Assignmnet 3- Construction decorated.

In Argument, "Construction should be decorated. Decoration should never be purposely constructed" Jones means that construction should be that is necessary. It should not be like construction when it's not, construction should be decorated, not embeding decoration into construction. One of Jones theory itself says that what does'nt happen in nature, is so not should happen in design architecture. in his book, "The Grammer of Ornament", he says, "true art consists of idealising, and not copying, the forms of nature".
I agree with Jones argument that construction should be decorated rather than making a decorative piece look like construction because which so not happens in reality, should not happen in design as it does'nt make sense to design. Construction should be decorated like so that it should looks like what it is made for rather than lokking like something else, differentiating from construction (its actual design for what it is was made for).
For support to my statement og agreeness to Jones argument I have posted the image above. This image is of kettle as decorated. As it is construction as decorated. In this image a kettle is decorated, made up of copper and brass. As it is not that much decorated that decoration finished it actual construction look, for what it was made. The designer curves in the end corners give it a constructive decorated look and preserved it actual look.
This image was taken from 'Andrew McIntosh Patrick Collection', a copper and brass rivetted kettle with cut-out baze frieze in the Japanese style in 1880.

References:
Owen Jones (architect). The Grammer of Ornamnet. 19 june 2010.
http://en.wikipedia.org/wiki/Owen_Jones_(architect)#The_Grammar_of_Ornament

Image taken from-
Whiteway, M. (2004). Christopher Dresser, A Design Revolution. V & A Publications, London.

Assignment_2

The Sensuous Impulse provides a rich sculptural traditions and shapes most common between the period of 200 BC and 1600 AD. It is said that who does not occupy the highest rank in the realm of force, an unhappy contradiction arises between aspiration and capacity. For the remembrances and continuous known of Rococo, there was museum established by Cooper Hewitt and Eleanor Garnier Hewitt known as Cooper Union Museum for Arts. It was the first design Museum in United States. The Son Cooper-Hewitt, Abram Hewitt travelled Europe throughout to explore industrial arts. The range of objects in this museum demonstrates the art and there quality are hallmarked. Similarly the two photographs I choose are from the museum similar to this kind of.

The Image on top is an, "Egyptian blue faience New Year flask with incised decoration , 650-600 BC, from the 'Isis tomb' at Vulci, southern Italy. British Museum: GR 1850,2-27,58."

The Second Image is a, "Wedgewood. Egyptian-style terracotta flask, c. 1867. The Birkenhead Collection. Dresser was inspired by an egyptian flask in the British Museum."

The second image was an idea taken from the top image. The top flask was converted into more attractive and painted flask. The top flask was made in 1850 and the one below that was made in 1867. so there was time difference also in the making of these flasks.

Reference:

http://www.studiocleo.com/librarie/schiller/essay.html (23-07-2010)

Whiteway, M. (2004). Christopher Dresser, A Design Revolution. V & A Publications, London.

Assignment 1

This is designed picture for the word HELL. developed by Amarjot. This picture is taken on Indian Oven called Tandoor. By stitching chillies in stick and moulding and sticking it in grills and putting on hot tandoor with charcoals burnings underneath. This picture actual portrays Hell because of chillies and burning charcoal. The Red chillies ellaborates the word Hell clearly. This how chilles can be hotened.