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An electronic deadlock: no more muses for an interior designer

Through all the short, yet fruitful, history of design (particularly interior design), every designer had the option to follow one of the two muses – an exquisite lady of the past, or a fiery girl of the present. Since the late XIX-th century, every designer chose one of these two paths – either to follow and forestall his age, it`s technology and it`s major idea, like did the modernists, answering the call of the machines, concrete and steel, or to reject it and return to the clarity and innocence of the previous “belle époque” – the way chosen by Arts and Crafts and Art Nouveau masters. The choice was that limited – those many, that tried to evade it by following the trends or bringing in some ethnic exotics, might appear successful within certain limits, but are now forgotten, having failed to become something more than artisans for hire.
Through 20th century, some more inspirations have appeared for the artist to accept or decline – combustion and electricity, that brought forward the Art Deco, streamlined space vessels, robots, and first computers – and that is where it all ends. An electronic device, which is definitely is the ultimate representation of our time is, in fact, formless. The all-black-and-hi-tech impression, given by the modern TV, or the sophisticated, zen-inspired simplicity of Apple design have nothing in common with the nature of those items, with CPUs and software that lie behind. We`ve come to an end of design as we know it – the spirit of our age appears shapeless and ungraspable. The paradox here is that when virtually anything seems to have become possible - with all the electronics available to control every aspect of the environment, from temperature to walls transparency to smells and sounds, with all the polymer materials that can create any shape, color, and texture – we now have nothing to gain inspiration from, nothing to follow, and nothing to reject




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