Modernism vs. Postmodernism

(I've since realized there are many facets, styles and interpretations of modern architecture, but for simplicity sake, I'll keep it as is)

Thanks to Christina Cogdell,  here's a rundown on both.

In terms of philosophy:

Modernism retains a hierarchical theory in its approach.  It's that of the purist and mainstream mindset that rejects or marginalizes other groups/cultures.  Generally this group is white/elitist and celebrates the cerebral individuality- rational and functional. There's also a kind of universal truth behind modernism- modernists espouse the belief that their way is best/pure.  It values newness and uniqueness and caters to an audience that is supposedly elite, sophisticated and serious.

This is Phillip Johnson's Glass House, a typical modernist example- pure, minimal, exposed, simplified.

The Lovell House by Richard Neutra, (Pacific Palisades) was one of the first examples of the International Style- note the horizontal orientation, rooftop garden, free facade, and pillar support foundation.

In terms of style: Modern architecture, and especially the International Style,  emphasizes volume rather than mass, utilizes skeletal structures rather than heavy massed supports that form the exterior facade, promotes technology in its design- often at the expense of the client or social context.  It rejects any ornamentation, partly in the attempt to create a "purist" structure and at times to exclude anything extraneous that is not cost effective.  Modernism is a universal approach to architecture and the problem is that cultures function so differently from one to another that it often neglects the needs of its inhabitants- like it's a one-size-fits-all kind of structure. That said, there are many different styles of modern architecture that reflect different sociopolitical ideals, cultures, and theories, though the essence of modernism is aimed at improving social conditions while using new building technologies and materials.
So between the shift from modernism to postmodernism came the thought of "less is more" to "less is a bore" type of thing.

Postmodernism, in theory, seeks to break apart and deconstruct the purist and ideal mindset.  Its style is really a hybrid pastiche approach that doesn't really reference any particular point in history. Its form doesn't bear a resemblence to its function.  It's a melting pot of different styles that attempts to poke fun at the seriousness of modernism, create humor in its design and emphasize diversity. It acts as if it's opposed to hierarchy (although this too was practiced almost solely by white men).  It also blurs the distinction from what was previously considered separate, celebrates complexity and contradiction, and addresses the social context in its design.

The Best building is probably the best representation of postmodern architecture I could find. It's literally a deconstructed box.

Team Disney Building, in Burbank is a good example of how it postmodernism pokes fun of different styles.  It mocks the seriousness of the neo-classical style using the dwafts as the column and pediment.

Here's an example of postmodern design that mocks the Gothic Revival style.  It's also modern in the sense that it's paired down to one piece- simplified in its structure.

Probably my favorite example of PM design. It completely mocks modernist ideals of "less is more"

and deconstructs down to nothingness...

Part of the emergence of postmodernism reflected what was happening with different social movements in the 60's, i.e. women's liberation, civil rights, drop-out culture of hippies and communes, anti-war movement, etc.  Postmodernism is a bit of a sham in a way since it didn't actually do what it set out to do and is hypocritical in that the architects behind it were the same "type" of people postmodernists criticized to begin with- rich, white and elitist.  It eventually failed mid '90's as it was not taken seriously, or all that functional or cost effective, or environmentally conscious.

OBjectiFieD

Gary Husweit's film Objectified, is a fresh look into the design industry, the people behind the products and the process from  conception to completion.  The documentary revisits the quintessential insight of every object we own, everything we see, touch buy and sell, was at one point created by a designer.  It's a true and often overlooked fact that most of the tangibles we come across in our daily lives were once someone's dream. Objectified shows how the process is often a tedious one, and considering how competition can innundate the market, the nuanced details mustn't be overlooked.

The film touches on the different components that make a design successful or fail to do just that.  Good design is "honest" design.  It makes a product understandable.  It is consistent in its features.  It is environmentally friendly. It exhibits as little design as possible.  People often blame themselves when they cannot understand the workings of a product.  This is often times the fault of the design itself.  Design should be visibly "legible" to the user. Any user.

In the movie, Apple computers is coined one of the only businesses to take design seriously.  And really, I can affirm from experience the design is, in fact, brilliant.  Not only has Apple minimized its parts to the bare necessities with the MacBooks, they've created an interface so completely intuitive it doesn't require much to navigate.  One designer featured discusses how a good design really goes unnoticed, directing the sole attention to the function of the object itself. For example, I rarely notice the physicality of my MacBook.  I become oblivious to it and engrossed in what I happen to be using it for.  Plus, it has an amazing light-up keyboard that enables me to even work in the dark!  In good design, form bears no relation to function.  A cell phone is not meant to look like any type of telephone prototype.  It's a small rectangular device whose shape makes no indication to what it actually does.  Another interesting insight made was that of product evolution.  Take the camera, for example.  The shape of the camera has evolved in this continual rectilinear shape.  Its shape originally coincided with the "form follows function" discipline, however, the previous form was designed form film.  Nowadays, digital cameras saturate the market, meaning no use for film.  Yet, the same same prototype is still being reproduced.  It begs the question of whether or not design has really come all that far if manufacturers and designers are still creating products that don't bear a need for the original shape.

The film also revisits the current dilemma about products and their degree of sustainability.  One designer posits that any object whose shelf life is under 11 months must be completely disposable.  Ironically, most products are made for the 10% of the population that don't need more products, while 90% of the population do not have basic products and services to sustain the essentials of life.

It's obvious from the film just how much time, consideration, collaborating and prototyping goes on in the design process.  Objectified shows are designers, generally speaking, are thoughtful in their approach and have a genuine intention to make life better, more efficient, more convenient, more functional.  That really is the purpose behind design anyway, right?

Design and Evolution: Streamlining and Eugenics

When taking the design of Streamlining into account, there are a few obvious facets: the long horizontal lines, asymetrical shapes, smooth curves and suggestive motion in the overall form.  It's really quite a beautiful style of architecture, along with its contemporary cousin, Art Deco.  Some experts theorize streamlining mimics the sociopolitical ideals of eugenics with its aerodynamic form.  Both streamlining and eugenics coincided at a time of political and social upheaval, with an emphasis in creating a more stable future through social and economic sectors.  It arose at a time when there was a strong push to "cleanse" our society of social misfits and outcasts in attempt to create a more aryan and less diverse nation.

The basic notion of streamlining involves pairing down anything superflous to the bare necessities.  It literally strips away any ornamentation and extraneous materials to that which is simplified, purely functional and efficient.  The idea shape is that of a tear drop,  when this shape is immersed in moving water, it is the most effective in avoiding any drag within movement.  According to Christina Cogdell, UCD lecturer and author of Eugenic Design: Streamlining American in the 1930's,  goals of streamlining include: "controlled evolution of product design, increase efficiency and speed, hygiene and sterilization, along with creating the idea type to hasten the arrival of utopia."  Streamlining parallels the goals of eugenics in the to attempt to control the evolution of human race, creating the ideal human fit for society.  It also attempted to create a sort of "race hygiene" through sterilization.  Both attempt to control their environment and create a type- a physical manifestation of purity.

This is not the first occasion in history that design has followed evolution theories.  Louis Sullivan, a Chicago based architect in the early 1900's  based many of his designs off of the modernist discipline of 'form follows function.'  His practice actually generated from Lamarck's theory of evolution in that the physical manifestation will be structured according to its function and purpose.  Sullivan's work clearly displays this through ornamentation, structure and form.

I think Cogdell's research is a bit of a stretch considering there are no direct links of designers specifically referencing eugenics.  However, she does make  a compelling argument, nonetheless,  and offers solid links between Norman Bel Geddes (an industrial designer and streamlining pioneer) and his own "hobbies" of housing an aquarium of approximately 2,000 species for observation and "breeding purposes." (Cogdell, Eugenic Design, 1).

Whether you agree with the arguments between design and evolution, they remain interesting nonetheless, and pose the relevant question: To what degree is design directly reflecting social or political movements at large (historically or currently speaking)?

Nathan Shedroff and Experience Design

Nathan Shedroff,  pioneer of 'Experience Design', author and industrial designer, spoke as part of our Design Series lectures last week, discussing sustainability in business practices, along with the social consequences of design and its ecological impact. Shedroff poses two important questions for designers such as "What does a sustainable world look like?" and "What does a post-consumer world look like?"  While he admits we don't currently have any concrete answers to these questions, he did indicate several cultures with a greater sustainable index, such as cities in Cuba, India and Brazil.  While these countries certainly have their own share of crises, they are the least rated in consumption and most sustainable on the planet.   He also makes poignant insights about the current systems of sustainability which are often regarded for ecological impact, but often neglect to address the overall social and fiscal sectors.  Some frameworks are incomplete in their analysis, and others are simply not applicable or cost effective in the process.

 In his new book, Design is the Problem; The Future of Design Must be Sustainable, Shedroff emphasizes systems thinking and posits that most system frameworks are poor indicators of success.  One of the most relied upon models, the Gross National Product, for example, gauges economic progress through consumption and production but neglects to examine our social welfare, crime, resource depletion, health care. The GNP literally thrives off of disasters (natural, divorce, etc.) and while it may measure fiscal output, it's a horrible indicator of whether or not our nation is actually thriving, which clearly is not the case. On the other hand, the Genuine Progress Indicator (GPI) is a much more reliable system in measuring progress through household and community contributions, environmental damage, higher education, crime, dependence of foreign assets, income distribution and defense expeditures.

According to Shedroff, businesses are becoming more conscious in their practices, often after realizing the effect their actions will have once passed down to future generations of their own kin.  It's an important realization, that we're not the only ones who will suffer the consequences of our actions as a society, and that most of the effect of today's choices will take years, if not decades, to emerge.

Shedroff also had some great insights about our culture and consumption over the last 50 years.  Throughout the 40's and 50's, conservation was actually valued among Americans.  Saving, conserving resources and innovative uses of existing materials created a sense of pride.  Nowadays, our capitalistic society promotes consumption in an astronomical fashion.  We've adopted the mindset of careless abundance, and have created a sort of partnership with manufacturers, continually aquiring more unnecessary objects, products and services.  The information age has been somewhat of a blessing in this area;  Tech manufacturers are now producing products that serve multiple functions.  Think about what the typical cellphone has replaced: a watch, cd/tape player, alarm clock, answering machine, computer, calculator, daily planner, address book and camera. That's actually quite amazing if you think about it.  Since most of the impact occurs during the manufacturing process, this is an incredible reduction on transportation impact and natural resources.  In turn the final product also reduces waste to approximately 12 square inches.  Sweet.



One professor during the lecture asked what 3 things can we, as designers, do to help alleviate our current situation and create a more sustainable future.  Shedroff's answer was vague and didn't give any specific examples (other than following the systems framework), which struck me as odd.  I guess it just goes to show (like he mentioned to begin with) that we really don't have the answers just yet.  However, the more aware we become, the more we increase our capacity to respond to the current dilemma. It's really up to us to make a difference. Designers have a tremendous responsibility these days and have no other choice but to use our skills, talents and smarts wisely.

Paper Art

Sustainability and Consumption

The video from Postopolis features 3 players in the industry all of whom share great insights into sustainable design for this day and age. Graham Hill of Treehugger, Susan Szenasy of Metropolis, and Allan Chochinov of Core77 discuss the complexities about what makes for a more sustainable practice. An example mentioned is the use of wood or steel in housing. One is more natural but with a minimal economic life and requires the demise of forests. The other has a higher embodied energy but requires mass resources to produce. It goes to show there are no simple answers in sustainable development, however, the considerations are endless in deciding what is least harmful and most beneficial over the long haul.

Another important insight mentioned is that of consumption. While the emphasis on sustainable production and design are paramount to reducing our carbon footprint, it serves little purpose without a shift in our own attitude and habits. Our culture consumes as though there is an endless supply of everything: resources, materials and products, food systems. It's imperative that we start closely examining the patterns of everyday life and becoming more aware of what we consume, whether our consumption is necessary, and to what degree we prioritize convenience.

There is an inherent mindlessness in regards to consumption and origin. This attitude shift will also mean cultivating an awareness in how what we consume came to be, whether it be food, appliances, gadgets, resources, etc. For instance, a while back I started paying close attention to packaging: to go containers, bags, disposable containers, etc. I reuse as much as I possibly can (including ziplocks and other tupperware-like disposables), purchase minimally and in higher quantity when possible. It takes baby steps (at least for myself) but the more aware I become about my own consumption patterns, the healthier and more sustainable my choices.

Energy of a Quilt

There is something undeniably magical about the quilt. The process, origin, patterning and the cohesive quality that brings bits and pieces that function as a whole. It brings a new perspective to the phrase "fabric of our daily lives." The Nelson Gallery is featuring an exhibit on quilts, many of which originated in the 19th and 20th century. Two in particular were eye catching with their use of rhythm and patterning. One consisted of a series of narrow rectangles pieced together creating smaller squares within one another, thus producing a circular motion. The eye jumps from color to color in a clockwise motion, guided by the linear shapes of each piece. The colors range from bold and striking, to subdued and neutral. Most of the patterns were small and detailed, giving the quilt a more ornamental feel against a geometric framework.

What is striking about quilts like those of the Nelson Gallery, is the careful precision taken in crafting each piece. I've attempted to quilt myself, and admittedly have come out unsuccessful and incredibly frustrated. It definitely takes a detail-oriented person. It is a patient methodical process, repetitious in itself, with the end result reflecting such repetition in its design.

There was something about this exhibit that reminded me of a recent Andy Warhol exhibit at the De Young Museum. I had never been much of a Warhol fan until understanding his intentions behind his work. His use of repetition was not out of lack of idea or creativity. The result of repeating something over and over and over until it ceased to hold meaning, is what helped give his work meaning. With repetition there exists a sort of emptiness, allowing the piece to mirror more of the viewer and create a meaning all its own. The rhythm of quilts create the same kind of emptiness, while simultaneously evoking the energy of its history and origin.

Costuming on Hallow's Eve

Ahhh Halloween. You gotta love it. The candy, costumes, silliness, spookiness. Plus, it's the perfect means for embracing the shadow, the dark side and all its creepiness. Americans are so serious these days. Halloween is a nice break from all that and a chance to awaken those subconscious parts inside us, letting our hair down, so to speak, and doing it with a collective encouragement from those around us. Death, birth, the grotesque, the sublime, the sexy and novel all come to life during Halloween. Through costume, we're afforded the freedom to explore different archetypes within ourselves and connect with others in a way that defies most social norms and barriers. Our exterior world and our inner selves become the muse of our own theatre. Through costume, we're able to design a new persona and give life that that which is largely unconscious.

It's also interesting what the happenings of Halloween seem to say about our culture as a whole. Americans generally value a sense of individuality and autonomy. We are slightly narcissistic creatures, in case you haven't noticed. Our costumes always seem to reflect this, with an emphasis on being different or innovative in our design approach. This certainly is not the case everywhere. I had a friend, who after spending Halloween in Japan, was stunned (and a little creeped out) to see the streets flooded with hundreds of generic ghost costumes. In a culture that places less value on individuality, the emphasis followed the norm and was clearly reflected in the mass costuming.

This Halloween, the costumes (and personas) appeared to be more outlandish than ever. Of course there will always be the classics, but people are getting more and more creative these days. Having been witness to a plethora of amazing costumes this year, the best, I realized, all had the following in common:

1. A visual display of a greater concept or idea that was obvious from first glance. As cool as a costume may look, if I have to ask "What are you?" The appeal is slightly lessened.
2. Innovation and Attention to detail. Nuff said.
3. Themes. Why have only one cow when you could have a whole herd?
4. Acting the part. The best costuming is done, not simply for visual stimulation, but to actually embody a character and come to life as something other than yourself. It makes room for a new way of connecting with others in ways that break common social barriers. We learn more about each other through costuming and we often have more fun!

I've attached some photos from the next door neighbor's annual Halloween bash. Careful though, as they're not for the faint of heart! And yep, that's me with Bert and Ernie!

The Aptera

Due to the current environmental crisis, sustainable design is more important than ever. And considering the finite supply of current fuel resources, solutions for alternative transportation is paramount to the functioning of our vehicular dependent society.

Meet the Aptera. An independent motor company based out of Carlsbad, Ca and founded by electrical engineer Steven Fambro. The Aptera has been in the works since 2005, and has been scheduled for release 3 months for the past year and a half. It's a futuristic-looking, two-seater, three-wheeled model which resembles the likes of an airplane and spaceship. It also comes in hybrid and electric configurations and gets a whopping 300 mpg. The other good news is its price tag; Aptera's will be priced between the $30,000- $40,000 range, with the base model somewhere around $25,000. Not only is it efficient, sustainable and cool, its manufacturers recognize the need to distribute to a wide market. This is not the vehicle of the elite. This is the vehicle for anyone. www.aptera.com

The Aptera is a great example of solution-oriented design. Clearly, our society is in desperate need of alternative solutions to the transportation dilemma. The Aptera not only provides a solution through efficiency, it also does it through an innovated model. The "shell" of the Aptera is completely original in design, defying the expectations of what a vehicle should appear to be. Since its manufacturer is independent, let's hope their motives are more altruistic than simply meeting the bottom line. Car manufacturers, politics and oil companies are so entangled with one another, the priorities of our environment and generating sustainable products have taken a backseat to profit margins. I commend Aptera for going against the motor-trend grain and developing a product that counters the petroleum-reliant model.

I have high hopes that the brilliant design of the Aptera will spring a new trend among automakers across the globe, reducing our carbon footprint and restructuring a facet of our culture so integral in our ability to thrive.

Figure or Ground?

Social Media: Behind the Eyes of an Artist

Social Media has been the prime topic of my design studies as of late. I've always been plugged in, one way or another, through Facebook, Friendster, MySpace, Twitter, Plaxo and so on. Up until recently, I haven't explored Social Media for art or design purposes. Surprisingly, there's a wealth of creative efforts popping up throughout social media, giving us instant access to contemporary art and artists across the globe. I recently stumbled on Art 21 through a friends' Facebook page. It's a series produced by PBS to capture contemporary artists from the 21st century. It's definitely worth checking out. http://www.pbs.org/art21


It's an amazing glimpse into the world of emerging and established contemporary artists, giving the viewer a indepth look at the design process itself as well as the perspectives of the featured artist. This series, produced by PBS lends itself to developing a greater awareness and appreciation for art. Artistic endeavors often times go unnoticed simply from lacking awareness of the intention behind the process and the more symbolic meanings implied by the artist. The art I've come to love did not transpire simply from a visual appreciation, but by understanding the meaning, efforts and intentions of the artist. The segment on "Systems" is a great look into the artistic process and the different hidden dilemmas and constraints each artist is up against. The segment featuring artist Julie Mehretu is an especially interesting take on the process due to the enormous scale of her work being showcased. The massive form of the piece shown (30X80') dictated much of the process, requiring a special studio with ample space in Berlin and many assistants working fervently with a time constraint of one year. So interesting and insightful! It's only being shown until 11/13/09 so look it up soon.

Here's to Social Media and the Arts!!

Julia Briggs

One of my favorite artists is a woman by the name Julia Briggs. Her work is simply amazing. Two paintings hang in the living room of a good friends' house, always leaving me somewhat envious they're not housed in my own livingroom. While I have tried on numerous occasions to find more information about the artist herself, there is little public information available other than the artist's website. Briggs' work is reflective of a childlike playfulness, with impressionist and cubist influences. Human forms become more linear and geometric in shape, although it seems to capture an energetic quality that gives her pieces a very realistic feel. It reminds me of references made in Scott McClouds book, Understanding Comics. The author contends that depicting charcters through simple and basic visuals help the reader identify with the character better than a descriptive drawing would. I see his point in that giving more details sometimes enables the viewer to focus on just that: the details, rather than the concept or meaning behind it. Briggs work seems to do the same. The subject's material is simple but incredibly interesting, and the incredible use of color and highlighting bring a new dimension to her pieces. Her inspiration seems to be tied to several areas. Nature and culture seem to be an obvious influence in her work. Her subject's are generally staged in everyday occasions which seem to reflect fold memories or the act of being present in everyday life. Children also seem to be an inspiration, possibly from her own childhood and her own children. Even her website has a an entire page devoted to children's paintings. They feature adorable animal creatures, such as owls, fish elephants, etc. in the same playful and enchanting style as her other pieces.
Other inspirations seem to reflect women in general. All of her human subjects are female, usually nude, and covered only by their own limbs or plantlife. The style of her work also reflects a very impressionistic quality and also makes visual cubist references. Again, one of my favorite artists, and judging by the pictures it's no surprise why.

The Face of a Wine

Those of you that know me, know I'm a bit of a wine snoot. Not snob, but snoot. And yes there is a distinct difference. Snob implies a perceived hierarchy and superiority. Snoot, on the other hand, simply says, "I love it. I drink it. Although often times I don't know what I'm doing, it's interesting nonetheless and I have a good time." There you have it.

Being the snoot that I am, I'm always amused by the different facets of wine. Though I've never been much for the "stuff," i.e. cheesy wine paraphernalia, the one wine "accessory" that always has me intrigued and is usually overlooked, is its label. Yep, labels. I love 'em. I don't go so far as to save them, like some, though I thoroughly enjoy them. Even (for lack of a better word) those that suck. I love them for what they symbolize. And I love understanding what labels say about what's inside. Labels are to wine what the curb appeal is to your home. And coming from a professional, what's on the outside generally does a good job reflecting what's on the inside. I don't see too many homes with overgrown, shabby exteriors that happen to have immaculate, turn-key interiors. Once in a blue moon, but generally that's the rule used in valuations. Interiors are judged by exteriors. Like many things in life, unfortunately.

Wine really is no different. And because our ever-changing perception plays such a heavy hand in what we consider good or bad, labels become even more important. Our likes and dislikes are so mercurial based on our perceived senses, it's not even funny. Food, mood, occasion, temperature, environment and the opinion of the person sitting next to you can all drastically affect the way we perceive a wine. How many times have you been out at a tasting room having a great time, decide to buy a bottle of something fabulous, and somehow the same wine tastes a little less fabulous at home? The wine is still the same, but your perception of the occasion altered the way you felt about it. Even wine judges have been busted for giving opposing sentiments for the same wine. Yes, my friend, it does happen.

So because our relationship with wine is such a finicky one, the label acts as a good anchor. It provides a starting point. An icon. It's the image, the skin, the voice of a wine. If the wine is the signified, the label is its signifier.

While the different variables within us can "change" the way it tastes, the label always remains the same. It is the graphic blueprint for what we consume. Sure, in places like St. Helena and Napa, connoisseurs are more concerned with who's making it and could care less about the label. Some, in addition, are knowledgeable enough to choose a style by region, varietal or fermentation method that will suit their liking before even tasting, but those are in the minority. The label speaks to the masses. It can reflect cache, quality, history, style, occasion, allocation, production, reputation and much much more.

That's the other beauty about wine; It is the only industry where the professionals openly (and truthfully) share their secrets to each other. In part due to the fact that although you can have the same grapes, from the same region using the same fermentation methods it will still yield a completely different product. And although the process is definitely one of science, it's also very much an art in its own right.

The other fun part is the wide diversity and types of labels. From etching, foiling, styles that range from digital graphics to original hand drawings replications, the possibilities are endless.
Here are a few of my favorite labels, all wines currently in production and ready to drink (for all you over 21ers out there). What do these labels say to you?

Color Me Impressed

So let's talk about color. Possibly my favorite topic ever. I love color. Any and all colors; I do not discriminate. Even the mustard yellows and puke green uglies. Yep, they have their place as well.

Part of the reason I love color is because it's an emotional experience. And I, admittedly, am an emotional being. Color can satisfy any emotion and create any desired mood. Plus, it's seductive, engaging, stimulating and so much more. Without our ability to perceive color, the world would appear to lack depth and vibrancy.

On a recent job assignment, I found myself completely intoxicated by home's interior design and use of color. Not only was the structure itself phenomenal, but the interior and artistic improvements were quite stunning. The residence at one point of former Governor and Supreme Court Justice Warren Earl, the property itself is considered an unofficial landmark. Built in the 1920's this 4500 square foot medditeranean estate sits in the heart of the fabulous 40's, one of Sacramento's more prestigious neighborhoods.

From the outside the home looks anything but unusual, but step inside and take a glimpse at what appears to be unpresedented for interiors of this style of home. Generally, when two paradoxical designs come together, many times the result is unfavorable or awkward. With this estate, somehow it works. Although having undergone substantive updating, the original bones have remained intact as well as its original charm and character.

Though I know many of you already may hate it, I myself was delighted by the interior, being the color lover I am. It somehome seems to work, mostly inpart due to a theme consistently carried throughout the house. Each room represents a different palatte, and expresses its own design with each color scheme. The color itself becomes the design. And I can personally attest to the fact that each room elicits a completely different feeling based on the different colors used. I commend the designer for taking such risks, as color (wonderful as it may be) is not the easiest thing to pull off when saturating a 20x30 foot room. You may love it or hate it, but it remains a strong design regardless. There is a cohesive quality as the theme of color and post-modern art is carried out throughout, balanced by the conservative nature of the structure itself. Though it seems unintuitive, the classic Mediterranean style helps temper the bold and intense delivery of the interior. A contemporary modern or minimalist structure would be overkill. So yes, another example of how color in design evokes feeling and looks good doing it. I love my job.

Saturday, October 10, 2009

Dining and Design

Ella

Admittedly, I'm a bit of a restaurant junkie. After all the years of serving, it's felt a bit like home. And although I can't say I've missed being a player in the industry, I'm still a sucker for its culinary goodness. The boutique wines, stylized ambiance, creative blending of ingredients that manage to satiate the most high maintenance of palates. Assuming, of course, it's executed in the most ideal fashion (which, sadly, is many times not the case). However, when done right, the culinary experience is a heavenly one.

With a recent resurgence of upscale dining and bistro cafes in the Midtown area, guests have become accustomed to the utmost standards of dining perfection, on all fronts. Partaking of the restaurant scene these days almost requires a hunger for indulgence, no pun intended. So long are the days of simply gravitating towards the next good eats; We want to be spoiled. Satisfied...And stimulated as well. Wow, we are a demanding bunch, aren't we?!

What does all this have to do with design? I'm glad you asked! The answer is...Everything! If we consider one facet of design to be the creation of a structured function, it makes sense that design can be applicable to any aspect of culture that exists to generate a purpose. For the sake of this blog, we'll set the scope within visual culture, as design is quite the amorphous elusive entity, isn't it?

L Wine Lounge and Urban Kitchen

Anyway, back to design and dining. Every notable restauranteur has some concept in mind, whether it be a general theme, ambiance or the even the menu itself. Each facet within the restaurant works together to create something specifically intended for its audience. It is, in essence, a design of designs. But not just any design...Restaurants these days go over the top to create an experience for their guests. It is no longer just about the meal, it is the experience that counts. We diners don't just want our tummies filled, we want to feel good too. In this arena, feeling good means not only physical satisfaction, but environment and spatial surroundings, music and other noise factors, service, temperature, the list goes on....And often times, looks count.


Being a spatially sensitive creature, I often go for spots that do generate a feel-good sensation. It doesn't have to look pretty, but there is something to be said for aesthetics in the sense it evokes an emotive quality. Call me crazy, but there really is something to feng shui. Color, in and of itself, is an emotional experience; Is it dark and dramatic, or light and airy? Its use can sometimes make or break a place (or at least compel or prevent a return visit). Spatial layout is another factor. Is it organized, functional and thoughtfully planned, or is it cramped, bare or awkward? What about separation of functions? Is the kitchen visible from the dining room? Such a thing, which historically considered to be a restaurant fauxpas, is now a trend among some spots (like The Kitchen) that attempt to draw the diner into the experience as a witness to the culinary process. It is, after all, an art form in itself...The designs really are endless.


There are a plethora of eateries in Midtown that feature some impressive designs. Local spots like Ella (http://www.elladiningroomandbar.com/) and L lounge (http://www.lwinelounge.com/) have gone above and beyond to create an experience for their guests with their respective designs. And not just the front, but the back of the house as well. Creators of Ella budgeted an astounding 4.5 million for its project. L Lounge exhibits an impressive front as well with extensive mosaic tiling, a custom woodworking cellar and 3 distinct atmospheres which their website describes as "warm and intimate to grand and celebratory." Both are good representations of quality design in the sense of aesthetics, meal presentation, attention to details and functional separation of space.



Unfortunately, it practically takes a cult following to stand out amongst the competition in this economy. One spot that's been quite successful at that is Jack's Urban Eats. Granted, it has been coined, "home of the greasy salad", yet that doesn't seem to stop the masses from coming. People like Jack's because it's easy, fast and offers all those customizing salad options. We've learned from Starbuckology how American's love to have it their way, no matter how nuanced or obsessive. It is interesting what type of design can make one place thrive, and another burnout. I would have to argue that Jack's success is largely thanks to functionality and efficiency. There is something about watching a meal being made before our eyes. Don't get me wrong, the food is tasty, but not necessarily something we couldn't do at home.

L Wine Lounge

Restauranteurs surely have their work cut out for them. Patrons these days are a demanding bunch, and won't settle for less. Why stick to mediocrity with 30 other amazing venues within a stone's throw? The successful know it takes more than just good food and good service to thrive in the industry. To make it an experience worth repeating, it takes a brilliant concept, an untouched market and impeccable attention to detail. When it comes to dining design, the whole really is greater than the sum of its parts.

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