Monday, January 24, 2011

Joy of work...... ??? what do you think about it....

hi all...
we meet  again...=)

What are u doing right now? You enjoy what you are doing ...? I believe most of you enjoy the work you are doing now.....aren't you? =)
if you enjoy the work that you means that you are now in the process of "Joy of Work"..wallaaaalla....
if you don't, sure you will never feel it...

For me the concept of "Joy of Work"  is freedom in some artist towards the process of art work. If we look deeper the meaning of joy of work, joy means a feeling of great pleasure and happiness and work means activity involving mental or physical effort done in order to achieve a result.

So, for someone who want to produce his art work / design, for sure he has to come accross the process of art work.  And from there, he will enjoy, happy, feel great, glad, passion, excitement in doing what they like. It is all about soul of working process.

For example, a designer in the industrial design process, if they get the job or doing some designing task they should have the soul in doing their work.  If they don't have a soul in doing their task most of the project will be unsuccessful. 
So the designer should have a soul in doing his/her work so that they can get a good result and at the same time feel enjoyable. That's my point of view.

From there on, the concept of 'joy of work' in producing the art work / design was born.

As for me, if someone never come accross the process in producing the art work / design, for sure that particular person never gain an experience and would never feel what is 'joy of work'.  The concept of 'Joy of work' is very important to everybody especially in creating the modern of thinking.

As the result, there freedom in implementing the art work and will create the new directions such as from the great artist :

Hector Guimard

Guimard, Hector (artist) Cabinet from Castel Béranger
20th century, 1899
Furniture, Pear, ash, bronze, mirrored glass
Height: 117"; Width: 93 1/2"; Depth: 19 1/2"
Virginia Museum of Fine Arts
Virginia Museum of Fine Arts Purchase, The Sydney and Frances Lewis Art Nouveau Fund, 72.12
© 2006 Virginia Museum of Fine Arts

Antonio Gaudi
Calvet Chair
by Antonio Gaudi

 “If any film could be described as an architectural symphony, it is Hiroshi Teshigahara’s 1984 movie ANTONIO GAUDI. Much of the imagery in GAUDI is nothing less than astounding in its beauty and boldness, and the blending of a neo-Gothic mysticism and grandeur with an Art Nouveau line and a surreal apprehension of the power of nature. The erotic connotations of much of the work are so blunt as to be almost shocking.”– Stephen Holden, The New York Times

Art Nouveau
Revival: 1900 - 1933 - 1966 - 1974

Philippe Thiébaut + Marie Dussaussoy, November 23, 2009
Forgotten, discredited even, for many decades, Art Nouveau was rehabilitated in the 1960s in a way that affected the history of art and the art market as much as contemporary creative work (design and graphics). There were many reasons for this revival: tributes paid by the Surrealists in the 1930s, the Organic Design in Home Furnishings competition organised by the MoMA in 1940, major exhibitions put on in New York (Art Nouveau. Art and Design at the Turn of the Century, MoMA, 1959), and in Paris (Les sources du XXe siècle, Musée National d'Art Moderne, 1960).
However, it is not a question of determining the reasons for this renaissance, but of comparing Art Nouveau creations with creative output from 1950 to 1970, in order to highlight the influences expressed in very varied and sometimes unexpected areas, such as furnishings, fashion, advertising, films and even the psychedelic aesthetic.
 Carlo Mollino_bureau, 1950_Paris, centre Pompidou_Musée national d'art moderne-Centre de création industrielle-Philippe Migeat.

Organic design

The masters of Art Nouveau continued to favour a close study of living organisms. Some of these masters produced representations of flora and fauna, stylised to varying degrees. Others went down the route towards abstraction: Carlo Bugatti's "Snail" chair prefigures Günter Beltzig's "Floris" chair and even the famous Panton Chair, created in 1959 by the Danish designer Verner Panton which has since become a great classic of contemporary interior design. As for Carlo Mollino's creative works in the 1950s, they recall the frames of Gaudí's furniture.
Hector Guimard, "Fauteuil", 1903_RMN (Musée d'Orsay)-Patrice Schmidt

Later on, the term 'organic' tended to indicate any object whose characteristics were adapted to the demands of the body and mind of modern man. Organic design stood in opposition to the excesses of an icy functionalism that favoured static, rectilinear structures. The new materials – plastic, fibreglass, polyurethane foam, polyamide jersey - promoted a simplified idiom, based on fluidity and rhythmic freedom. The shapes of Verner Panton (Phantasy Landscape), and Olivier Mourgue (Cellule Cafétéria) invite the user to curl up and let the imagination run free.

Alvar Aalto_Vase Savoy, 1933_Helsinki, Design Museo-Rauno Träskelin_Adagp, Paris 2009


In 1966, the first psychedelic posters were seen in San Francisco, having first appeared in connection with the rock and pop concerts organised by Bill Graham. The psychedelic graphic designers (Hapshash and the Coloured Coat group, Wes Wilson, Victor Moscoso, etc), with dazzling bravura, introduced everything that Art Nouveau had invented into the domain of signs and images, and appropriated certain themes like hair, the peacock, the androgynous figure or, in contrast, highly sexual figures.
Claude Lalanne_Miroir aux branchages, appart. de Yves Saint laurent, 1974-1985, Londres_Christie's Images Limited 2009_Adagp, Paris 2009

Posters and album covers were a popular medium for this expression. The creative works, whose aesthetic attributes were enhanced through LSD, appealed more to the senses than to reason. They were based on the interplay of curves and counter curves, wild and soft arabesques, and distending the line and liberating colour. Lettering ceased to be independent, following the rhythm of the composition to become part of the fluidity of the image, suggesting the sound waves from rock and pop concerts.
 Antoni Gaudi_Miroir pour La Casa Mila, 1906-1910_RMN (Musée d'Orsay)-René-Gabriel Ojéda

 It's all the rage!

Among the exhibitions that contributed to the revival of Art Nouveau in the 1960s, it was the one dedicated to the illustrator Aubrey Beardsley at the Victoria & Albert Museum in London in 1966 that was the most successful, particularly with young people. Some people even saw in it the beginnings of underground culture. Reproductions in various media of the most famous works of this artist flooded onto the market, whilst the psychedelic idiom continued to spread. When this came together with the newly fashionable Art Nouveau, it had a great effect on the advertising graphics of the time; contemporary magazines provide us with an extensive overview of this.
Günter Beltzig, chaise Floris, 1967_Vitra Design Museum_Günter Beltzig Playdesign


In the 1960s, just as in the Art Nouveau period, visual artists joined in developing an alternative and somewhat anti-establishment lifestyle. This became evident in the bold, emblematic works of Allen Jones using female figures in the form of pieces of furniture.
Allen JonesTable Sculpture, 1968_Gallery Mourmans, Maastricht_Erik & Petra Hesmerg
Couverture de la revue Movie, Paula Prentiss dans "What's New Pussycat_14, automne 1965_D.R.

In France, the actions of leading figures like François Mathey, Michel Ragon and Jacques Lacloche encouraged artists to develop their concept of an everyday object that did not depend on design issues but concentrated on the decorative element. At the time, this trend was regarded by art critics as a Baroque revival. In 1966, François-Xavier Lalanne and his wife Claude had made a sensational entrance on to the art scene by reviving the vast Art Nouveau project to seize nature, capture it in all its diversity and return it in all its splendour, but also with a touch of humour, to the everyday setting of 'modern' man.
Albert Angus Turbayne, affiche pour "Peacock", Edition. Macmillan's illustrated standard novels, 1903_Kunstsammlungen Chemnitz - May Voigt
 Bonnie MacLeanAffiche pour le concert The Yardbirds, 1967_Sérigraphie_Galerie Janos_D.R

so as we see n read above we know how it style be more freedom in this area.
Design TODAY

"...There is dynamism, a high degree of abstraction and a reconciliation between architecture, technology and nature in Kerrie Luft’s footwear. Inspired by Art Nouveau, Luft’s shoes display a peculiar fascination with movement and at times recall in their elaborate yet delicate heels the work of French architect Hector Guimard or the furniture of interior designer and decorator Eugène Gaillard..."

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