Art is a very emotional entity both inspired and created by feeling. Something moves the painter and sculptor to transform the perspectives of their minds’ eye into something tangible and visible. With that same feeling, designers of the landscape, interiors, structures, fashion, transportation, cities and government have been [at least initially] moved by ideals and passion. The assigned bulleted manifestos and pointed proclamations seemed to carry an evolutionary theme. This theme is not chronological, but emotive. It begins with a sense of loss in Alexander’s manifesto, the desire for loss to gain simplicity in Loos’s essay, the welcomed loss of design tyranny in the cooperative proclamation of Sant’Elia and Marinetti, Hundertwasser’s lament of the loss of rebellion against conformity, and both separate viewpoints of Jencks and Venturi identifying loss through conformity and exclusion. Two contradicting opinions formed during this assignment: the need for balance throughout design history and alternatively the adverse effects of balance in today’s design world.
As introduced above, inspiration is the driving force behind creative evolution. Designers have been moved by other designs in the natural and built environment as period pieces were created and eventually found their places in world culture. Form has been mimicked, molded and modulated throughout design history. As with everything else, the innocence of innovation is soon hardened through prestige, status and the expectation of notoriety. The creative air becomes stifling and the emotion that once embraced the design needs of the moment suffocates under the pressures of the machine of design, constructed by status and ruled by prestige.
Soon, a rebellion forms. It is a cyclical protest that has happened throughout the history of design through different movements. It is a creative fire that destroys the accustomed and renews the radical, only to destroy again what has become comfortably...
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