compassion, collaboration & cooperation iN transistion
ARE so well defined and clearly understood that Naylor and Ball have a fixed point in a turning world from which to conduct their elegant and ironic experiments with form, colour and texture. Modern design is thus celebrated in a critical way with such principles as honesty in materials and the avoidance of decoration subjected to the Postmodern twist.
Interestingly, in staking a claim for designers to control an alternative narrative of the object, Naylor and Ball don't approach their subject as a purely visual medium. Many of their IDEAS seem to emerge not through sketching but through language and wordplay as if they are literally taking the argument about Modernism at its word and turning [IT] on its head.
THERE [IS] a real relish for the lexicon of text and image in their book Form Follows Idea both unusual and adventurous. WORDS are described by Naylor and Ball as "delicious, powerful and tenacious". Commentary and creative process are ambitiously intertwined so that the familiar character witnesses for the Modern Movement - Adolph Loos, Robert Venturi, Walter Gropius, Charles Eames and so on - are referenced not just in the text but in the pieces themselves.
Jeremy Myerson foreword to FORM FOLLOWS IDEA
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