Anti-Neutral

Interior design is an exercise in individual will and fantasy.

Time and time again, humans are in need of new experiences but have to integrate them by using and modifying pre-formed cognitive orientations.

It is easier to convince the public to ignore poor design than to make them enjoy great design.

"humanity I love you because when you're hard up you pawn your intelligence to buy a drink"
e.e. cummings

References and The Design Scene:

What we try to do

To construct another world whose location and relation to the past, present and future are unknowable.

Objects become the actual mechanism by which on lives in the space: windows, doors, bathrooms, HVAC, etc.

Working with the vocabulary of steel plate, kinetic members, cantilevered structures, plywood panels, concrete surfaces, THE DESIGNER makes everything a little bigger.

Our architectural objects become heavy to the touch and grander in scale.

I appropriate the images of mass production - factories, cranes and derricks, refineries, etc and blow these icons up to the point where they become giant environmental sculptures

I have a love for the mechanistic side of architecture. I borrow from the disciplines of engineering, advertising, mining, space exploration, blacksmithing and forging, and the movie making industry.

The design "scene" - the continuation of rapid-fire exchange in the use of imagery (the fate of the ephemeral) except for certain constants in the design scene.

Designers make images and then see if those images work. What the designer knows is unclear. I don't really know how I perceive, as when I pick out a friends face without knowing what features I recognize.

The factors underlying the design experience can be expressed in terms of requirements that an optimally effective work has to fulfil.

The laws underlying design experience can be translated into rules for guiding design (and art) evaluation, however, the application of these rules would require information - a part of which is so personal and private and frequently so subconscious that it can not be observed or obtained.

Artist who I think of that I feel are references to our work at patryan:things -

Gordon Matta-Clark
Richard Serra
Mark Pauline and Survival Research Labs
Chris Burden
David Ireland

Architects who I kind of like:

Frank Gehry
Jordan Mozer
Ron Arad
Alfredo Arribas
Robert Venturi

Other refs:
Part of the Bauhaus
Non-institutionalized cultures
Consumerism
Pre-Raphaelites
American Technology
Optimism
Melancholy - a specialty of being
The Development of Style:
A coherent iconographical packet of information to be used in an emergency.

To illustrate the relationship between matter and form, through examples of the use of certain materials in design and the creation of objects

To express a love for a rational, anti-romantic color language as a medium of human communication
To represent a world of pure and immaterial things, "anti neutral" and perceived intellectually

Materials That Disturb

We delight in enigmas of uncertain scale function and materials that disturb and maybe threaten the status quo.

Art Means Work

For years, design has had the desire to become art. It quotes art sources every chance it gets, trying to appeal to collectors and making its cultural debut in art galleries and museums. There are now a new generation of artists who are investigating the world and ideas of design. These artists work in architecture, interior design and furniture design, as well as product development.

Amanda Jo Arundale

VirusWar will be an opportunity to direct a show that is content-based and graphic.

The House

The house is a physical shelter, a place where people can let their hair down, even if they don't love each other.

I Need A New Title

I need a new title. I don't like "Theory of Design" too much. I want to tie it back to the book and the more current idea that Design Will Eat Itself or Bored To Death By Design. Something more subversive and witty.

The Daily Performance

I also use alternative systems of coherence such as geometry, allegory, and narrative to create an architecture that resists its traditional role, instead becoming an integral part of our daily performance in the world.

We can see that an environment or particular architecture now becomes fragmented into a set, a machine or a tool used for uncovering or offering a possible way of making sense of the world. I.E. the space becomes a stage set for a daily performance.

I am finally finished with the proposal for the manuscript on Design.

We delight in enigmas of uncertain scale function and materials that disturb and maybe threaten the status quo.

Some of our projects barrage the viewer with an eclectic mix of materials and shapes. We base these forms on an interest in high tech and other areas of technological expression.

By exposing the repressed structures of architecture and manipulating them to refuse resolution, it attempts to reveal architecture's internal conflicts and its inability to create a truly stable structure.

We consider architecture to be a set of stable and unquestionable assumptions that are badly needing alteration.

I personally detected this notion when a major dramatic shift occurred, changing the primary metaphors of architecture from references to man and his landscape to those of the machine.

By pushing high-tech to the point where it almost completely disappears into nature and as such we are concerned with making an environment more responsive to the body, and thus inherently changing.

GOAL: environments composed of light and electronically defined scrims with control systems that respond to the body; and architecture that promises the complete dematerialization of physical reality.

Pat Ryan's designs (furniture, structural fixtures, lighting, objects, etc) activates a blank space - studs and electrical conduit become a decorative language highlighted by our elaborate steel hardware.

Decoration is more unequivocal, it is easier to grasp. It gives what it has to offer faster.
Design, on the other hand, contains numerous dimensions at the same time - psychological and architectural.

Design makes reality clearer, Decoration conceals it.
Design is Conscious art.
Art is conscious design.
Conscious design is art.