We will focus on a particular historical era and explore some of the designers, architects, artists, craftspeople, writers and thinkers that were active during that period. The interiors we look at will be diverse, reflecting different historical and social contexts as well as the different sensibilities of practitioners. 
we will choose four weeks and create four different visual/design responses that reflects the ideas explored that week.
We develop a concept for an interior that reflects the key ideas and aesthetics for a movement or practitioner. The interior includes any kind – it may be a café, a public building, a house, or a more propositional or conceptual interior. Part of our thinking may include deciding what kind of interior was important to each period. 
The design response can be produced in any form (photography, collage, drawing, mixed media, film, sound, and so on). It can be of any size. There can be similarities between the four design responses or they can all be different.
CONTENTS
01 ARTS & CRAFTS
011 HAND DRAWING
021 MACHINE GENERATED (PROCESS VIDEO)

02 FUTURISM
021 PRESENTATION
03 SITUATIONIST INTERNATIONAL
031 SCENE (VIDEO)
04 CONCEPTUAL ART
041 DIFFERENT INTERIOR
05 APPENDIX

01 ARTS & CRAFTS
‘All most lovely forms and thoughts are directly taken from natural objects …forms which are not taken from natural objects must be ugly.’
-John Ruskin 
In Art & Crafts movement, most of artist think machinery as an evil. They are critique of industrial society, use of machinery, the division of labour, capitalism and the loss of traditional craft methods.
They thought of "the craftrsman' as free, creative, and working with his hands."the matchine" as soulless, repetitive, and inhuman.
For me, it is the very contrasting image. Also I am very interested in one of the opinion from John Ruskin, he think not the natural objects must be ugly. See the artworks in Arts & Crafts movement, a lots of textures based on flora. 
My response is used two drawings represents "crafts" and "matchine".
I went to the garden, and documented the various plants shape, then I used colour pencils to drawing. 
The next "drawing" is I used Processing to let computer drawign on his own. 
011 HAND DRAWING
012 MACHINE GENERATED

Process video

02 FUTURISM
'On account of the persistence of an image on the retina, moving objects constantly multiply themselves ... To paint a human figure you must not paint it; you must render the whole of its surrounding atmosphere"
- The manifesto of the futurist
In the futurelism, one of the point is "dynamism". One frame include all movement. And futruelism have special relationship with technology, they like technology.
I used application "Touchdesiger" with motion sensing devices to record the human body movement, and using projector mapping to the wall.
When people pass through, all of the movement will display on the wall.
012 PRESENTATION
01 SITUATIONIST INTERNATIONAL
‘'‘All space is occupied by the enemy. We are living under a permanent curfew. Not just the cops – the geometry.’"
- Raoul Vaneigem
Situationist international talk about space and city. One of the point is "spectacle" from guy debord. "spectacle" is billboard, tv, phone, building,
landscape and everthing. City design from capitalist, the sign in road lead people behaviour and mind, people become numbmess in this situation. Guy debord think people need wake up and revolution.
Form "spectacle", I record my surrounding enviroment,  and try to remove or highlight this "spectacle" to wake up people.
031 SCENE

Rise (Situationist International response)

04 CONCEPTUAL ART
‘Conceptual art, for me, means work in which the idea is paramount and the material is secondary, lightweight, ephemeral, cheap, unpretentious, and/or dematerialised.’
- Mick Wilson
Conceptual art is not about froms or materials, but about ideas and meanings.
The meaning is what we each discover it.
Conceptual art has a lots of definition, or no difinition. But I like the one of the category is intervention. which are some image placed an unexpected context, drawing intension or rise perception.
Popole always sit, stand or walk in interior. In this respones, I am as "image" in an environment. I am face down and lie on the ground in different interior, feel textures and atomosphere.
Cold.
Hard.
Strong.
Clear.
Bright.
Still.
Warm.
Soft.
Kind.
Bright.
Solemn.
Close.
Rough.
Ancient.
Shadow.
Green.
Dynamic.
Dazzling.
Hard.
Warm.
Hide.
Terrifying.
05 APPENDIX
051 GLOSSARY OF WORDS​​​​​​​
ARTS & CRAFTS. The Arts and Crafts movement was an international movement in the decorative and fine arts that began in Britain and flourished in Europe and North America between about 1880 and 1920.
SITUATIONIST INTERNATIONAL. The Situationist International (SI) was an international organization of social revolutionaries made up of avant-garde artists, intellectuals, and political theorists, prominent in Europe from its formation in 1957 to its dissolution in 1972.
FUTURELISM. Futurism was an artistic and social movement that originated in Italy in the early 20th century.
Dynamism. The theory that phenomena of matter or mind are due to the action of forces rather than to motion or matter.
Spectacle. It’s a radical critique of mass marketing and its role in the alienation of modern society.
Intervention. Some image placed an unexpected context, drawing intension or rise perception.

052 BIBLIOGRAPHY
Giacomo Balla, Dynamism of a Dog on a Leash, Albright–Knox Art Gallery, Buffalo, New York, oil on canvas, 1912.
William Morris, Victoria and Albert Museum, London, Acanthus wallpaper, 1875.
Felix Gonzalez-Torres, “Untitled,”. Billboard. Installation view of Felix Gonzalez-Torres Billboard Project. 1991.
Guy debord, The society of the spectacle, France, 1967.
053 PRECEDENTS
John Baldessari. Stonehenge (With Two Persons) Blue, Red, Yellow, Orange, Green, Violet, 2005.
Back to Top