The Individual Piece

Rochester Institute of Technology

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8-2-1968

The Individual Piece

Edward Jajosky

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Recommended Citation

THE INDIVIDUAL PIECE

EDWARD JAJOBKY

Candidate for the Master

f Fine Arts in the College

of Fine and Applied Arts of

the Rochester Institute f

Technology

Daniel Valenza : Advisor

DEDICATION

I dedicate this paper to

Cathy

Richer for her

help

and _inspiration.

Unique

By

Winnie Burke The idea and the

design- -a throne of walnut massive base and plush red *

seat--for royalty?- -An

idea made real

regal...

A table with one

leg

the impossible made possible a table tailed with

a base curl...

curious

Uniqueness

is success.

A sun-yellow chair of _enfolding foam

poly-

formed,

multi-formed

alive

with

limbs

that love...

Uniqueness is success

[image:4.566.76.409.88.633.2]

TABLE OF CONTESTS

PAGE

I. INDEX OF ILLUSTRATIVE MATERIAL . . v

II. INTRODUCTION vii

III. EXPOSITION 1

IV. CONCLUSION 18

V. BIBLIOGRAPHY 19

INDEX OF ILLUSTRATIVE MATERIAL

ILLUSTRATION NUMBER

Walnut chair 1

Oak

dining

table 2

Walnut end table sketch . . X. .. 3

Oak end table 4

Oak cantilevered chair

'

5

Laminated oak chair ... 6

Serving

shelf 7

Teak lounge chair 8

Mahogany

coffee table 9

Walnut with glass table 10

Walnut chair 11

Walnut stool 11a

Foam yellow chair . 12

Walnut _writing table ... 13

Walnut writing table ... 14

Walnut

toy

chest . . . .15

Walnut

typing

table 16

Oak and rosewood table 17

Tellow chair 19

Oak table 20

Oak stool 21

Walnut chair . 22

End table with drawer 23

Walnut pedestal ... 24

Drafting

table ... 25 Laminated oak chair ... 26

Candlestick holder 27

Oak end table 28

Mahogany

stool ... 29

Cherry

end table .30

Cartoon ...31

Oak chair 32

INTRODUCTION

This thesis consists of several individual

pieces, each designed with a special purpose. The reason for _making the various pieces was to

illustrate the _many important aspects of the

individual piece: its _creation, different purposes,

and goals. To the artist _craftsman, the individual

piece is important because;* it is a final product

which accomplishes his goals. Each piece becomes an expression of a designer's work and represents his

thinking,

experience with _materials, competency

of _skills, and development of design concepts.

The individual piece _{is important} because

with each one there is _something added to the field

of furniture design. The contribution _{may be} in terms

of a new usage of _{material, construction,} technical

detail,

or new kind of form. The piece _may represent

an entirely new system of design which in the future

will

develop

into more sophisticated _furniture designs.

By

examining the individual piece, we can

stimulate our own

thinking

and evaluate our own work.

By

establishing goals we can then proceed in a more

specific direction. The designer must discover a

philosophy which will enable him _to grow with the

needs of _{the future. Then he} must

develop

the

skills and ideas needed to answer the new demands.

The pieces presented in this paper have been

chosen with the philosophy that design is dependent

upon

time,

_place, and circumstance: each

having

its

own purposes.

In

designing,

it is important that one

considers what he is

trying

to achieve and then works

earnestly to fulfill those goals. This paper concerns

itself with some of the important goals and purposes

of the designer. The designer must be flexible and

must be able to adapt to the changing demands of

society. The thesis includes works done to achieve

these goals. Some were designed to gain personal

growth and experience with construction and technical

procedures, while others were made _{specifically for}

the exploitation of form and material.

They

were made

to _exemplify what I have tried to _learn and accomplish.

They

also

display

_{my sensitivity for form} and _my

development of craftsman skills. When some form or

idea indicates _promise, I

try

to

develop

it as

long

as

it proves constructive. I have tried to be openminded

in my work and therefore _{extremely free} in

determining

in what direction I will work next.

The individual piece is the culmination of

the designer's efforts to achieve new furniture

design. There exists a special _quality about the

individual piece which is not found in the cliche

or mass production item. The spirit that prevails

consists of the ideas and the personality of the

designer. It has the final touch _of.the craftsman

that expresses his artistic control of material and

form. Each piece is a culmination of the individual

designer's ideas and _thoughts.

Paying

attention to

the finest

details,

its design is _carefully

formulated and _skillfully worked into the final

product. Each new piece made represents a new _step

in the designer's development and skill.

Vitality

is the designer's major goal in

creating a new piece. He achieves _{this through} new

forms,

materials, and technical devices.

Creating

different shapes and _using materials in novel ways

adds zest and life to the individual pieces.

By

incorporating

advances in

technology,

the designer

establishes _vitality in his new works. Novel form is

one of the most obvious means of _achieving this

- 2

-field.

Font is dependent upon both the technical and

material _limitations. The pieces shown throughout

this paper are an attempt to create new form and

vitality.

Developing

new systems of technique and form leads to the creation of different technical and

visual designs. Systems become the underlying

structures and formulas for the artist. Systems come about as a result of technological advances and new _materials.

Creating

a system involves

experimenting with _materials,

forms,

and the technical aspects of const ruction.

A single individual piece _{may incorporate}

a new system under which other systems may be developed. The ideas developed here _may be

expanded into innumerable designs and evolve into

an entire line of furniture. Each new work becomes a

testing

ground for new ideas and concepts. An unsuccessful work exposes faults in the system and

may suggest _{necessary alterations.} The individual piece presents the opportunity of

developing

new

ideas and systems which might be applicable to

creating many designs. The large walnut _chair is

J* .V

"*

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Sfc~

W

IP

- 3

-system of _form and _{construction.} See illustrations

10 and 22.

The _individual piece is an _exciting challenge

to the _{designer because it includes}

many variables

and requirements that must be solved. The success

of each item depends on the knowledge and experience

of the designer. Throughout the construction of the

piece, the designer must _continuously

cope with aesthetic

and technical

decisions.

He has to

evaluate each

design in terms

of the purposes

and the final

effects he wishes

to obtain. Each of

the pieces

illustrated were

formulated with specific goals

and _functions. The walnut end

table is an example^of

this;

it

integrates a drawer into the total design for the

[image:15.566.66.519.176.667.2]

- 4

-Hhe designer's goal is to achieve good design

by

creating unique pieces which are well constructed and

visually pleasing. Each piece must be designed

appropriately to meet a specific purpose and to achieve

a

hamony

within itself. The designer wishes _to create

a _unity of

form,

_material, and construction. The pieces

exemplifying these qualities include the oak end

table,

the walnut _chair, and _{the writing} desk. See illustrations

4,

1,

and _13.

Well designed fon* is relative to time and

circumstances. What may have been good design

philosophy

during

the 1920's may not meet the

needs of today.

Likewise,

the designs of

today

_may

not _satisfy the demands of the future.

Therefore,

design must continually change and evolve.

However,

there are concepts and ideas which _only change in

degree. These include appropriateness of material

and simplicity of form. The _contemporary trend

tends to place more emphasis on form and _total

effects so that the object becomes a _satisfying

entity unto itself. Examples of this would

include the oak

dining table,

drafting

table,

- 5

-The individual piece is important because

it places more value on result as a complete unit

and evaluation as a single _entity. Each piece

establishes a character and

identity

of its own

and becomes a _personality and an important addition

to the surroundings. It _may be so well designed that

it be regarded as a piece of sculpture and considered

a work of art.

Being

aesthetically pleasing, it often

becomes the focal point of a room. The craftsman

often gains recognition

by

_exhibiting his work in

art museums. To be accepted, the work must be

recognized as an artistic contribution

by

a jury.

Many

of the pieces illustrated in this paper have

been exhibited in _museums,

including

illustrations

4,

5,

9, 13, 15, 16,

17, 23,

and 29. The mahogany

stool and the oak end table have received awards in

museum exhibitions. See illustrations 4 and _29.

The individual piece becomes the answer to

the problem of

having

something made for a

particular purpose when the item cannot be supplied

through the commercial market. Custom design is an

important aspect of craftsman made furniture and is

desirable for _many reasons. First of _all, it fulfills

- 6

-situation.

Secondly,

it can be designed aesthetically to fit in with the established atmosphere. In this

case, the piece not _{only has to} be well designed but

it Also has to take into consideration the

limitations of the environment. A careful _study

of the _surrounding styles and _setting must be

made in order to

fully

integrate the new design.

An understanding of the customer's needs and taste

must be taken into consideration. The custom

design has the advantage of

being

able to fit in

with the _personality of the customer and _satisfy

his particular needs. The custom _serving shelf

with slate inserts is an example of _satisfying

a need for extensive _serving area and integration

into the contemporary atmosphere. See above illustration. An example of different tastes

- 7

-rugged, and _{strong furniture} as compared to a

more

feminine, light,

_{and delicate style.}

Examples of _my work _exhibiting a masculine

style include illustrations

1, 9, 22,

and 29.

Those of a more feminine appeal include

illustrations

4,

6,

12, 16,

and _21.

Entire environments can be created

by

the use of individual pieces. Each _piece,

having

a _quality of _conveying a special

feeling

and _spirit, makes it possible to

create a unique atmosphere. With careful

selection of _works, all kinds of moods can

be established and worked into a total

environment. A particular mood could be

established

by having

all aspects of the

room,

including

its

furnishings,

contribute

to the desired total effect. Other aspects

involved would include floor _coverings, wall

treatment,

and accessories. Pieces _exhibiting

similar qualities would be selected _according

to a design theme. A

feeling

of elegance would

be created

by

the presence of the walnut _chair,

- 8

-the

following

items could also be used: the walnut

stool, the walnut end

table,

and the walnut

pedestal. See illustrations

10, 11a,

and 24.

Individual

pieces can be used

as a system of

furnishing an entire

house or apartment.

A system of this

nature would

exhibit a personal

touch. The pieces

would be selected

and purchased on

the basis of specific

needs of the family.

This would allow one to add pieces as

they

are

needed and still be consistent with the rest of the

decor. A more colorful atmosphere would be created

with each item _adding more interest to the room. The

unifying characteristic would be in _relating the

pieces through their basic _philosophy of good

contemporary design. This philosophy includes using

materials

honestly,

_using clean-cut

lines,

and _using

- 9

-in that

they

_may be placed throughout the home.

Furnishing

with this concept makes

it,

easier to add on to the present collection because the

pieces are independent and do not rely on a

particular style or period. This concept has many

advantages over the _traditional method of

buying

furniture of a particular period.

By*

selecting

individual _pieces, one can

buy

just those items

which are _necessary for one's own needs. This

system makes it more convenient and more adaptable

for further expansion. Individual pieces throughout this _paper, with some _selection, could be used

appropriately in

furnishing

a _contemporary home.

The individual

piece is designed to

meet the needs of today's

living. Today's fur

nishings should

complement the _changing

and mobile life we

live. The design

philosophy to meet our

fast

tempo,

everything-is-possible life demands

- 10

-sometimes _disposable. Our present furnishings are

still in a

transitory

stage but seem to be moving

in a progressive direction to meet our ever-increasing

needs. Experiments with all kinds of _materials,

processes, methods, and forms exemplify the work

being

done.

Designers are

looking

for

anything that

will add

comfort and

practicality

to our lives.

Examples of

my work which

illustrate

the use of new

processes and

materials include the laminated plywood chair and the

yellow foam plastic chair illustrated above.

If the individual piece is appropriate to

mass production methods and

techniques,

it often

becomes a prototype for _{industry. This} can happen

^H_______________H___

14-"'

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X - X

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j*_; ^r?ys_ "^-^

.

- 11

-20 to mass _production

processes. An

example of this

is the yellow

chair I

initially

designed as a

hand crafted

object. Its final

outcome reveals the

possibilities of its

production on an

industrial basis. The

initial piece would have to be first designed and

made

by

the craftsman and used as a model in the

planning stages for mass production.

Many

different

designs can be made from the technique used in the

yellow chair. The form of the chair was first

conceived and then it was carved from large foam

blocks. It was shaped and sanded into an integrated

whole. Strength and

durability

were added

by

_coating

the foam with fiberglass and _many layers of resin.

Coloring

was added to the resin before it was

painted on the chair. The design was chosen to

- 12

-forms.

This prototype could be used in making a mold

for manufacturing on a mass _{production basis.}

Creating

the

individual piece involves

a synthesis of

form,

function,

and

material. It

encompasses the

integration of

appropriate

construction

and _technical

solutions. The

designer thinks in

terms of _establishing

unity and _harmony.

Many

times the designer will

put much of his _personality into the final design.

He does this through a personal interpretation of

design and

by

_exhibiting a spirit which he feels

a form should have. Each piece becomes a personal

statement of the individual designer's philosophy.

In

designing

the piece the craftsman goes

through stages of _{experimenting} with

form,

_selecting

- 13

-methods and _{processes to be}

used. The success

of the designer depends on his _ability to

evaluate and come _up with the best solution

to each _{problem. He has to refer to his}

past

experience and _rely on his creative _imagination

for novel _{solutions. This creative spirit of}

the _designer makes his works unpre'dictable and

exciting in the end result. An attitude of

"anything

goes"

seems to be the trend of today's

thought.

This creates great _variety and

interesting

products. Some pieces

illustrating

this idea were exhibited at the Museum of Con

temporary

Crafts in an exhibition entitled

"Fantasy

Furniture." Examples of _my own works

possessing this spirit of adventure include the

foam plastic _chair, the oak end

table,

and the

walnut

typing

_{table. See illustrations}

19,

4,

and 16.

Conceiving

the ideas for new pieces can

be approached in various ways. It _may start with

a new design form and _may be developed further

by

adapting suitable materials and processes. The oak

- 14

-fashion.

Refer to illustrations 17 and 1. New ideas

can be stimulated

by

the nature of a particular

material and selection of an appropriate form to

accentuate the character and

beauty

of the material.

This method was used in _creating the sculptured

cherry table. After the form was _carved, it seemed

appropriate to place a transparent surface above

the object _to allow one to see its entire form. See

illustration 30.

The process of creation _{can be initiated}

by

deciding

on the

use of a certain

process such as

lamination. An

example of this

process is the

laminated oak

chair. I used

this technique

so that I could

take advantage

of the added

strength and ability of the laminating plywood to

make

- 15

-allow _{them to flex for an added}

cushion effect.

Using

another _approach, the form can be

conceived

first,

_{then appropriate}

materials and

methods might be selected for the construction.

Examples of work

following

_{this method include}

the oak _{stool, pedestal, and end table. See}

illustrations

18, 24,

and 23. This procedure

is most often followed

by

the craftsman interested

in _achieving new form.

On the other

hand,

the method of construction

can be conceived _first. An example of this _"form

following

process"

would be the yellow chair. See

illustration 19.

By

carving into a foam

block,

I

was able to create and

destroy

images with a blow

of an axe. When I had the effect I wanted I stopped

carving, smoothed down the

form,

and examined it

to make sure _everything contributed to the total

unity.

Another approach might be to start with a

feeling

or abstract idea

leaving

the mind open for

interpretation. Some ideas using this method include

elegance, growth, motion,

transparency,

and

floatation. These ideas can be used to establish

- 16

-Many

.of _my pieces have been inspired

by

a special

feeling.

See illustrations

1, 4,

5,

9, 16,

and 19.

By

exhibiting in many museums and in furniture

shows, I have talked with a great _many people on what

they

like to see in furniture. Some of the comments

heard include such things as "I like things which are

wild and show real imagination." Some people showed a

great deal of concern for the unique ideas and pieces

revealing creative solutions. "I want _{something that} is

hand crafted and has the personal touch of the craftsman,"

and "I use them in place of paintings and

sculptures,"

are some responses. Some people like _to have them

because

they

are _very

interesting

and have a great

deal of spirit.

However,

there are _many who are skeptical

of new _things. The drawings on the

following

page reveals

a situation that I well remember. The persons involved

did not know that I was

listening

and spoke rather

-17-. . . b*lV

Hari

/

iS T

- 18

-CONCLUSION

The _craftsman

strives to create _something

entirely new _and

different,

which has _novelty,

variety, and zest. An object _{that has}

character

and can _{stand alone is}

complete in

itself,

having

new

form,

_new

usage of

materials,

and new _techniques

of _{construction.}

Such an object is well designed and

fits its

function

_{appropriately. It is}

planned with

Vast sources of _{knowledge and is}

executed with

great _skill,

being

nurtured with _{love and a}

strong desire to achieve

harmony

_{and grace.}

The _individual piece _{becomes the masterpiece}

of the craftsman. It is a work of art developed

through a

problem-solving and _{technical process.}

It is a

totally

unique solution to a _problem; it

is the product of a

long

process of

decision-making

and controlled _{evaluation. Each piece is but a mere}

segment of a

long

evolution of an _idea.

The individual piece serves _{many functions.}

It can be used as an art _object, a system of

furnishing,

a prototype for

industry,

a custom

design,

and a

testing

ground for new concepts.

With _many areas to work

in,

the designer finds

- 19

-BIBLIOGRAPHY

1. Bal

linger,

Louise Bowen. Design Sources and

Resources.

New York: Reinhold

Publishing

Corp.,

1965.

2.

Bevlin,

Marjorie

Elliot.

Design through

Discovery.

New York:

Holt,

Rineharfi,

Winston,

1963.

3.

Dewey,

John. Art as Experience.New York:

Capricorn

BooEs,

1958.

4.

Hayward,

Helena

(ed. ).

World Furniture.

New York: McGraw Hill Book _Co., 1965.

5.

Kepes,

Gyorgy. Vision and Value- Series I.

The Nature~and Art of Motion. New York:

George

Braziller,

lM5.

6.

Kupka,

Karl. Dawn of Art. New York:

Viking

Press,

IF57

7.

Langer,

Susanne K. Feeling and Form. New York:

Charles Scribner's

Sons,

1953.

8.

Moholy-Nagy,

L. The New Vision an Abstract of

an Artist,

lew York:

WitteiTBorn and

Co.,

T4^

9.

Nelson,

George. "Problems of

Design,

Notes on

the New Subscape " Interiors, Vol.

CX,

No. 4 (Nov. 1950) pp. 140-143.

10.

Newman,

Erich. The Archetypal World of

Henry

Moore. New

York:

Pantheon _Books, 1959.

11.

Pye,

David. The Nature of Design. New York:

Hew YorkTT?einhold

Pub. Co.,

1964.

12.

Santayana,

George. The Sense of Beauty. New

York: Collier

BooEs,

1961.

13. Struppeck, Jules. The Creation of Sculpture.