Frame of reference on aesthetic is different from ones’ eye to another. In this article, the author, Mads Nygaard Folkmann, try to define his own perceptions towards the word Aesthetic by having the comparison between two philosophers, Merleau-Ponty and Gernot Bohme, and the different approach on aesthetic like Panton and Campbell.
The author believes that aesthetic relates to design is by the function that it provides rather than how pleasing the item looks like. He argues that traditional art is more into individualism in a way that when an artist paint his own framework, the artwork can only be appreciate by himself and his own emotion. As for modern design, the author argues that modern design should focus more on serving the purpose
…show more content…
It was also mentioned the use of different material, material compatibility, can affect how people experience a space. Peter Zumthor then explained on how different material affects the space in a different way, example, sound, temperature and tension in the space. In addition to it, although the author used Verner Panton as an example, he did not fully explain how different elements affects the different sense which lead to the different outcome of a how people experience a space. However, in Juhani Pallasmaa’s The Eye of the Skin, in one of his chapter “Multi-Sensory Experience” he touches on each sense explaining how each of them is linked and how does it relate back to …show more content…
In Campbell’s design it is the subtle idea from her experiment of form, making it more conceptual as the aesthetic came from the experimentation and not the form itself. The author is trying to gives another perspective of understanding aesthetic, as he starts to look at a new form of aesthetic which is not on the sensory point but the aesthetic of the idea itself and the idea behind it. An example of form follows function design is Philippe Starck’s Juicy Salif, a lemon squeezer. Philippe Starck likes to use interesting or unusual combinations of materials such as glass with stone, plastic with aluminium, velvet fabric with chrome. This show us that the success of products doesn’t necessary need to achieve an obvious
There will be two images being discussed in this essay. The first image was called “9/11/2001” by Art Spiegelman and Francoise Mouly. The second image was “What So Proudly We Hailed” by Carter Goodrich. The reason these images were chosen was because they have many differences, but they also have a lot in common. This essay will contain the color, date, prices, color, and what are the similarities and differences between these two images.
Good morning students and teachers of year 12, Through the study of John Misto’s Drama Playwright ‘The Shoe-Horn Sonata’ and Pawel Kuczynski’s Poster titled ‘Homeless’, we recognise how distinctively visual features enable responders to reflect upon different visions of the world and composers to explore how life experiences shape individuals perceptions of the world. Analysing the composer’s use of a wide range of textual features in combination with distinctively visual features allows responders to realise that past and present experiences can often heavily shape individual’s perceptions of our world in positive, life changing ways. Although in some circumstances, experiences can be negative, therefore impacting the individuals’ perception
As I enter and look for parking at the museum Addison Gallery of American Art, I take a quick glance at the building and it looked like a big museum. When I enter the building, I noticed that there were two large rooms with art frame pictures around the walls. There was nothing on top of the floor; one of my first impressions was to ask, “why don’t they use the full size room?”. As I see different pictures in every room, including the second floor, there was one picture that got my attention. It was a medium sized frame artwork with a picture of a young boy.
Evaluating artwork, I am discovering, is an art in itself. Properly applied appraisal includes objective as well as subjective criteria. Francis Schaeffer (1973) offers Four Standards of Judgement, “(1) technical excellence, (2) validity, (3) intellectual content, the world view which comes through and (4) the integration of content and vehicle” (p. 62). Additionally, great art may evoke intuitive and emotional responses. By all measures, the writings of C. S. Lewis are masterpieces of literature.
Art was and still is a big thing in Italy. During the Italian Renaissance (14th to 16th century), art was considered to be an important role in society and paintings from the Italian Renaissance still exists today. Some artworks are Mona Lisa by Leonardo Da Vinci and The Peasants Wedding by Pieter Bruegel the Elder. These 2 artworks shows that they are from the Italian Renaissance through art characteristics such as S shapes/curves, Chiaroscuro, and how it is Realistic. With these art characteristics, it shows how they are inspired by humanism, individualism, and secularism (HIS).
In this essay, Design Fiction, Julian Bleecker talks about how design is everywhere these days and how stories are attached to objects. He talks about of being different, thinking different, opening the gates of creativity and enabling our brains to work its magic towards imagination. He accentuates about how we should be making new and unexpected things that comes to life through the process of revealing ourselves towards new experiences, social practices telling stories, observing our surroundings on a deeper level. Mixing up rationality and fiction, hence coming up with new and exciting concepts, breaking the clichés and adding another of layer towards it, that destines itself to be the upgrade concerning the norms. Julian Bleecker talks
The black-figure pot that is being critiqued is Red-figure lekythos by the Phiale Painter in around 450-425 BC. The medium used in this art is clay and this was made during the classical time period in Ancient Greece. The art is about h425 mm and it is currently in the Museum of Cycladic Art.
Has society really made humans think that beauty is the ultimate answer to life? Unfortunately, beauty is a major distraction to everyone, especially women. In the essays, “The Ugly Truth about Beauty,” written by Dave Barry and “A Woman’s Beauty: Put Down or Power Source?”, written by Susan Sontag these writers describe what beauty is all about in women’s eyes but with different views and cultures. Men seem to have a different perspective on beauty. It seems that women are more pressured to look a certain way in order to feel accepted by society.
Nowadays, interrelations between architecture and human sciences is significant, and intellectuals have influenced architecture with numerous amount of thinking being established and developed, thus more and more architects are fond to borrow different thinking to their designs such as Structuralism, Modernism, Post-modernism, Futurism, etc. Yet there are some contradictions between philosophy and architecture that require thinkers or designers to
Here, the term ‘beauty’ involves both form, shape and the relationship among people, environment, and the circumstances. Without doubt, beauty enhance the possibility of widely usage and longevity, providing daily life with pleasant and inspirations. There is an argument that this is a field where design has taken over from art, partly because the visual elements of design have become so much more refined. Yet there are some clear-cut cases. One is illustrated by the aesthetic differences between two typefaces that are included in the typeface menus of most computers: Arial and Helvetica.
In the first decade of the 20th century the ongoing experiments with pure form continued. A group of designers in Glasgow, Scotland became well known for their use of form and their inspired designers from all over the world. “Although the Glasgow group received a cool reception in the British Isles, designers in Austria and Germany were inspired by the move toward geometric structure and simplicity of form.” (britannica) The quote shows that this group’s work had become well known and it inspired others from all over the world.
Does technology help shape society’s standard of beauty? By: Allegra Sudarto Introduction: The world we live in today is a world of technology; the advancements in technology has been greatly integrated in our lives, and it is readily available and accessible. Technology has evolved it is not so much of magazines, newspapers, or posters, but technology has made the availability more at ease through smartphones.
Many designs from this movement is still been produced and widely because of their functionality and longevity. The essay has discussed how Modernism leaders define their aesthetic views specifically with educational method, in architecture and fine art. Although there is controversy about the Bauhaus hagiographic, it cannot be denied that the Movement has a great contribution to modern Art history. Bauhaus style generally has principle of using a minimum of material or a maximum achievement. Their formal characteristics are clean lines, an impression of speed and power.
For Laver, if a 150 years old trend is applied at present, it will embody the most beautiful form of style. Notwithstanding this seemingly stagnant process, there is still innovation in fashion, because modern designers have different approach in re-establishing previous styles of the centuries. This kind of viewpoint is in line with Benjamin’s concept of ‘reauratization’. Reproduction has the ability to recall the past without disregarding the present. Thus, the old come to be eternal and the ‘dialectics of the old and the new’ turn to be the ‘dialectics of the eternal and the new’.
These sensory signals have a large impact on our relationship and experience of an environment because they are able to physically and emotionally engage and connect us to the architecture. Although these types of sensorial qualities may not make or break the successfulness of architecture, they must remain of high importance because of their ability to reinforce an individual’s personal connection to a place. Juhani Pallasmaa, claims that our design culture has forgotten the importance of the senses in engaging our whole being- physical and emotional- in an architectural experience. This theory speaks to an experience that goes beyond a visual relationship between a person and architecture.