We have been trying to get the artificial world to resemble the natural world for thousands of years. From the acanthus leaves used to decorate the capitals of Corinthian columns to the vertical gardens on today’s skyscrapers. The slender stems of Tiffany lamps featured interwoven branches, flowers, dragonflies and spiders’ webs. The floral motifs of the Jugendstil, the Art Nouveau movement, were the crowning moment of this pantheistic, psychoanalytical need to feel at one with nature. It was an attempt to radically and
totally transform all objects and buildings into forests overgrown with climbing plants. A utopia that was sometimes descriptive and sometimes symbolic: a kind of false imitation of genetics that was if nothing else fantastical in its ‘extreme styling’, in its ambition to establish a phytomorphic beauty and extend it to infinity. It was also one of the central themes of the ideatorial and didactic principles of Paul Klee. There was an irresistible urge to camouflage.
Excerto na discrição de LURE , uma parte do texto da exposição Design Real, por Konstantin Grcic.