Designing and decorating interior appears to be a played out function- as an independent and discipline interior designer Han Kluijver said in two of his articles released on 6 and January 8, 2004 (numbers 1 and 3). New chances for the interior are in collaboration with the architecture, he stated. However, there are more possibilities. A covenant with the visual arts and participated in the design of public spaces may provide the interior a new impetus.
The notion of an interior is continuously progressing. For that reason, it is not a pillar of understanding, techniques and methods, but it unfolds as a diffuse system of designing techniques and attitudes. Interior decoration is an occupation with a possibly massive width. Apart from decorating the interior, there are also excellent opportunities in collaboration with art.
The modern art manifests itself progressively as a practice, as an interaction between artist and audience, as awareness of our social truth.
A considerable group of artists is no more on the individual expression of individual emotion. To them the principle lart pour lart does not always work as an assisting design. These advancements make the phenomenon of visual art in the public areas difficult. At some point, it can offer the interior some brightness. The architecture can play a leading role in this process. On the basis of a couple of random examples from previous and present – and from it’s own practice – this article will demonstrate how it can work. We return in time to the start of the twentieth century. In the Amsterdam School, architects paid unique attention to the look of their structures.
At the inauguration of the designer Cuypers and a face function developed by Berlage in the duration 1910 – 1930, the so-called bound sculpture. Carvers sought affiliation with the architecture resulting decorative or winding up buildings, bridges, and other metropolitan architecture.
The mix of architecture and art was significantly viewed as a combination, where the focal point is the expression of space. In this school for the artist at the same time the problem was that it could be taken into a sort of artistic issue. On one hand, he wished to develop course deal with its own expression, individual, subjective and closed.
On the other hand, there was the requirement of openness, objectivity and comprehensiveness, because after all, the work entered into the public space. The threat of shallow, meaningless designs was, therefore, lurking.
Finally a small example of how art can blend into its surroundings so that nothing more need to be added. I refer to the work of the British landscape artist Andy Goldsworthy. Utilizing stone or wood changes the natural surroundings, highlights the organic structure and plays with ideas of everlasting change. His work is largely temporary, exactly what is taken from nature, will sooner or later be replaced again.