Inner City Sanctums
Escape Your Day at AMOA: Downtown's Good Design
Herman Miller wall clocks. Designed by George Nelson.Photo by Ramona Flume
Herman Miller typography prototypesPhoto by Ramona Flume
Herman Miller "Marshmallow" Sofa, 1956. Designed by George Nelson.Photo by Ramona Flume
Office replica with the Herman Miller Eames Management ChairPhoto by Ramona Flume
Working downtown can be stressful. High rise offices. Noisy construction. Tight deadlines.
Everyone needs a low-key, weekday escape once in a while, and the Austin Museum of Art on Congress provides just that, though the current exhibit Good Design: Stories from Herman Miller is more of a reflection of than a departure from the fast-paced, modern work environment.
The exhibit showcases the evolution of Herman Miller and how his innovative team created design masterpieces of the 20th and 21st centuries--like the Goetz sofa that you might recognize from episodes of Mad Men or the Mirra chair, an ergonomic office staple--while adapting to the changes within the modern workplace itself.
In the 60s, Herman Miller’s designs confronted the reality of a radically altered economy and workforce by catering to new questions of comfort, individual contentment and increased productivity brought on by new jobs in the advertising, commercial artistry and mass communications industries. Miller's creative designs advocated for the future by reflecting the needs and desires of a generation of young, active-minded workers. The company wasn't just making new furniture; it was shaping a new way of life.
The AMOA exhibit’s focus on the evolution of the modern work environment reminded me of the scene, “Dinner with the Culvers,” in David Byrne’s progressive 1986 film, "True Stories," in which Mr. Culver, the leading financial and civic leader of a small Texas town, comments about the new generation of work:
“They’re starting their own companies, marketing new inventions! They don’t work for money anymore… they’re working and inventing because they like it!" he cries triumphantly. "They don’t seem to see the difference in working and not working. It’s all become a part of one’s life. There’s no concept of weekends anymore!"
So, in the midst of a hectic workweek, take a moment to walk to the AMOA and examine some of the integral designs of what we now know as the modern workplace. You might gain a refreshingly different perspective on what you--and millions of other people--do everyday from nine to five. You’ll return to your office chair as an enlightened part of the design evolution.
(And be sure to check out the Mona Lisa Project by Rino Pizzi located in the “New Works” wing.)
DIIV's set was moody, but propulsive thanks to strong bass lines.Photo by Brianna Caleri
Zachary Cole Smith can always be counted on for a nostalgic 'fit.Photo by Brianna Caleri
Starcleaner Reunion singer Jo Roman keeps the beat.Photo by Brianna Caleri
From the looks of it, no one had a better time onstage than Wayne Coyne, frontman of the Flaming Lips.Photo by Brianna Caleri
The tinsel whip was one of many props.Photo by Brianna Caleri
The Flaming Lips are known for touring with huge inflatables.Photo by Brianna Caleri
A joyful crowd reacts to being blasted with confetti during the Flaming Lips' set.Photo by Brianna Caleri
Ty Segall was king of the guitar jams.Photo by Brianna Caleri
Segall's painted jeans were probably the most unique fashion statement all weekend.Photo by Brianna Caleri
The Psych Fest uniform: Earthy shorts and calf tattoos.Photo by Brianna Caleri
Thomas Attar Bellier of Al-Qasar plays a beautifully adorned electric saz.Photo by Brianna Caleri
The more mics, the better for Al-Qasar.Photo by Brianna Caleri
A closer look at the saz.Photo by Brianna Caleri
Lyrics in Arabic brought extra gravitas to the set.Photo by Brianna Caleri
How's that for a desert hallucination?Photo by Brianna Caleri
New Candys guitarist Emanuele Zanardo puts a physical flourish in his playing.Photo by Brianna Caleri
A portal opens...Photo by Brianna Caleri
The Black Angels interrupted the technicolor parade for a largely black-and-white set.Photo by Brianna Caleri
Black Angels bassist Misti Hamrick-French basks in the cold glow of a strobe light.Photo by Brianna Caleri
Dumbo Gets Mad reminds us that Italians just get fashion.Photo by Brianna Caleri
Guitarist Luca Bergomi gets in on bassist Ivan Torelli's shot.Photo by Brianna Caleri
LA LOM bassist Jake Faulkner captures the sun.Photo by Brianna Caleri
Guitarist Zac Sokolow danced for the whole set, which happened to be on his birthday.Photo by Brianna Caleri
Faulkner's grandstanding added flavor to the show, which ultimately didn't need psychedelic visuals.Photo by Brianna Caleri
Faulkner's howls cut through the air, hardly amplified.Photo by Brianna Caleri
Trish Toledo paid homage to mothers and couples in her romantic set.Photo by Brianna Caleri
Not a practical shoe for a rainy weekend. We salute her sacrifice for fashion.Photo by Brianna Caleri
Thee Sacred Souls closed out the festival with a brass section.Photo by Brianna Caleri
This backup singer was exquisitely styled in blue.Photo by Brianna Caleri
Singer Josh Lane snapped a photo of an adoring audience. See you next time, Josh.Photo by Brianna Caleri