Jay Steffy, Interior, Circa 1980
I can't find much on Jay Steffy's design philosophy but I read his 1980s interior as postmodern.
"Postmodernism had begun as a radical fringe movement in the 1970s, but became the dominant look of the 1980s, the 'designer decade'. Vivid colour, theatricality and exaggeration: everything was a style statement. Whether surfaces were glossy, faked or deliberately distressed, they reflected the desire to combine subversive statements with commercial appeal. Magazines and music were important mediums for disseminating this new phase of Postmodernism. The work of Italian designers – especially the groups Studio Alchymia and Memphis – was promoted across the world through publications like Domus. Meanwhile, the energy of post-punk subculture was broadcast far and wide through music videos and cutting-edge graphics. This was the moment of the New Wave: a few thrilling years when image was everything." ( 1 )
"The postmodern outlook is characterized by self-referentiality, epistemological relativism, moral relativism, pluralism, irony, irreverence, and eclecticism; it rejects the "universal validity" of binary oppositions, stable identity, hierarchy, and categorization." ( 2 )
Piazza D'Italia, Charles Moore and August Perez III, 1978
Robert A. M. Stern: Residence and Pool House
Llewelyn Park, New Jersey, 1982
M2 building, Kengo Kuma, Japan, 1991
"Less is More" "Less is a Bore" LOL:
"If the Modernist movement could be epitomized in a single phrase, many would choose Mies van der Rohe’s succinct utterance, “less is more.” Three authoritative words, three stern syllables: The slogan came to embody the very architectural language it engendered, spawning a whole generation of architects who sought to strip back buildings to their bare essentials.
Mies and many of his Modernist peers advocated the abolition of the superfluous, arguing that ornamentation was a distraction from the beauty of structural rationality, or — worse still — an unethical symbol of extravagance.
Of course, as with any ideological action, there is a reaction, and this is where American architect Robert Venturi came in. Together with his wife Denise Scott Brown, the late Robert Venturi strove to rewrite the book (sometimes quite literally) on modern architectural design, challenging the principles of the Modernist movement with experimentation and witty provocation.
Venturi pinpointed Mies’ sound bite as a key source of influence and countered with his own, simultaneously playful and cutting in its candor: “Less is a bore.”
Venturi’s instantly memorable quote — its fame perhaps only surpassed by Mies’ oxymoronic original — became the mantra for an entire architectural movement. Postmodernism ushered in an age of warmer architecture, buildings full of character that displayed a greater sensitivity toward context, urban landscapes ingrained with more humor and humility than the earnest monuments of 20th-century Modernism.
... For [Venturi], this was the architecture of gentle anarchy, of free-spirited optimism, of unbridled joy." ( 3 )
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Hommell Barquette ( 1 of 52).
It’s quite possible that you immediately recognise this rather quirky and esoteric car, know all about its origins and could wax lyrical about it for hours on end.It’s equally possible that you’re scratching your head, thumbing through your encyclopedia of obscure cars and wondering what kind of automotive unicorn this could be.Alternatively, and we think this is rather more likely if you’re of a certain age, this car might induce in you some weird sense of déjà vu, a vague and troubling recollection of having seen it before - somewhere, somehow, some time.Allow me to jog your memory.Michel Hommell is, among other things, an engineer, a racing driver, the producer of France’s best-selling automotive magazines, and the owner of a particularly fine car collection housed in his Manoir de l'Automobile museum in Brittany.The eponymous Hommell Barquette was a track car launched in 1994 alongside a road-going version called the Berlinette, which was primarily manufactured to homologate the racing version.It was built out of the Frenchman’s desire to create something new, exciting and proudly Gallic in the manner of Alpine, Venturi, Matra and De La Chapelle.Weighing in at just 940kg and powered by a 16V 2.0-litre Peugeot engine producing 155 bhp, the Barquette was very much in tune with Colin Chapman’s oft-copied mantra that lightness matters more than power.The car had a tubular frame, front and rear double wishbones, a GRP body, and a 6-speed H-pattern gearbox.
Only 52 Hommell Barquettes were ever made.
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Venturi 260. 📸 Pierre-Yves Etienney. - source Rétro Passion Automobile.
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2010 Venturi America
My tumblr-blogs: https://www.tumblr.com/blog/germancarssince1946 & https://www.tumblr.com/blog/frenchcarssince1946 & https://www.tumblr.com/blog/englishcarssince1946 & https://www.tumblr.com/blog/italiancarssince1946 & https://www.tumblr.com/blog/japanesecarssince1947
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