Locovisual - St. James Theatre

Retrieved from en.wikipedia.org/wiki/File:St_James_Theatre.jpg

St James Theatre, designed by Henry White in 1912  was at the time the largest theatre for vaudeville and pictures in Australasia. (Lee, 2007)

The theatre was designed for live performances and silent movies, but over the years has been modified and adapted to house performances ranging from live Shakespearean performances, to concerts and movies, and is now the home of The Royal New Zealand Ballet. ("The St. James Theatre ")

St James Theatre is designed in a Baroque Revival style; from the outside this can be identified by a facade adorned with classically inspired columns with curvilinear organic capitals, a combination of linear and domed archways, a pastel stucco finish, and plaster statues that pay homage to the Statue of Apollo. The interior is highly ornamental, decorated with curvaceous plastering, dancing cupids, harps and horns all with gold-leaf gilding. (Blunt, 1978)

Retrieved from http://www.johnherber.co.nz/Photo%20Gallery.htm

Historically, Baroque theatres were designed with the greatest technology available such that stages could be transformed mid-performance to provide new settings in seconds whilst hiding the unsightly elements key to the stage's function. This gave rise to a new dynamic available for playwrights to weave into their work, and effectively created a new theatrical genre providing viewers with a multimedia experience. (Norberg-Schulz, 1972) Theatres intending to screen such performances would generally be modeled in Baroque fashion, and as such reflects the styles of performance on offer such as at the St. James Theatre . St. James Theatre also intended to use the greatest technology available and was the first theatre in the world to be built from steel and the finest English concrete reinforced with top quality cow hair. (Cochran, 1993)

St. James Theatre has survived financial turmoil and threat of demolition, (McGill, 1998) and has been once again been recognised as an "outstanding cultural and historically significant" theatre and focus for performing arts in New Zealand. ("The St. James Theatre ")

Blunt, A. (1978). Baroque & Rococo architecture & decoration. London: Elek.

Cochran, C. (1993). St James Theatre, Courtenay Place, Wellington : cultural heritage assessment / report prepared by Chris Cochran in association with Ross Thorne for the New Zealand Historic Places Trust/Pouhere Taonga. Wellington, N.Z.: New Zealand Historic Places Trust/Pouhere Taonga.

Lee, A. Y. J. (2007). Theatre of three horizons : re-design of ballet building, St James Theatre, Wellington. Wellington, N.Z.

McGill, D. (1998). Full circle : the history of the St James Theatre. Wellington, NZ: Phantom House.

Norberg-Schulz, C. (1972). Baroque Architecture. Ney York: H. N. Abrams.

. The St. James Theatre Retrieved March 4, 2008, from http://www.stjames.co.nz/

Curatorial

“Simplicity is the ultimate form of sophistication.” – Leonardo Da Vinci

In this piece by Liam Gilbertson, the designer takes the rigidity and strength of the straight form and the sinuous and sensual curvilinear form and effectively juxtaposes them in a visually literal fashion.

The straight form, displayed here in a Constructivist nature can be identified by the interplay of straight and diagonal elements (Zurakhinsky, May 2012) interestingly holds its roots in mathematical modeling for geometries found in nature, and the stainless steel material used suggests the notion of sterility in relation to its interaction with its fluid counterpart.

The curvilinear form, with its soft, undulating folds is a distinct descendant of the Rococo movement, with its "emblematic S-curve" and "whiplash curl" (Coffin, 2008) it achieves a natural fluidity not unlike the nautical ornaments by Meissonier. The origins of this piece stem from a driftwood sculpture in London and uses a layered, subtractive method to achieve an organically infused structure displaying a depth within fluidity, opening the eye the another perspective of fluid form. When put under a light source, this particular method and the vellum paper used in its construction give rise to a layered light and shadow composition furthering the image and understanding of fluidity within the form.

Ultimately the aesthetic achieved in this piece is a mirror imaging of the elements of linear and curvilinear form synthesized from individual origins and composed in an juxtaposing interaction whereby reducing both forms to their basic elements in structure.

Coffin, S. D. (2008). Rococo : the continuing curve, 1730-2008 (1st ed ed.). New York, NY: Cooper-Hewitt, National Design Museum.

Zurakhinsky, M. (May 2012). Constructivism, from http://www.theartstory.org/movement-constructivism.htm#

Oberfell, W. (May 2012). Wertell Oberfell, from http://www.platform-net.com/

 

Turner, B. (July 2009). Driftwood pavillion by AA Unit 2 opens, from http://www.dezeen.com/2009/07/03/driftwood-pavilion-by-aa-unit-2-opens/

http://quotesondesign.com/ (May 2012).

Antiques Hunter

This silver serving dish is an English rococo style piece made by Folgate Silver Company in the late 1900s designed for use in an estate.

It features elegant rococo style motifs, though unlike many rococo pieces it has been designed for functional use on formal occasions such as dinner parties.

The use of organic and nautical themes  such as the shell and leaf design on the corners and top of the tray, the rope design along the rim of the tray, and the use of silver and it's hand-making identify this piece as belonging to the rococo movement  (Brittanica, 27/4/2012). Yet the lack of asymmetry, a motif inherent in most traditional rococo pieces, points to the designers intention of more than simply ornamental use. 

In addition to the tray's style, the added functionality of the design presents another anomaly in relation to rococo motifs; the handle of the tray's lid is removable to allow both sides of the tray to be used as a dish (TradeMe, 2012). This would indicate that this tray was designed for aristocracies who wanted the charm of rococo design and the connotation of wealth characteristically attached but with the functionality required of entertaining guests in one's own home as opposed to having the item serve as an ornament of personal luxury. (Coffin, 2008)

Whilst this tray has many attributes fundamentally rooted in the rococo design movement, it is hard to justify nominating it as a purely rococo piece. However, considering the intent of the tray, the quality of craft and execution of the rococo style, and the period in which it was made makes this as much a valuable collectible as any rococo piece.

Brittanica, E. (27/4/2012). Rococo Style, from http://www.britannica.com/EBchecked/topic/506448/Rococo-style

Coffin, S. D. (2008). Rococo : the continuing curve, 1730-2008 (1st ed ed.). New York, NY: Cooper-Hewitt, National Design Museum.

TradeMe. (2012). Antique Rococo Silver Plate serving Disk C1890, from http://www.trademe.co.nz/Browse/Listing.aspx?id=468837151

Research Statement and Annotated Biblioghraphy

The following are resources for my research into the fundaments and principals of neo-classical design.

Book:  Neo-classicism A&I (Art and Ideas)

This book is a broad study of Neoclassicism covering every aspect and manifestation of the Neoclassical style ranging between the artisan to the utilitarian, from the style's first appearance to the style's decline and appearances in modern society. This publication will assist in my definition and understanding of Neoclassicism as a whole. [1]

Journal Article: Neo-Classical Aesthetics of Art and Science: Herman Helmholtzand the Frog-Drawing Machine

This article covers specifically the mathematical and scientific interpretation of Neoclassical Design, and speculates on the method for which the style can be manipulated and recreated in modern society. This will become useful for my research on the contemporary understanding and application of the style. [2]

Edited Book: Neoclassical and 19th Century Architecture

A publication that examines the cultural trends of the neoclassical period, and the architectural as a result, this book will assist my research by helping my understanding of the society that influenced and developed neoclassicism as an architectural and artistic style. [3]

Website: http://www.metmuseum.org

This website provides a timeline of artistic and design movements including Neoclassicism. This website will help my research by placing the style into a chronological context with many references to images and articles that will also assist in understanding the fundaments of Neoclassicism. [4]

Image: Baltimore Basilica

This image provides an insight into the architecture and design of the first basilica in the United States to be built in this style, and is an inspiration for my research into the style as a whole. [5]

Bibliography

1:  Irwin, J. (1997). Neo-classicism A&I (Art and Ideas), Pg 1-447, Los Angeles, USA: Phaidon Press

2:  Wise, M.N. (2007), The Hans Rausing Lecture, Neo-Classical Aesthetics of Art and Science: Herman Hlmholtzand the Frog-Drawing Machine (No. 10),1-52.

 3: Middleton, R. (Ed.) (1980), Neeoclassical and 19th Century Architecture, New York: Abrams

4:  Heilbrunn Timeline of Art History, Neoclassicism, Retrieved from http://www.metmuseum.org/toah/hd/neoc_1/hd_neoc_1.htm

5: Greim, J. (2011), Baltimore Basilica, Retrieved from http://www.artwanted.com/imageview.cfm?ID=1092361

Design Persona

I am a design student with a visual-spatial mind and I pride myself on composing logical decisions. My name is Liam, and I was born and raised on a farm near Lower Hutt, where I developed a practical capability rebuilding tractors and constructing sleepouts, and challenged my affinity for crafting and enhancing structures of my own design.

My decision to study design stems from my passion for creation; I find myself truly in my element animating my ideas into physical form, whether it's building a go-kart or folding a new kind of paper plane, I find immense satisfaction in bringing a concept into fruition. I aspired to develop new and innovative methods of transport based on alternative energy sources; one of my inspirations here is Henry Ford. I admire him for his ability to not only develop an idea, but a new way of thinking that led to the foundation of the mass production industry as we know it today.

I originally pursued a degree in Mechanical Engineering in the hope that I would gain a toolbox of skills that I could use to develop and convey my ideas in a logical and definite fashion. I found however that this degree focused mainly on the science and constraints surrounding a physical structure and very little on an object's design. 

This is when I discovered the Bachelor of Design Innovation. To me, the skills to be gained  in this degree represented pure creation; it would help me develop my ability to visualise and compose an idea  in a variety of mediums, to adapt and extend these ideas with reference to design principals from both recorded history and emerging technologies, and solve colloquial problems in my own unique way.

Help with "Design Persona" statement

So we've been asked to write a "Design Persona" statement. And if you're like me, you're having trouble trying to sum yourself up in 300 words. Well it may please you to know that we're not alone in this.

The Walker Art Centre is a famous contemporary art museum and institution in Minneapolis that also has a number of blogs. One of these was a guest blog (a blogger by the name of KDD) where one of the institution's design candidates was asked to write an artists statement - and had trouble with capturing the true essence of himself as an artist.

"I decided to reach out to practicing designers whose work I admired by posing the following question:
Is there such a thing as a “designer statement,” and if so, how would you go about creating one?" - KDD

The responses to he received to this question come from artists in all fields in the arts - Graphic Designers, Performing Artists, Painters, and more, and cover many different perspectives on what it means to be an artist. I think you'll find their opinions most interesting

If you want to check out the blog there are multiple parts. You can view the first part here

Good luck for Monday!

It's a daunting place, the Interwebz

Well, I've finally done it. My first ever blog post.

 

It took me a lot of courage - I sat here staring at my computer wondering if I would ever get up the gusto to actually do it. Sure, I know it's not that hard. But it felt like I was an author at the start of a novel; How do you start? What should it be about? What do I even say?

Your first time is never going to be that great. You'll never say exactly the right thing, maybe end up offending a whole bunch of people, it'll end all too soon and you'd wish you could go back in time and change everything but you can't. You just have to throw yourself in there, and before you know it you'll move on to better things.

So there you have it! I'm really looking forward to this, I can see blogging becoming quite addictive. But if I start to ramble about how I get frustrated when I see those stains that bottles leave on your table when you don't use a coaster or anything like that, just stop me okay? I don't want to become a reclusive twittering twat confined to month-old forums dribbling on my keyboard :)

Does... Does all that remind you of anything?

Nah.