scholarly journals DESIGN TECHNIQUE BASED ON AESTHETIC PRINCIPLES OF FORMATION

2019 ◽  
pp. 57-62
Author(s):  
Е. Костина ◽  
E. Kostina ◽  
А. Попов ◽  
A. Popov
Keyword(s):  
Design Process ◽  
Creative Process ◽  
Visual Image ◽  
Living Environment ◽  
Design Technique ◽  
Aesthetic Value ◽  
Aesthetic Design ◽  
Principles Of Design ◽  
Aesthetic Values ◽  
Subjective Side

In the design process, the designer creates a project, a prototype of the planned object. Design is a creative process. Aesthetics is one of the most interesting principles of design and plays a significant role, it defines the essence, the content. This is a kind of science of beauty in technology. In the process of designing in order to increase aesthetic value, it is necessary to understand that beauty is not only universal and objective; it also has a subjective side. The cultural background of the consumer, his education and living environment may influence aesthetic values. The designer should take this factor into account. First of all the consumer looks at the visual image, the "wrapper" of the product, considering that a good-looking object is better and more valuable. However, aesthetic design con-sists of more elements than just appearance. The functionality is important. Aesthetics is currently not fully understood. Designers use aesthetic principles intuitively based on their own feelings. This article highlights the existing aesthetic principles and shows their influence on the design process.

scholarly journals Memahami Estetika dari Sudut Pandang Desain Interior

Humaniora ◽  
2015 ◽  
Vol 6 (3) ◽  
pp. 339
Author(s):  
Yunida Sofiana
Keyword(s):  
Interior Design ◽  
Time Frame ◽  
Aesthetic Perception ◽  
Aesthetic Value ◽  
Aesthetic Design ◽  
Deductive Method ◽  
Functional Object ◽  
Principles Of Design ◽  
The Aesthetic ◽  
Objective Meaning

The term aesthetic has always become part of design. Without aesthetic, design has just a functional object. Aesthetic in design, particularly in interior design, has been influenced by many factors, which are aesthetic value, aesthetic perception, and time frame. Aesthetic has subjective meaning related to time frame and objective meaning related to implementation of element and principles of design on aesthetic term. Aesthetic perception is how we judge and see the object using our own thinking and value. Time frame is where and when the aesthetic value happens. Interior design trend right now has been influenced by technology in many ways so the concept of modern design theme is always the best choice for designer. However, using modern theme as a design concept has to be implemented as a whole theme and related to aesthetical value so that the design will gain much appreciation from others. This paper used deductive method to explain the theory of aesthetic and the implementation of aesthetic value in interior design context. Design should speak louder than it looked. 

IMAJINASI KE IMAJINASI VISUAL FOTOGRAFI

2017 ◽  
Vol 12 (2) ◽  
pp. 91
Author(s):  
Edial Rusli
Keyword(s):  
Creative Process ◽  
Single Unit ◽  
Digital Images ◽  
Visual Image ◽  
Construction Process ◽  
Multiple Images ◽  
Artistic Process ◽  
Visual Imagination ◽  
Human Thought ◽  
The Media

AbstrakImaji visual fotografi merupakan media rekam visual yang objektif dan representatifkebenarannya dalam merekam suatu realitas. Revolusi teknologi menyebabkan perubahandari teknologi fotografi analog sebagai salah satu media yang menyatakan kebenaran ataubukti dan sebagai media yang representatif kebenarannya ke teknologi digital yang dapatmemungkinkan untuk merekayasa gambar digital melalui perangkat lunak. Teknologi digitaltelah menjadikan kebenaran dalam sebuah foto tidak lagi absolut. Akhirnya fotografi sebagaialat perekam imaji yang representatif kebenarannya semakin diragukan. Karena semakin sulituntuk membedakan foto asli atau palsu, bahkan sebuah foto asli bisa saja dikatakan sebagaihasil manipulasi. Penciptaan imajinasi visual fotografi ini dihasilkan dari suatu olah daya pikirmanusia. Dalam proses tersebut dibutuhkan suatu kreativitas dari penggabungan imaji-imajisebelumnya atau sekarang ini untuk diimajinasikan. Pemaknaan akan bergeser dari imaji visualfotografi menjadi imaji visual fotografi yang baru. Proses artistik imajinasi visual ini diciptakandengan didasarkan pada artistik yang berdasarkan imajinasi, artistik berdasarkan imajinasi danartistik didasarkan pada kombinasi antara kenyataan dan imajinasi. Penciptaan Imajinasi visualfotografi merupakan daya untuk mengonstruksi ataau menggabungkan kembali dari berbagaiimaji-imaji atau foto- secara imajinatif dan kreatif dengan persepsi yang menyertainya untukmenjadi imaji baru yang utuh, logis, dan mungkin terjadi dengan menggunakan teknik danefek fotografi. Proses mengonstruksi membutuhkan suatu kemampuan berimajinasi untukmenggabungkan dan menyatukannya untuk menjadi satu kesatuan (unity) yang utuh dalam satupermukaan gambar/imaji secara ekspresif dan imajinatif melalui proses estetis yang kreatifberdasarkan ciri personal penciptanya. Dengan demikian, hasil dari proses konstruksi tersebutsudah tidak tampak lagi imaji sebelumnya dan pemaknaannya sudah bergeser menjadi karyaimaji dengan pemaknaan baru.AbstractImage to Photography Visual Imagination. Visual image of photography is a visual recordingmedia which is objective and representative in revealing the truth when recording a reality. Thetechnology revolution led to the change in photography, from analog photographic technologyas one of the media for promoting truth or evidence and as media representing truth to thedigital technology which allow people to manipulate digital images through software. Digitaltechnology has made the truth in a photograph is no longer absolute. In the end, photographyas an images recording tool representing truth is doubted. It is getting harder and moredifficult to distinguish the original or fake photo, even an original photo can be said as aresult of manipulation.The creation of visual imagination photography is produced by thepower of human thought. The process requires a creativity of merging the previous or recentimages to imagine. The meanings will be shifted from visual image photography into a newvisual image photography. Visual imagination of the artistic process is created on the basisof artistic imagination, artistic imagination and artistic are based on a combination of realityand imagination.The creation of visual photography imagination is a power to construct orrecombine from multiple images or pictures imaginatively and creatively with the perceptionto be a whole new image, logical, and may occur with the use of techniques and photographiceffects. The process of constructing requires an ability of imagining to combine and unitethem into a single unit as a unity which is intact on s single surface of the picture/image,expressively and imaginatively through an aesthetic creative process based on the personalcharacteristics of the creator. By doing so, the construction process will no longer visible onthe former image and the meaning will shift into an image with a new meaning.

Hundred Mile Aesthetics

2018 ◽  
Author(s):  
Dominic McIver Lopes
Keyword(s):  
Network Theory ◽  
Main Argument ◽  
Aesthetic Value ◽  
Psychological Traits ◽  
Aesthetic Practice ◽  
Almost All ◽  
Aesthetic Values

The main argument for the network theory of aesthetic value is that it better explains the facts about aesthetic activity than aesthetic hedonism. According to the network theory, an aesthetic value figures in a fact that lends weight to the proposition that it would be an aesthetic achievement for an agent to act in the context of an aesthetic practice. Each aesthetic practice has its own aesthetic profile, in which determinate aesthetic values are distinctively realized, and each has core aesthetic norms centred on its distinctive aesthetic profile. An account is given of the valence of aesthetic values. The theory explains why aesthetic experts disperse into almost all demographic niches, why they jointly inhabit the whole aesthetic universe, why they specialize by aesthetic domain, why they specialize by type of activity, why they specialize by activity and domain interacts, and why their expertise is rooted in relatively stable psychological traits.

Getting Practical

2018 ◽  
Author(s):  
Dominic McIver Lopes
Keyword(s):  
Network Theory ◽  
Mental Representations ◽  
Practical Reasons ◽  
Main Argument ◽  
Aesthetic Appreciation ◽  
Aesthetic Value ◽  
Aesthetic Property ◽  
Aesthetic Values ◽  
Aesthetic Reason

While the main argument for the network theory of aesthetic value is that it better explains the facts about aesthetic activity than does aesthetic hedonism, the two theories share some common assumptions. Aesthetic evaluations are mental representations that attribute aesthetic values to items. Aesthetic acts are acts based on aesthetic evaluations. Aesthetic values figure in aesthetic reasons, which are practical reasons. That is, an aesthetic reason lends weight to the proposition that an agent should perform some act—an act of aesthetic appreciation, for example. Hence, one task for a theory of aesthetic value is to state what makes some values aesthetic. A second is to state what makes it the case that an aesthetic property figures in a reason that lends weight to what an agent should do. Aesthetic hedonism and the network theory offer only to explain the practical normativity of aesthetic value.

scholarly journals Using virtual reality to estimate aesthetic values of coral reefs

2018 ◽  
Vol 5 (4) ◽  
pp. 172226 ◽  
Author(s):  
Julie Vercelloni ◽  
Sam Clifford ◽  
M. Julian Caley ◽  
Alan R. Pearse ◽  
Ross Brown ◽  
...  
Keyword(s):  
Coral Reef ◽  
Coral Reefs ◽  
Structural Complexity ◽  
Natural Environments ◽  
Natural Ecosystems ◽  
Aesthetic Value ◽  
Natural Systems ◽  
Holistic Conservation ◽  
Past Experiences ◽  
Aesthetic Values

Aesthetic value, or beauty, is important to the relationship between humans and natural environments and is, therefore, a fundamental socio-economic attribute of conservation alongside other ecosystem services. However, beauty is difficult to quantify and is not estimated well using traditional approaches to monitoring coral-reef aesthetics. To improve the estimation of ecosystem aesthetic values, we developed and implemented a novel framework used to quantify features of coral-reef aesthetics based on people's perceptions of beauty. Three observer groups with different experience to reef environments (Marine Scientist, Experienced Diver and Citizen) were virtually immersed in Australian's Great Barrier Reef (GBR) using 360° images. Perceptions of beauty and observations were used to assess the importance of eight potential attributes of reef-aesthetic value. Among these, heterogeneity, defined by structural complexity and colour diversity, was positively associated with coral-reef-aesthetic values. There were no group-level differences in the way the observer groups perceived reef aesthetics suggesting that past experiences with coral reefs do not necessarily influence the perception of beauty by the observer. The framework developed here provides a generic tool to help identify indicators of aesthetic value applicable to a wide variety of natural systems. The ability to estimate aesthetic values robustly adds an important dimension to the holistic conservation of the GBR, coral reefs worldwide and other natural ecosystems.

Creative Process as Labor

2021 ◽  
Author(s):  
Pierre-Michel Menger
Keyword(s):  
Nineteenth Century ◽  
Creative Process ◽  
Large Body ◽  
Special Focus ◽  
Sociological Research ◽  
Aesthetic Value ◽  
Artistic Creation ◽  
Self Actualization ◽  
Uncertainty Of Results

This chapter synthesizes a large body of sociological research dedicated to artistic creation as a labor-intensive activity. Questioning the nineteenth-century expressivist ideal of self-actualization, contemporary ontologies—whether defined by artists, scholars, or various professional assessors—function within two opposing regimes: elite egalitarianism and competing differentiation. Adopting a processual perspective, the chapter first turns to creation as a sequence of choices and tests realized under strict uncertainty of results, with an extreme discrepancy between accumulated efforts and reputational as well as monetary outcomes. Second, the chapter follows the downstream production of aesthetic value, turning to scores and performances and the reallocation of creative roles they rest upon. Third, the chapter sketches a genealogy of finishedness, from Romantic idealization to modern relativization, with a special focus on the completion of uncompleted works. Finally, the chapter outlines several caveats regarding the study of the creative process and their consequence for the sociology of labor, work, and innovation.

Integrating Technology with the Creative Design Process

2011 ◽  
pp. 26-51 ◽  
Author(s):  
Joshua Fairchild ◽  
Scott Cassidy ◽  
Liliya Cushenbery ◽  
Samuel T. Hunter
Keyword(s):  
Information Technology ◽  
Design Process ◽  
Creative Process ◽  
Creative Design ◽  
Creative Performance ◽  
Integrating Technology ◽  
Creative Solutions ◽  
Innovative Solutions ◽  
Psychology Literature ◽  
Creative Design Process

In our fast-paced world, it is necessary for organizations to continually innovate in order to stay competitive. At the same time, technology is continually advancing, and tools to facilitate work are frequently changing. This forces organizations to stay abreast of current technologies, and also puts pressure on employees to utilize the technologies available to them in order to devise innovative solutions that further the organization’s goals. To date, there has been little research on how such technologies may best be used to facilitate such creative performance. The present chapter addresses this gap by integrating a model of the creative process from the psychology literature with technology literature from engineering and information technology. This chapter examines how specific technologies may influence performance at each stage of the creative process, and provides specific recommendations for how technology may be used to facilitate the development of creative solutions.

The Interrelationships between Building Regulations and Architects' Practices

2007 ◽  
Vol 34 (5) ◽  
pp. 925-943 ◽  
Author(s):  
Rob Imrie
Keyword(s):  
Urban Design ◽  
Design Process ◽  
Creative Process ◽  
Main Argument ◽  
Building Regulations ◽  
Creative Practice ◽  
And Control

It is commonly assumed that building regulation and control is a technical activity and part of a bureaucratic machine external to the design process. For many architects building regulations are no more than a set of rules to be adhered to, and are usually seen as ephemeral, even incidental, to the creative process of design. However, the main argument of this paper suggests that the building regulations are entwined with, and are constitutive of, architects' practices. Far from being an insignificant part of the design process, as some commentators suggest, I develop the argument that the building regulations influence aspects of creative practice and process in architecture and, as such, ought to be given greater attention by scholars of urban design.

Conclusion

2009 ◽  
pp. 359-364
Author(s):  
Patricia A. Young
Keyword(s):  
Design Process ◽  
Creative Process ◽  
Design Decision ◽  
The Many ◽  
Interactive Relation

Culture works as a design construct. It is apparent that there are many factors operating to make this happen. First, the nature of culture in design is dynamic and maintains an interactive relation with its parts. Second, the inclusion of culture must be a design decision from the onset. Third, producing culture-based ICTs means that the needs of the many and the few are considered throughout the design process. Finally, designing with culture in mind is a creative process.

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