What is Modern Design? How do you recognize it? Most people would say it’s a style that’s clean of detail and somehow functionally formed. Maybe some would say expensive, or cold.
It wasn’t designed to be that way. The simplified, pure shapes must have looked like aliens had left them behind when they came out, and the left-field material selections and manufacturing processes didn’t help either. At the time, most people were deciding to buy either that ‘new’ Stickley stuff or go William Morris Bungalow. Comparatively, items by LeCorbusier and Gropious were outrageously Metropolis-futuristic.
Curiously, modern furniture wasn’t designed to elicit this response – its core principles were much more Utopian. If designers could somehow harness this mass-production phenomenon, perhaps they could elevate the underprivileged so as to live a life just as others do. If they could only reduce costs, the designers felt they could make these conveniences and necessities that much more approachable for everyone. Of course, this vision would come at a cost. They’d have to peel out a lot of the extra details, as those processes added cost. They’d also have to source newer, cheaper materials. Perhaps modern companies like these who pump out thousands of bicycles could also pump out furniture just as fast if it were made with the same tube? Prices would then surely be approachable.
Flashing forward through the ages, the concept of Modern, and its aim of elevating the masses was usurped by the fact that only the rich, it seemed, adopted the new looks. They wanted to be ‘modern’ and were the only ones willing to pay for it. Besides, the more cost-effective designs just didn’t resonate with the populace. Modern was re-labeled as the style of the rich. Sadly, only after IKEA made it big did Modern fulfill its pledged goal.
The aftermath is the current definition of Modern. Products with hefty, nearly unapproachable price tags peddled by the designer elite essentially for the elite style connoisseur. It means ‘clean’, ‘detail free’, form-following-function and more pointedly, a wealth of good taste. But just as technology paved the way for this thinking, technology once again is changing our perceptions.
The last decade has ushered in the direct connection between machines that make things and the drafting/modeling programs that design them. No more are we handcuffed by a human element in one aspect or another. Things can be designed and handed right off to the machines that make them – no human hands involved.
Suddenly, the very ornamentation that we loved and that we had to give up with Modernism is far more easy and cost effective to have than it ever was. It’s also more customizable than we could possibly imagine. The end effect is that designers and artisans no longer have to hone economy of line and shape. In fact, the programs and machines can make anything of nearly any possible detail.
As humans, we’ve essentially solved what’s the perfect dimensions for a chair. We’ve solved the structural requirements for a bookshelf and now we can ask a computer to solve both for us. The even more amazing thing is that whatever we draw, we can have made, and quickly. A talented and skilled craftsman does not have to be found. In fact, we don’t even have to actually draw things, we can have a computer do that for us, as well.
All this will come together to once again recast the definition of Modern. The modern that the next several decades will know is one that means extreme ornamentation. It will mean extreme complexity, mass personalization. It will also mean that if one has simple, form following function items, they must certainly not be well-off.