Latest news with #Rococo
Spectator
4 days ago
- Entertainment
- Spectator
Successful modern design follows no rules
It is more than 40 years since Tom Wolfe said to me, in a Chinese restaurant on Manhattan's Lexington Avenue, that 'Modern' had become an historical style label. He meant it was not, as the high modernists believed, the inevitable conclusion to all artistic progress, but had a beginning and an end as nearly precise as, say, Baroque or Rococo. And I should write a book about it, he added. This was a brilliant suggestion which I flubbed. I wrote about design instead. But 'modern' and 'design' are inextricably linked. Franco Albini's handrails for the Milan metro? Raymond Loewy's Studebaker Avanti? Charles Eames's chair, which he designed for Billy Wilder? Ubiquitous Apples? All are frequently cited as masterpieces of modern design. But what exactly is the property they have in common? 'Design' was the last style of the Analogue Era, even if its high priests rejected such a frivolous notion. It was a utopian cult with religious texts all of its own, not dissimilar in character to the Shakers or the Perfectionists (who believed they had designed the perfect shoe, unalterable and eternal). It was intended to be a cure for various ills. If we had more modern design, more beautiful and useful things, people would be happy. Luxury would be democratised and everyday objects would be aestheticised according to some rules which we can now see as being daft. 'Form follows function' they said, and suggested that when it did, beauty would result. But some things that are impressively functional, a B-52 bomber say, are beautiful only to those with specialist tastes. The people who fly those ruthless planes call them BUFF, which stands for Big Ugly Fat Fuckers. Or what about 'truth to materials' – a moral demand that makes sense if you are working with stone? But just what truth does graphene beg to express? It really was mostly about exciting consumer desire by streamlining a fridge, or making clunky data compression technology into irresistible iPods. Steve Jobs said you know a design is good if you want to lick it, nicely suggesting an occult eroticism in these matters. This was what the Marxist critic Wolfgang Fritz Haug grumbled about – that design was a shameless accomplice of capitalist desire. Now with off-shoring, blurred national identities, the monetarisation of everything and a general weariness about material goods, here comes Maggie Gram to explain what happens next. She is a writer and teacher who leads Google's Experience Design Unit, or UX in the parlance. That's 'User Experience'. Her perspective is explicitly American, so readers will have to tolerate expressions such as 'black tenure-track design faculty' in what is otherwise a thoughtful and carefully argued book, even if the old modernist principle of less is more might profitably have been applied to the word count. Gram begins with an engrossing chapter about the ceramicist Eva Zeisel, an adventuress and one-time lover of Arthur Koestler. She follows with an account of the career of Walter Dorwin Teague, one of the pioneer design consultants who set up shop in New York in the 1920s. Teague began as a draftsman of decorative borders for advertising but was soon designing gas compressors. Gram has fun with the absurdity of this, because the innards of a gas compressor are invisible and have no need to be aestheticised. But this allows her to develop her central theme, which is that designers have a unique way of seeing and organising things, a vision that is either above or below reason but certainly not subject to it. In 1940, Teague published Design This Day – The Technique of Order in the Machine Age. Fifteen years later he designed the interior of the Boeing 707, establishing our common assumption of what the UX of jet travel should be. The way designers can help in problem-solving is Gram's preoccupation, as is the way design has evolved from being a simple description of what someone does, to a larger concept which may lead to Google creating a unified theory of it. But long before Silicon Valley, designers had seen the opportunity to apply creative principles not just to products but to whole organisations. When IBM's Thomas Watson asked his friend Eliot Noyes (a protégé of the Bauhaus founder Walter Gropius) what he should do about the messy look of his sprawling conglomerate, Noyes said: 'You would prefer neatness' – surely the most succinct management advice ever given. Noyes went on to supervise IBM's products, graphics and architecture. This was called 'corporate identity' by Gordon Lippincott, the designer of Campbell's soup's red and white tin. The great value in The Invention of Design is that Gram has thought long and hard about decision-making. She is especially interested in Herbert Simon, not a designer but a Nobel prize-winning 'general problem-solver'. Of course, the problem with problem-solvers is that they tend not to find solutions but to restate problems in a new way. Thomas Piketty, gets a look in, too. Design is essentially intuitive and not systematic. That Eames chair was inspired by a baseball mitt. You are not going to get that from Simon's explanation that you must create 'conditions for the existence of positive solution vectors for input-output matrices'. Try telling that to Jaguar Land Rover's Gerry McGovern, who has taken inspiration from the sight of Lycra-clad bottoms on the exercise bike in front of him at the gym. You can see that in the fine surfacing of the latest Range-Rover. Gram concedes that the results of applying scientifically determined design principles are mixed, at best. She discusses how problem-solving designers systematically failed to improve the troubled city of Gainesville, Florida, although similar methods did lead to an increase in legibility of American census forms, so that's something. In the 18th century, builders used pattern-books, which established standards, and this is why we all like Georgian architecture. But design doesn't have fixed principles. We work in the dark. We do what we can… we give what we have. Our doubt is our passion and our passion is our task. The rest is the madness of art. Or so Henry James believed. And I agree. This is a good and important book, even if it's inconclusive. Weirdly, it has few pictures, demonstrating that design thinking is difficult to illustrate – a nice paradox. At the end, Gram seems almost humbled by her task of enlarging what design thinking can actually achieve. No need to worry! Design is unpredictable and its processes chaotic, led by people who won't be told what to do. Just like the Baroque.
Newsweek
4 days ago
- Politics
- Newsweek
Before and After Photos Show White House Rose Garden Paved Over
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. The White House has completed plans to pave over the Rose Garden lawn with a new patio. The garden, which has long been a backdrop for important presidential announcements, has been remodeled, after the White House said that it had "not been given any tender, loving care in many decades." Newsweek contacted the White House for more information on the Rose Garden via email. Why It Matters The Rose Garden is one of the most instantly recognizable features of the White House, perhaps second only to the Oval Office. It has been used for announcements, events, and receptions of international leaders since the 1900s, and many of the defining moments in presidential history have taken place there. The White House Rose Garden being paved over on July 23, 2025 in Washington, DC. The White House Rose Garden being paved over on July 23, 2025 in Washington, DC. Getty Images When Donald Trump won the 2016 election, the Rose Garden was where then-President Barack Obama acknowledged his victory, and when Trump himself announced his "Liberation Day" tariffs, he did so in the same place. What To Know The renovations, finished on August 1, involved replacing the lawn of the Rose Garden entirely with a concrete patio of diamond-shaped plates, which match the color of the White House. The changes were funded by the Trust for the National Mall along with private donors, according to reports from Axios. The rose bushes that give the garden its name were not damaged or moved during the process. The Rose Garden was created in 1913 by Ellen Wilson, the wife of President Woodrow Wilson. It was redesigned in 1961 by President John F. Kennedy to serve as a space for outdoor ceremonies. It has since become a regular venue for various events, including receptions, press briefings, and other occasions. First lady Melania Trump redesigned the garden in 2019, during her husband's first term. The renovations drew backlash at the time and led to a petition asking for the changes to be reversed. View of the newly paved Rose Garden is seen at the White House in Washington, DC, on August 1, 2025. View of the newly paved Rose Garden is seen at the White House in Washington, DC, on August 1, 2025. Getty Images Since returning to the White House, Trump has made some significant changes, including a transformation of the Oval Office. He has added gold medallions, gold vermeil figurines, gold eagles, and gilded Rococo mirrors. What People Are Saying White House Communications Director Steven Cheung, in a statement shared by The New York Times in March: "The White House has not been given any tender, loving care in many decades, so President Trump is taking necessary steps in order to preserve and restore the greatness and glory of 'the People's House.'" Chris D. Jackson, a political strategist who worked on the Biden campaign, said on social media: "This is awful. The Rose Garden and Colonnade used to be my favorite parts of the White House—now they look like everything else he touches: stripped down, soulless, and ruined. "Here's hoping the next First Family doesn't just reverse policy but rips out every bit of this tasteless mess." The campaign group Republicans against Trump said: "My God. This is the White House Rose Garden after Trump's 'overhaul.' Stripped, paved, lifeless. Everything Trump touches dies." What Happens Next The White House will continue to use the Rose Garden for important press events and receptions.
Hindustan Times
4 days ago
- Entertainment
- Hindustan Times
Step inside Maharani Radhikaraje Gaekwad's Lukshmi Vilas Palace, the largest private residence in the world
Regal, culturally significant, and the world's largest private residence, these are some adjectives that define Lukshmi Vilas Palace in Vadodara, Gujarat. At 30.5 million square feet, the palace is ten times bigger than Turkey's White Palace, and its square footage is 36 times that of Buckingham Palace. Commissioned by Maharaja Sayajirao Gaekwad III in 1878, the monumental 135-year-old Lukshmi Vilas Palace took 11 years to build. (Instagram/@admiddleeast) Also Read | Step inside Huma Qureshi's fancy ₹10 lakh per month luxury bungalow in Juhu: Farah Khan calls it 'best home in Mumbai' In an Instagram post shared by Architectural Digest Middle East on August 5, Maharani Radhikaraje Gaekwad of Baroda opened the doors of Lukshmi Vilas Palace, giving a glimpse inside her palatial home. Inside the 135-year-old Lukshmi Vilas Palace Commissioned by Maharaja Sayajirao Gaekwad III in 1878, the monumental 135-year-old Lukshmi Vilas Palace took 11 years to build, with Sonagadh sandstones sourced locally and the interior built with inspirations drawn from around the country and other parts of the world. Radhikaraje told AD Middle East, 'The scale of the palace is larger than life. I've lived here for 23 years, and even now I'm discovering things for the very first time. I've come to regard it as our oldest family member.' The interiors Apart from the Islamic domes and carvings inspired by Hindu temples that make up the exterior of the palace, Radhikaraje also talked about the elements from around the world that make up the interiors of Lukshmi Vilas Palace, Radhikaraje revealed that the residence has stained glass from Renaissance Europe, chandeliers from Europe and Belgium, mosaic from Italy, sculptures from around Europe, Rococo paintings and rare porcelain from China and Japan. Additionally, art by Indian masters, including some of Raja Ravi Varma's largest works, also decorates the halls."It's an amazing mixture of countries and culture coming together in this space," she said. Talking about the grand Durbar Hall, calling it the most important public space of the palace where the Maharaj would host, greet and attend to his subjects, she said, 'The Durbar Hall, where the king would receive his audience, was designed to highlight the collaborations that came to exist over 135 years ago between India and other cultures.'
Bloomberg
20-07-2025
- Entertainment
- Bloomberg
The Architect Behind Superman's Hall of Justice (and Trump's Fed Gambit)
Hello and welcome to Bloomberg's weekly design digest. I'm Kriston Capps, staff writer for Bloomberg CityLab and your guide to the world of architecture and the people who build things. Special thanks to Feargus O'Sullivan for watching the shop while I was away. Don't miss his feature on Trump aesthetics and Rococo.
Newsweek
15-07-2025
- Business
- Newsweek
Trump's Gilded Oval Office: Six Months of Gold in the White House
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. When NATO Secretary General Mark Rutte visited the White House on Monday, he was greeted not only by President Donald Trump but also by the striking sight of a fully gilded Oval Office. As the two men discussed details of a new U.S. assistance package to support Ukraine, they sat in front of a fireplace flanked by gold cherubs and medallions, surrounded by portraits of American statesmen in gold frames and shelves crowded with gilt figurines, urns and newly added Rococo mirrors. For those watching Trump's bilateral meetings in recent months, the scene was familiar. But it's difficult to overstate just how drastically different the most famous office in the world looks ever since Trump stormed back into office six months ago. As the weeks have passed, the Oval has evolved from the modest décor of the Biden era into the extravagant, gold-drenched centerpiece of Trump's second administration — a space where the president has ensured his unmistakable mark is visible in quite literally every corner. Gold flourishes multiply When Rutte arrived on Monday, even more golden additions had appeared since his last visit in March. The mantle had been reconfigured again, with nine ornate gold vessels and a grand new clock at its center. A small space beneath the George Washington portrait had been filled with another gold cartouche, while two more were added below the portraits of Martin Van Buren and James K. Polk, and another pair flanked the marble fireplace that has served as the backdrop for countless official visits. Above the doorways, delicate gold cherubs peered down — a touch not seen in previous administrations — while gilded Rococo mirrors attached to the doors reflected the gold eagles perched on side tables. Even the accessories carried the theme: a heavy gold-stamped paperweight reading "TRUMP" sat at the center of the coffee table, alongside a gold coaster box. Behind the Resolute Desk, framed family photos now share space with what was originally a gold-plated replica of the FIFA World Cup trophy. But over the weekend, that piece was replaced with the actual FIFA Club World Cup trophy, which Trump personally presented to the Chelsea soccer club during a ceremony on Sunday before bringing it back to display in the Oval Office. The new FIFA Club World Cup Trophy is visible behind the Resolute Desk during a swearing in ceremony in the Oval Office at the White House on March 28, 2025 in Washington, DC. The new FIFA Club World Cup Trophy is visible behind the Resolute Desk during a swearing in ceremony in the Oval Office at the White House on March 28, 2025 in Washington, DC. Getty Images The gold urns displayed on the mantle come from President James Monroe's 1817 gilt service, a set normally kept in the State Dining Room during public tours. As Newsweek previously reported, other elements — particularly the repeating medallions lining the walls — closely resemble polyurethane appliqués sold on Alibaba. "President Trump is very good at playing the role of Donald Trump. The show is the point. Part of the show is the bling," said Peter Loge, director of George Washington University's School of Media, in an interview earlier this year. "It would be surprising if Trump did not remake the Oval Office into a TV set that reflected his brand." Hosting beneath the cherubs Trump unveiled the first iteration of his redesigned office in February, when Israeli Prime Minister Benjamin Netanyahu became the first foreign visitor to experience the full effect. The two leaders posed beneath the commanding Charles Willson Peale portrait of Washington, seated amid cherubs, gold medallions and a gallery wall so densely arranged the frames nearly touched. Pointing to the cherubs during a tour with Fox News' Laura Ingraham, Trump said: "It's angels. They say angels bring good luck, and we need a lot of luck in this country with what they've done over the last four years." In May, Canadian Prime Minister Mark Carney also sat for a bilateral meeting in the ornate room. "You see the new and improved Oval Office," Trump told him. "As it becomes more and more beautiful with love — you know, we handle it with great love — and 24-karat gold. That always helps, too." Carney nodded as Trump outlined other aspects of his renovation project, which the president is said to be directly overseeing: paving over the Rose Garden's grass to create a stone-tiled patio similar to the outdoor pavilion at Mar-a-Lago, and commissioning a South Lawn ballroom inspired by Versailles. "It keeps my real-estate juices flowing," Trump said. Weeks later, in June, German Chancellor Friedrich Merz came for his first official visit to the White House. As the two leaders sat down in the gold-drenched room, they discussed support for Ukraine, NATO spending and trade relations. A stark contrast Compared with the Biden era, the change is striking. In November 2024, when Biden welcomed Trump as president-elect, the mantel held a simple green ivy and the portraits were generously spaced. Even late in Trump's first term, gold accents were modest by comparison. A side-by-side comparison of the Oval Office under Donald Trump and Joe Biden shows a stark contrast in decor. Trump's office features gold accents, ornate decorations, and elaborate frames, while Biden's has a simpler, more... A side-by-side comparison of the Oval Office under Donald Trump and Joe Biden shows a stark contrast in decor. Trump's office features gold accents, ornate decorations, and elaborate frames, while Biden's has a simpler, more traditional look with muted tones and a minimalist mantel. More Getty Images Now the space has become a maximalist showcase. The Washington portrait dominates the fireplace wall, flanked by tightly packed portraits of Thomas Jefferson, Benjamin Franklin, Andrew Jackson and Ronald Reagan. The bronze bust of Winston Churchill — removed during Obama's presidency, reinstated during Trump's first term, removed again under Biden — has returned once more, positioned next to the fireplace alongside the Martin Luther King Jr. bust, which itself sparked an early controversy during Trump's first term. On his first day back in January, seated at the Resolute Desk, Trump smiled when asked how it felt to return. "Oh, what a great feeling. One of the better feelings I've ever had," he said.
