was generally blacks, whites and greys, simplicity and materials were chosen for their durability. In contrast the Anti-Design rebels explored the rich variety of colours, decorative elements and materials.

Lastly, where Modernism believed in the adage ‘form follows function’, Anti-Design used the expressive potential of kitsch, irony, and distortion of scale... These characteristics would later become the hallmarks of Postmodern design and influence Memphis design. Vico Magistretti Magistretti's design began to make their mark in the early 1960's,with the appearance of two celebrated chairs- Carimate, based on a traditional country chair, and the chic plastic Selene. His famous Eclisse and Atollo lamp designs similarly look to both past and present, blending elements derived from the Bauhaus and abstract sculpture in accessible domestic objects.
From the simplest sofas to the strikingly innovative Sindbad armchair - derived from a horse blanket - Magistretti's creations, now held in museums around the world, exude a natural elegance which has allowed them to flourish into the 1990s. Sindbad, 1981 The Sindbad model, a kind of blanket/upholstery, was inspired by the idea of a rug thrown carelessly over a sofa together with the image of a horse blanket (on its horse) that Magistretti had seen in England. The innovation is concentrated in the complete removability and changeability of the covering, which is attached to the upholstered structure - in expended polyurethane and polyester wadding on a steel framework - by means of two clasps on the inner edges of the seat. Pressure strips and two clips towards the edges of the back hold it in place. Sindbad 1981 Veranda, 1983 Armchair and two seat sofa.
Steel skeletal frame.
Padding in CFC-free polyurethane foam and polyester wadding.
Matt black enamelled steel base.
Adjustable back with three alternative positions regulated by a spring mechanism and operated by a control lever; folding headrest. The seat has footrest extension which can be folded underneath the seat.
The sofa has individual and independent seats and backs.
Fabric or leather upholstery. Veranda 1983 Enzo Mari Enzo Mari (born 1932) is a noted Italian modernist artist and furniture designer.
He draws inspiration from the idealism of the arts and crafts movement, and his political views as a communist.[1]
Mari was born in Novara, Italy and he studied at the Brera Academy in Milan, Italy from 1952 to 1956.
In the 1960s, published a series of books, including "The Apple and the Butterfly," a wordless book of paintings depicting the story of a caterpillar and an apple.
In the 1970s, he founded the Nuova Tendenza art movement as a professor at Società Umanitaria, also in Milan. Also in that decade, he designed the Sof Sof chair[3] and the "Box" chair.[4]
In 1974, Enzo Mari made the book Autoprogettazione, which deals around the DIY construction of furniture.[5]
In the 1980s, he designed the modernist Tonietta chair The Tonietta Chair (1985) The Tonietta chair is a design classic, designed by Enzo Mari in 1985. Tonietta features a polished aluminium alloy frame, while the distinctively shaped seat and back are in polypropylene and covered in cowhide or a choice of colours in painted nylon Gianfranco Frattini and Livio Castiglioni (1969) Anti-Design responded to the ways in which Modernist designs were consumed and discussed in the design press. They were worshipped almost, and there was a sense that people had to adapt to suit the design, not the other way around. Anti-Design tried to break down that excessive veneration of the object. Gianfranco Frattini was an Italian architect and designer. He is a member of the generation that created the Italian design movement in the late 1950s through the 1960s. The Boalum flexible lamp (1969) by Gianfranco Frattini and Livio Castiglioni is an example. This was manufactured by Artemide. It consisted of a long plastic tube with light bulbs wired up inside, so it formed a luminous tube. The form is indeterminate – it can be manipulated by the owner. This helps to break down the persona of the heroic designer by allowing the user to determine the form, at least to some extent. Piero Gilardi Piero Gilardi produced a piece called I Sassi (1967), which means “the rocks.” These are actually chairs made of polyurethane. They were manufactured by Gufram. Here the form disguises the function – they look like rocks. So they’re imitating a natural object. Now obviously, a rock is hard and durable. These qualities are totally at odds with the function of a chair, which is supposed to be soft and comfortable. So again this is defying Modernist functionalism. It makes the function illegible. Paolo Lomazzi (1970) The famous Joe Sofa (1970) was designed by Paolo Lomazzi and named after Joe Colombo, a legendary Italian designer. It was made of polyurethane and covered with leather. This was manufactured by Poltronova. It looks like a giant baseball catcher’s mitt. Like postmodernist design, it’s an overblown symbol designed to communicate on a very basic level. It suggests that forms don’t have to be invented, they can just be recycled.
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