Ruskin: Modern Manufacture & Design, The Stones of Venice

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CCR 711, Fall 2013

CCR 711, Fall 2013

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  • 1. John Ruskin “Modern Manufacture & Design” “Definitions of Greatness in Art” The Stones of Venice (excerpt) CCR 711 ::: 10/17/13 Friday, October 18, 13
  • 2. Jana: I can see this moving toward the arts and crafts lifestyle movement, or a return to nature or the countryside away from city factories, convention, and mechanization, but what does this mean to making? What does this mean to the craftsman/worksman? The form and function and decoration of objects? Who got to make art as craft and by what means? (art seems positioned as hobby in Ruskin) Was the arts and crafts movement of the time always positioned as such a binary? (again, I think of the time: industrialization in the process of becoming industrialized.) Also, why Gothic architecture? Friday, October 18, 13
  • 3. Situating Ruskin (broadly) (1819-1900) Friday, October 18, 13
  • 4. post-Enlightenment Friday, October 18, 13
  • 5. 1642-1727 Friday, October 18, 13
  • 6. 1660 - present Friday, October 18, 13
  • 7. Friday, October 18, 13
  • 8. Friday, October 18, 13
  • 9. Friday, October 18, 13
  • 10. Josiah Wedgwood 1730 - 1795 Friday, October 18, 13
  • 11. chemical processes Friday, October 18, 13
  • 12. Friday, October 18, 13
  • 13. Friday, October 18, 13
  • 14. Friday, October 18, 13
  • 15. Friday, October 18, 13
  • 16. Etruria, Stoke-on-Trent Modern Factory Manufacturing Friday, October 18, 13
  • 17. Bottle ovens, Etruria Friday, October 18, 13
  • 18. Shipping and distribution via canal at Etruria Friday, October 18, 13
  • 19. modernized accounting practices human resource management Friday, October 18, 13
  • 20. Victorian Design Friday, October 18, 13
  • 21. Friday, October 18, 13
  • 22. Friday, October 18, 13
  • 23. Friday, October 18, 13
  • 24. nation as workshop Friday, October 18, 13
  • 25. Modern Manufacture and Design Friday, October 18, 13
  • 26. industrial landscape and invention Friday, October 18, 13
  • 27. To men surrounded by the depressing and monotonous circumstances of English manufacturing life, depend upon it, design is simply impossible. This is the most distinct of all the experiences I have had in dealing with the modern workman. He is intelligent and ingenious in the highest degree-subtle in touch and keen insight: but he is, generally speaking, wholly destitute of designing power. And if you want to give him the power, you must give him the materials, and put him in the circumstances for it. Design is not the offspring of idle fancy: it is the studied result of accumulative observation and delightful habit. ... Friday, October 18, 13
  • 28. Without observation and experience, no design--and all the lecturings, and teachings, and prizes, and principles of art, in the world, are of no use, so long as you don’t surround your men with happy influences and beautiful things. It is impossible for them to have right ideas about colour, unless they see the lovely colours of nature unspoiled; impossible for them to supply beautiful incident and action in their ornament, unless they see beautiful incident and action in the world about them.... Friday, October 18, 13
  • 29. Inform their minds, refine their habits, and you form and refine their designs; but keep them illiterate, uncomfortable, and in the midst of unbeautiful things, and whatever they do will still be spurious, vulgar, and valueless. (“Modern Manufacture and Design”) Friday, October 18, 13
  • 30. In manufacture: we require work substantial rather than rich in make; and refined, rather than splendid in design.Your stuffs need not be such as would catch the eye of a duchess; but they should be such as may at once serve the need, and refine the taste, of a cottager. ... It should be one of the first objects of all manufacturers to produce stuffs not only beautiful and quaint in design, but also adapted for every-day service, and ecorous in humble and secluded life. And you must remember always that your business, as manufacturers, is to form the market, as much as to supply it. Friday, October 18, 13
  • 31. craftsman as author Friday, October 18, 13
  • 32. You all should be, in a certain sense, authors: you must, indeed, first catch the public eye, as an author must the public ear; but once gain your audience, or observance, and as it is in the writer’s power thenceforward to publish what will educate as it amuses--so it is in yours to publish what will educate as it adorns. Friday, October 18, 13
  • 33. Why the Gothic? Why masons? Friday, October 18, 13
  • 34. Friday, October 18, 13
  • 35. Without masonry, there is no Gothic. Friday, October 18, 13
  • 36. • • • • • • Friday, October 18, 13 Characteristics of the builder Savageness/Rudeness Love of Change Love of Nature Disturbed Imagination Obstinacy Generosity
  • 37. Rudeness as characteristic Friday, October 18, 13
  • 38. Perfection as enslavement Friday, October 18, 13
  • 39. If, as in Gothic work, there is perpetual change both in design and execution, the workman must have been altogether set free. (Stones of Venice 142) Friday, October 18, 13
  • 40. Friday, October 18, 13
  • 41. Friday, October 18, 13
  • 42. architecture as reading Friday, October 18, 13
  • 43. business and invention Friday, October 18, 13