We’ll confess we’d like to be corrupted and this post is a straight out attempt at getting some payola. Admittedly the subject, the Dutch designers Meesters & Van Der Park, deserve all the praise we can give them but unfortunately they have just announced the split up of their partnership.
So we’re saying nothing but the nicest things in the hope we will be rewarded with one of these for free, surely they’ll find a surplus one as they work out their property settlement?*
We’d been saving up the link to them so we could write a post where we talked about the sheer beauty of their design which, like much recent Dutch design,
combines a nostalgia for the old with a surface of the contemporary,
an aesthetic of adaptive reuse, eg this carpet made of blankets
or this sand blasted and perforated cupboard.
They have adapted the aesthetic of archaeological repair (with added windmills and big Mac signs).
And they’re even into social knitting, having designed new products for Eindhoven Red Cross volunteer knitters. In other words they are the very model of the modern cool young designers. And we’re not just saying that because we’d love to have ……
No, the real reason is because we wanted to write about them as a perfect illustration of the developing post-hydrocarbon aesthetic, as defined in this very interesting essay by Richard Heinberg in Energy Bulletin
At first thought, aesthetics might seem utterly incidental, given the survival challenges imposed by Peak Oil, climate chaos, mass extinctions, and so on. However, art is part of the necessary process of cultural adaptation. People inevitably find ways not just to endure, but to enjoy â€” to find happiness in the midst of change. We are, after all, environment shapers. As birds build nests, we build campsites, fashion clothing, and (if we are civilized humans) build cities. But as we shape our environments, those environments in turn mold our perceptions, our judgments, our expectations, our very consciousness.
After analysing the aesthetics of the industrial revolution and the Arts and Crafts movement followed by “the tragic interlude of cheap abundance” and “hydro-carbon: big, fast and ugly” he goes on to list a number of likely characteristics. Now if there is one thing you can say about art history it is that it can take extraordinary and unpredictable turns, but his predictions are very convincing. The work of Meesters & Van Der Park and many other contemporary designers undoubtedly display some of the characteristics of the transitional era he describes (forgive the long quote)
8. Because the transitional era (i.e., the coming century) will be one in which species will continue to vanish, and because people will find themselves having to adapt to weather and other natural conditions (since they will no longer be able to insulate themselves from these with high-energy buildings and machines), workers will probably be inspired to incorporate themes from nature into their products.
9. In their efforts to identify aesthetic themes appropriate to hand labor and natural materials, workers will likely end up drawing upon vernacular design traditions.
10. Because people living in the transitional era will be witnessing the passing of the fossil-fueled machine culture of their youth, they will probably be inspired to incorporate occasional ironic or nostalgic comments on that passing into their artistic output.
11. Beauty may to a certain extent be in the eye of the beholder, but there are universal principles of harmony and proportion that perennially reappear; and, given that workers will be required to invent much of their aesthetic vocabulary from scratch, they will no doubt fall back upon these principles frequently.
12. Since we are entering an era of declining availability of raw materials, the new aesthetic will by necessity emphasize leanness and simplicity, and will eschew superfluous decoration. The Zen architecture of Japan may serve as an inspiration in this regard.
Now go and read the whole essay, it’s worth it.
*We should explain that the reason we haven’t posted much in the last few weeks is because we’ve had the excavator in ripping up our garden, again, for about the tenth time now in the last three years. It’s all because we have about an acre of land that has in its time been everything from a general store to a car wreckers yard and a bus depot so it is now more than a metre deep in buried car wrecks, road fill, kerosene shale, endless contaminants etc.
We took on the project of fixing it up and turning it into a contemporary garden, ie one that combined remediation with food production. It’s been great fun but the excavator is now a machine burned indelibly into our subconscious.