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Interior Design Mixture as Monstrosity Avoiding Kitsch, Achieving Impact.

Interior Design Mixture as Monstrosity Avoiding Kitsch, Achieving Impact.

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Published by Ferdinand_Sassure
Interior design trends, decoration excesses towards new sensibility.
Interior design trends, decoration excesses towards new sensibility.

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Published by: Ferdinand_Sassure on Sep 03, 2009
Copyright:Attribution Non-commercial


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Interior Design: Mixture as monstrosity: avoiding kitsch, achievingimpact.
 Interior design trends, decoration excesses towards new sensibility.
Categorizing seems to be one of the natural human necessities in its eagerness toestablish order, order that can be based on natural or artificial phenomenon (literature,thought schools, etc.). There are several denominations in literature that are useful toframe, class or categorize works and writers such as Classicism, Romanticism, Neo-Romanticism, Realism, Naturalism, Modernism, Surrealism, etc, etc. Yet, there areworks that are very difficult to categorize, difficulty that undoubtedly contributes totheir richness and to their resistance to be domesticated. The concept of domestication isa way of denominating those works that resist to be read with only one interpretation,works where illegibility is a characteristic that was sought and in which the lack of anunequivocal meaning or exegesis disturbs many readers, seduces others and, inevitably,frustrates plenty. An example of these “rebel” works isTrilceof César Vallejo.The asset of these works lays in the fact that they can be always read in different ways, that theyresist a single interpretation –or they resist any interpretation at all- and for that, besidehaving a high degree of illegibility that are highly indomitable.Is there any piece of furniturethat is unique and bizarre, almost impossible tocategorize? (We say almost because in the human necessity to classify, it can beclassified as unclassifiable). When talking about furniture what really matters are the possibilities of inclusion in a room as well as the possibilities of combination with other furniture. These are pieces of furniture that, without a doubt, capture the eye and self-establish as the central piece of any room. Furniture which’s protagonism forces theroom and its design to adapt to the furniture and not the other way around.TheTraforata chair has been described as the king’s chair; the associations are obviousand they are clear to the sight: the detailed wood carvings on the chair point out toantique furniture and to the baroque art, which can be noticed in the lion’s head on thearmrest and also the animal paws in the front legs. But is the upholstery that is going tomake all the difference in this case: if the classic red fabric with golden tacks is to be
chosen, or the black and golden wood with red fabric, the accomplished style hasalready been seen and processed, it has been, basically, done.If instead the upholstery is neither conventional –to the chair- nor typical of antiquefurniture the result is a chair that can be described as ahybrid.In other words, a unique chair that is opposed to kitsh (by kitsh we understand that that does not produce a newfeeling, that it has turn itself into a model that the reader, spectator or the audiencealready posses the means to interpret and that does not imply a work of decoding nor imagination. Kitsch is what does not move or touch).Many works of art intend to produce an impact, this chair, without a doubt is impressiveand even monstrous. An average reader will interpret monstrosity as somethingnegative, but we must remember that something can be called monstrous because of itssize or because of its grotesque combinations which lead to a disturbing result.Monstrous is such because it is impossible to classify, is that which cannot beassimilated and that, if it finally is absorbed, ceases to be monstrous. César Aira –a brilliant literary critic- has defined the Argentine writer’s,Roberto Arlt, prose asmonstrous due to the lack of distance between narrator and reader. The monstrosity of El Juguete Rabioso (The Rabid Toy), Los Siete Locos (The Seven Madmen) and LosLanzallamas (The Flame-Throwers), amongst other works, not only lies in the narrator’scomplexity but also in the non-literature-conventional vocabulary (related to whatBeatriz Sarlo has defined as “poor man’s knowledge”) and the characters (were thedouble figure can be drawn between Erdosain and Barsut). More importantly, Arlt´swork monstrosity resides, in the first place, in its hybridism (the mixing betweenGerman Expressionism, North American Existentialism and Italian Futurism withoutthe predominance of any), as well as in its complete lack of adscription to any ideology.The secret society in which the main character gets involved, mixes fascist and
communist discourse, spiritual and technological discourse and religious and atheistdiscourse.The amalgamation of contradictory discourses and of supposing opposite ideologies iswhat leads to the absolute unbelief towards any ideology and towards the notion of ideology as a lie (there is a constant mention to the metaphysic lie). Arlt’s writingmonstrosity led many contemporary critics to disdain the author pleading that, simply,Roberto Arlt did not know how to write. What happened is that the violence of adeformed and aggressive way of writing towards correct writing bristled up many critics(it is necessary to mention that The Seven Madmen, written in 1929, foretells the 1930military coup, showing Arlt’s lucidity and his ability to understand the Argentine societyas well as decoding all the discourses circulating at that moment in time). For thesereasons, and some others (as the possibility of interpreting Arlt’s works always in adifferent way according to the context of the interpretation, and for its untamable andinaccessible characteristics) Argentine critics were driven to acknowledge Arlt’s literaryvalue over the famous Jorge Luis Borges (of course, two very different styles, and alsothe fact that Borges works with the notion of shore while Arlt works with the idea of totality –of the anguish, imprisonment, madness, etc.)It is clear that introducing furniture of such characteristics represents a massivechallenge. The Traforata chair in its black wood with black and white upholstery versiondemands advanced knowledge in interior design to provide with an adequate context inwhich the hybridity of this chair can be placed in the foreground and be complementedwith other furniture. Without a question, this is a piece of furniture for those that,disdaining kitsch, seek after a new sensibility, for those who aim to accomplish an

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