Locovisual

Hunter Building

The building that I have decided upon is the Hunter Building, named after Sir Thomas Hunter in 1959, that is situated in Kelburn Campus at Victoria University of Wellington. I chose this magnificence structure due to its distinctive Gothic Revival Characteristics that adds both a history and aesthetics to the University.

There is a lot of history within this structures’ configuration that shows just what an important landmark it become to be. Beginning with the foundation being laid for this building in 1904 and subsequently the finished building was opened in 1906. Through the years that had come and gone many extensions, re-strengthening and refurbishments were made/added to the structure to what we see today. However the true essence of this building is still alive today.

This landmark’s distinctive characteristics consists that of decorative windows creating important focal points for the building which are surrounded by ornamental features which is referenced back to the point of “the merging of the decorative with the functional” (Megan Aldrich (1994)) that was widely popular with Gothic Revivalists in the nineteenth century.

Inspired from the Gothic Revival era the Hunter Building displays contrasting signs of an “organic nature of the style with the formal symmetry of classically inspired architecture”. (Megan Aldrich (1994)) This includes the emphasis on the rectilinear forms of the building of both the ascending columns on the corners and the edging at the top story and the nature induced limestone framing of around most the windows.

 

Bibliography

Webpage:

Absolutely Positively Wellington. (unknown). Heritage. Retrieved from http://www.wellington.govt.nz/services/heritage/details.php?id=94&m=building&p=4

Book:

Aldrich, M. (1994). Gothic Revival. London: Phaidon Press Limited

Curatorial

Design Critique:

My first precedent image is of straight angular lines and my second of curvilinear lines. There is symmetry present within my first precedent and asymmetry in my second thus creating juxtaposition between the two. I showed this in the model by using symmetry through the middle (length-wise) and asymmetry when viewed from the side. This gives the model an organized and uniformed look that relates back to Neo-Classical design, whilst showing a carefree perspective through asymmetry from the French Rococo period. Three-dimensional perspectives are included in my precedents through using overlapping layers. I interpreted this into the model by bunching up three curves, making it hard to see through at the bottom, but showing the transparency of the material at the top where the curves are most prominent. Making the sharp and blunt curves from my precedent a dominant feature to fully express the fluidity of the design and how your eyes follow through the design instantly without effort. Although curves are the dominant part of the model, it would lose effectiveness without the contrasting straight lines that connect my model in unity and balance. A quote spoken by William McCall, “Straight is the line of duty, curved is the line of beauty; Follow the straight line, thou shalt see the curved line ever follow thee”. He speaks of how curved lines create the beauty and essence of an object, but can only be expressed through having a straight line present to unify a design or object, which I have done so with the model.

DSDN 111 Model

Antiques Hunter

Oak Rectangular Arts & Crafts Movement Era Mirror

The arts and Crafts Design Movement was in the 19^th century during the industrial revolution in Britain and started by two men, John Ruskin and William Morris. They took it upon themselves to “promote a return to hand-craftsmanship and to assert the creative independence of individual craftspeople” (Design Museum. (Unknown)) to juxtapose against the industrial society that had taken Britain by storm.

This mirror or really only the frame itself, as the mirror had been replaced many years ago, is a good example of this hand-craftsmanship from the 19^th century. In the image you can see the delicacy in the framework portraying the precept of ‘Joy in Labour’. The frame also shows the precept of ‘Fidelity to place’ with the use of local materials, ie; oak. The idea of making a functional item/object turn into something aesthetically pleasing, yet still keeping its natural/cultural origins (eg: the intricate working of the oak frame) was something that Ruskin and Morris strived with in their work. This is justified with “…the Arts and Crafts movement dedicated themselves to producing functional objects with high aesthetic value for a wide public. The style the advocated was based on natural, rather than artificial…” (Kleiner, F. S. (2009)). The oak frame stands true to the precept of ‘Truth to Material’, as it is shown that the mirrors’ creator understood their material and had incorporated that understanding into their piece.

The research I have done into the Arts and Crafts movement and its historic structure, style and cultural context relates back to my chosen item, as it includes most of the precepts of the Arts and Crafts movement during the industrial revolution in the 19^th century.

Whole Mirror

Side Detail

Corner Detail

References:

Design Museum. (Unknown). Art and Craft Movement. Retrieved from http://designmuseum.org/design/art-and-craft-movement

Kleiner, F. S. (2009). Gardner’s Art Through the Ages: The Western Perspective, Volume 2 (13^th ed.). Boston, USA: Wadsworth

Research Statement and Annotated Bibliography

I had decided to do my research on the Baroque style due to its extravagant art/design, architecture and lavish history.
In the book 'The Architecture of the Eighteenth century' has a chapter on 'The Ascendancy and Fall of the Baroque' how there is evidence and reminders of Baroque style and its creators all around, especially in Rome.
Whereas in the edited book '500 Years of Italian Furniture Magnificence and Design' Enrico Colle talks about the elaborate furnishings and designs during the Baroque time period.
In the online journal 'The Genius of Rome: Putting things together' presented a unique view on the Baroque art/design and how arguably it became some what of a historical culture.
Under 'Baroque architecture' in the website 'Britannica' talks about how Baroque architecture created a sensual sense to visual communications through creating detailed compositions that becomes aesthetically complex.

This image that I have chosen shows the true extravagant nature of Baroque style with its many little decorative details all crowded into the space provided creating a almost whimsical effect.

Bibliography:

Summerson, J. (1986). The Architecture of the Eighteenth Century. London, England: Thames and Hudson Ltd

Colle, E. (2009). Baroque Manificence. In L. Settembrini & E. Colle & M. De Giorgi (Eds.), 500 Years of Furniture Magnificence and Design (pp. 86-113). Milan, Italy: Skira editore S.p.A.

Bal, M.(2002). The Genius of Rome: Putting things together. Journal of Visual Culture, 1(1), 25-45. Retrieved from http://www.vcu.sagepub.com.helicon.vuw.ac.nz/content/1/1/25

Baroque architecture. (2012). In Ecyclopedia Britannica. Retrieved from http://www.britannica.com/EBchecked/topic/1352473/Baroque-architecture

Baroque Art. (Publication Date Unknown). http://booksofart.com/western-art/baroque-art/

Design Persona

Me and the World

Hello my name is Clara Minette de Haan. I am originally from South Africa, but have been living in New Zealand for the past eight years. I am also quite multi-cultural as I have ancestry roots going back to Europe: Germany on my mothers’ side and the Netherlands on my dads’ side. This made me gain interest into all different cultures, especially European cultures. One day I would love to travel the world and experience all these different cultures for myself rather than being told about them or reading about them.

I was very young when I first got into design/art. It had all started when I went to this craft group every week with a few of my friends many years back. It was a way for me to express myself to others, as I have never been very good with words. Back then it was always just a hobby to me because I never thought that it was something that I could do professionally. Ever since I knew this was actually possible I have wanted to go study design and make a career out of it. It is a serious passion of mine.

Although I know that I want to study design I am not sure what career field I would most like to go into so I am taking all the core courses to find something that truly speaks to me.

I don’t know of many designers that I found interesting or had really inspired my work throughout my years at school. Though one artist who did catch my attention was Cate Parr, I think that the work she has done is amazing. So this year I intend on finding many more artists/designers that are inspiring to me.