By Deyan Sudjic
A outstanding exposé of the interplay among paintings, layout, and commerce.
What is it that persuades us to camp outdoors Apple shops to be the 1st to shop for an iPhone? Why is it new release in the past a typewriter may need lasted an individual a life-time, yet now we write on desktops that we improve each couple of years to shinier, swifter, sleeker versions? Why do the clicks of a few vehicle doorways sound “expensive”? Deyan Sudjic charts our relationship—both blameless and knowing—with all issues designed. From the opulent excesses of the catwalk to the playfulness of an Alessi jam jar, he indicates how we will be manipulated and seduced via our possessions. With scintillating wit he addresses those questions and extra, exploring the explanations why each dressmaker yearns to place a private stamp on a chair or an adjustable lamp, and the place layout ends and paintings starts. seventy one black-and-white and five colour illustrations.
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Extra info for The Language of Things: Understanding the World of Desirable Objects
Example text
It was the aesthetic, as well as the economic and social implications of the new building technology that drove the Modern Movement at the beginning of the twentieth century, and it is the aesthetic as well as the economic and social implications of ‘post-imperial’ building technologies that could potentially drive an ‘Environmental Movement’ at the end of it. It is not ‘shelter’ that is going to address this aesthetic – and ideological – dimension, any more than it is ‘shelter’ which is developing the application of advanced environmental building technologies.
What has been for centuries implicit in the making of our landscapes and the selective breeding of plants and livestock – that the distinction between nature and culture is often impossible to make – is now explicit. This blurring exists both in our continued interventions in nature – plants that grow plastic, cloned sheep – and in our ‘interventions in culture’ – submarines that move like fish, robots that learn like humans. Architecture, which has always held an ambiguous position between nature and culture, is moving towards an even greater ambiguity as it pursues environmental sustainability.
Thoreau does not say ‘they can do without shelter who have no olives nor wines in the cellar’, but ‘they can do without architecture’. The two are not synonymous. Architecture is excess. To Ruskin, acceptable excess; to many environmental designers, unacceptable excess. The second impli- Defining environmental architecture cation is that art is not necessary to life the way shelter is. Shelter is on the same level of necessity as food (it is the ‘cellar’ where the food is stored); architecture (as art) is not.