105,733 research outputs found

    Comparison of the Aesthetic Pleasure Design Cultures between the East and the West

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    From the cultural perspective, aesthetic pleasure is influenced by the implicit and explicit ethnic characteristics. For instance, the triggers of laughter in western and eastern humors are different. The concepts of designing the aesthetic pleasure of a product may also be influenced by human lifestyles. Based on Aesthetic of Reception proposed by Hans Robert Jauss, this study attempted to use the fundamental framework of aesthetic pleasure which includes three perspectives, including creation poiesis , perception aesthesis , and purification catharsis , to examine the difference between western instrumentalism and eastern spiritualism. From the idea that creation is to produce aesthetic experience and is the representation of design, the development of the representation of design in the east and the west could be derived. Perception is the pleasant emotions created after affective reception. It is the perception of design that reflects the perceptions of pleasure in the eastern and the western world. Purification is the result of interactions with aesthetic experience, allowing us to understand the formation of taste and style. Through the fundamental framework of aesthetic pleasure, the difference between the east and the west in aesthetic pleasure can be more easily observed, and a new discourse of design can also be formed from this cultural perspective

    Searching for the 'sweet-spot': Demonstrating the contribution of shape analysis tools in stimuli creation

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    Within design research several well-known principles have been identified that influence aesthetic pleasure for product designs. More specifically, these design principles indicate an optimal balance on a certain design attribute that receives the highest aesthetic pleasure (e.g., Most Advanced, Yet Acceptable). While these go far in explaining the effects of design on appraisal, the nature of the stimuli used in these studies makes it difficult to identify exactly where this optimal balance lies and thus does not inform a designer on how to adjust a given attribute to create an aesthetically pleasing product design. In this study, we conduct a meta analysis on one such study exploring the design principle Most Advanced, Yet Acceptable and demonstrate the application of shape comparison tools in relating the sweet-spot in terms of changes in product shape. Results from the application show the way in which quantifying difference in shape can help to identify aspects of shape where minor changes result in substantial increases/decreases in aesthetic pleasure, as well as its use in relating a value of difference to optimum values of aesthetic pleasure

    The Aesthetic as an Aspect of Praxis: - Architectural design as a cooperative endeavor

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    Commonly the aesthetic is understood as sensuous private pleasure, which other people cannot experience, but maybe talk about, and on the other hand as created by individual artists' talents. We will attempt to bring the aesthetic back into praxis by arguing that aesthetic experience is tied to Gibson’s notion of perceptual systems. The article builds on observations of a design project for a community center in a Danish village. We argue that the aesthetic is shared pleasure resulting from struggles by participants in praxis, where aesthetic, material, functional, ethical, political, and economic aspects are formed by each other in a dialectic process. The struggles are found in the community council's reasons for starting the process, in the design and construction process and the use of the results. This means that descriptions of the aesthetic appearance of buildings should incorporate relevant discussions and struggles of the design, construction and use of the building, and that aesthetic experience is enriched the more aesthetic experience it is based on. It also means that the key to a fruitful ongoing collaborative process producing good aesthetic designs comes from managing together the many aspects of praxis in an open way

    Sculplexity: Sculptures of Complexity using 3D printing

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    We show how to convert models of complex systems such as 2D cellular automata into a 3D printed object. Our method takes into account the limitations inherent to 3D printing processes and materials. Our approach automates the greater part of this task, bypassing the use of CAD software and the need for manual design. As a proof of concept, a physical object representing a modified forest fire model was successfully printed. Automated conversion methods similar to the ones developed here can be used to create objects for research, for demonstration and teaching, for outreach, or simply for aesthetic pleasure. As our outputs can be touched, they may be particularly useful for those with visual disabilities.Comment: Free access to article on European Physics Letter

    Selection and arrangement of accessories

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    "File: Interior Design, 11/77/6M""One of the greatest sources of pleasure is the daily opportunity to create beauty with everyday objects. It is possible to find charm and aesthetic pleasure in the simplest acts of living - arranging slices of bread on a tray or setting the table for dinner. An awareness of the beauty in objects develops from a sensitivity to the design elements - space, form, line, texture, and color. The cost of objects used has nothing to do with the quality of the composition. The accessories selected and how they are used can be important in adding interest and pleasure to a home. In this guide, information will be provided to help use the elements of space, form, line, color, and texture in designing arrangements to create beauty and express personality."--First paragraph.Patricia Klobe (Housing and Interior Design Specialist

    Aesthetic heuristics for design: perceptual and absolute standards of beauty determinants

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    The extraction and formalization of design heuristics used in design is an increasingly important area of research because of their multiple possibilities of application, especially for design practitioners. However, most of the attention has been paid to design heuristics for designing the product's functionality, usability, or architecture, three design tasks where plenty of methods are already successfully used. On the contrary, aesthetic design is an area where intuition is the prevalent method used to seek the generation of aesthetic pleasure for the user. Some methods exist but they are rather of descriptive nature, stating what to do, but without explaining how to do it. To tackle this problem, this paper describes a method to extract and validate a set of 223 aesthetic design heuristics obtained from textbooks and scientific literature. These heuristics were validated through the analysis of 50 products winners of design awards; 123 were coincident and 36 new. Out of the 123, 46 heuristics were randomly selected and validated by analyzing the interrater agreement of an experts' survey (n=24). Eighteen aesthetic design heuristics resulted in potentially increasing the users' aesthetic pleasure

    Appropriateness in design

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    When the term ‘design object’ is used to refer to artifacts, we presuppose that they can serve mundane functions and provide aesthetic pleasure. In many cases, the visual form of a design object is a result of achieving aesthetic function and practical function. What is the relation between these two functions? In the design process, designers also strike a balance between aesthetic pursuit, utilitarian purpose and other factors, such as environmental protection. What is the balance of these aims (aesthetic aim and the non-aesthetic aims)? My research on this topic suggests that it may be useful to conceive it in terms of appropriateness. The aim of this dissertation is to investigate the relation between aesthetic and non-aesthetic functions in design objects. Another, larger and more fundamental, purpose of this dissertation is to analyze the notion of appropriateness in design through the conceptions of aesthetic value and moral value. The findings of this research contribute to my argument that appropriateness as a property found in design objects is a balance of aesthetic value, functional value and moral value. This unique quality found in design object can be found in many successful universal designs, and it is also part of the reason why this style can prevail for decades. This research also brings two academic disciplines (the studies of design and aesthetics) together. It is something new and timely from which both disciplines could benefit. In addition, the discussion of Wucius Wong’s art, which is part of the analysis of the different functions of design objects, is an original finding which contributes a detailed understanding of Wong’s art and its relation with design concepts. The appropriateness of design is a decision after all things have been considered in the deliberation. It is not necessarily the best and it can be ever changing according to different situations. The investigation of this topic is not aimed at finding an ideal approach to achieve the appropriateness in design, but through the investigation of the relation between aesthetic function and non-aesthetic functions, and the relation of aesthetic value, functional value and moral value of design objects to contribute architects and designers in making an appropriate decision during the design process

    The furniture designs of C.F.A. Voysey, part 1: 1883–1898

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    The best of Voysey's furniture is as well known as his architecture and is highly regarded in design circles, with many major museums of Decorative Art holding representative examples. Above all else, his pieces are praised and valued for their simplicity of design, exquisite proportions and exemplary craftsmanship. In today's secular society it is all too easy to impose our own values and perceptions - primarily aesthetic - on these, the products of a relatively recent past. In the case of C F A Voysey this would be a mistake. Voysey's own extensive writings on architecture and design make clear that he viewed his creations as having two, interdependent but equally important aspects: the moral and the aesthetic. Counselling against judgement based purely on aesthetic grounds Voysey wrote: "Some would have us silence our reason and drink in the sensuous beauty as we often do our food, for the mere pleasure of being pleased; so feeding, not as a means to an end, but as an end in itself. Rather should we approach the works of men in all time, intelligently seeking the higher motive of their action"

    The Transformation of Aesthetics in Architecture From Traditional to Modern Architecture: a Case Study of the Yoruba (Southwestern) Region of Nigeria

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    Aesthetics is the philosophical study of art and natural beauty and it is indicated by the feelings of pleasure or displeasure which comes from visual and aural elements and artifacts. Hence, aesthetics depends on animate or inanimate organization which can be perceived either subjectively or objectively. This aesthetic element is uniquely present in the traditional buildings and modern buildings of southwestern part of Nigeria. This study is set out to evaluate and bring into lime light the aesthetic characteristics of traditional buildings and that of the modern buildings, how one style or aesthetic element gradually prevail over or transform to another, reasons and consequences of one completely predominating another in Yoruba region of Nigeria. Moreover, this study therefore, is divided into four parts, which are: (a) overview of the history of modern and traditional Architecture of Yoruba land (b) aesthetic characteristics or indicators of traditional and modern architecture in Yoruba land, (c) the differences between the aesthetic of both style of Architecture and what is responsible for this change or transformation in their aesthetic value. The research concludes with recommendations of synchronizing both style of architecture design in getting an optimum aesthetic value, and offers a room for further research and development of a consistent and notable architectural typology for southwest Nigeria
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