1. AESTHETICS OF INTERACTION DESIGN
As being a designer I always try to design something new, creative and interactive. Most of the people think that designers are born to modify and beautify things, which is totally wrong designers give directions of living; they transform the ugly into beautiful things. I have a deep interest in aesthetics and that I am tackling with the concept of aesthetics on a daily basis, in words as well as in drawings, movies, prototypes and other artifacts of interaction design. In this era the whole design field is all about interactive designs for that we have to deal with aesthetics of interactive design.
1.1 AESTHETICS
I have read the Journal „SPECIAL ISSUE ON DESIGNING FOR AESTHETICS OF INTERACTION’ and attempt to provide an overview of current research in the Aesthetics of Interaction.
Aesthetics is the study of beauty in nature. The best designs usually 'look good‟ 'aesthetically pleasing'. The aesthetics are usually accomplished by the shape, texture, and colour, type of material, symmetry and simplicity of the repeated pattern used in the design.
Aesthetics is a concept not easily broken down into simpler ideas, making it difficult to explain. When we speak of something that creates an aesthetic experience, we are usually talking about some form of art; yet the mere fact that we are discussing a work of art does not guarantee that we are also discussing aesthetics the two are not equivalent. Not all works of art necessarily create an aesthetic experience, for example when we look at a painting to determine how much we can sell it for. Just think how we beautify things in our mind and this aesthetic design sense should require achieving interactive designs.
Aesthetics is basically related t...
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4. Gibson, J. J. (1986). The ecological approach to visual perception. Hillsdale, NJ: Lawrence Erlbaum Associates.
5. Philip R. Ross* and Stephan A. G. Wensveen: Department of Industrial Design, Eindhoven University of Technology, Eindhoven, the Netherlands
6. Frens, J. W. (2006). Designing for rich interaction: Integrating form, interaction and function. Eindhoven, the Netherlands: Eindhoven University of Technology.
7. David McGookin, Stephen Brewster , Berlin Springer (2006). Haptic and audio Interaction design.
8. Taylor & Francis. (01 Jan. 1997), London: Taylor & Francis. Ergonomics abstracts.
9. Routledge & Kegan Paul. (01 Jan. 1996), British journal of aesthetics.
10.http://www.guusbaggermans.nl/friendlyvending/
11. http://www.techeblog.com/index.php/tech-gadget/high-tech-friendly-vending-machine-is-interactive
“Design is the method of putting form and content together. Design, just as art, has multiple definitions, there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that’s why it is so complicated.”(Rand, Paul)
Nothing is original these days, we live in a postmodern society that is continuously reusing, revising or reproducing existing ideas, thoughts concepts and images. Originality implies a lack of outside influence but we are humans and as such we cannot avoid interacting with each other and we cannot avoid the visual and auditory stimuli that we encounter in our daily lives. With that in mind the notion of originality becomes a paradox in itself. All claims of innovation and individuality during the design process are misguided because artists are always consciously or unconsciously deconstructing and reconstructing existing elements into new configurations.
Aesthetic aspects of a film are always one of the important tool for the viewer to get ahold of what the director is trying to tell. All of the techniques used by the directors impact the viewers’ experience of the film. Aesthetics, for me, is transforming unreal to real. What I think directors do is that, they take some things from their own perspective, and combine it with their idea of beauty and then present it to the world. So, their view on beauty and they take on the world is now in the film that they created.
Ornament can also be described as accessible demonstration of attractiveness; it is what makes beauty noticeable. Usefulness, durability and beauty of ornaments defines the fundamental elements of a building; however, ornaments now-a-days urbanized differently.
With his down-the-rabbit-hole approach to design and obsessive attention to detail, Wes Anderson, writer, director and auteur, is best known for his highly stylized movies. His extremely visual, nostalgic worlds give meaning to the stories in his films, contrary to popular critical beliefs that he values style over substance. Through an analysis of his work, I plan to show that design can instead, give substance to style.
Graphic designer and typographer Stefan Sagmeister has always had a unique way of viewing the world, therefore has created designs that are both inventive and controversial. He is an Austrian designer, who works in New York but draws his design inspiration while traveling all over the world. While a sense of humor consistently appears in his designs as a frequent motif, Sagmeister is nonetheless very serious about his work. He has created projects in the most diverse and extreme of ways as a form of expression. This report will analyse three of Stefan’s most influential designs, including the motives and messages behind each piece.
In conclusion, the debate between aesthetics and functionalism has been around for a long time. It becomes clear however, through research, that the first thing architects consider is function, and then aesthetics. It is because of this approach that aesthetics becomes somewhat of a by-product of the whole design process. By looking at examples of various buildings, it is apparent that aesthetics is important to structure and in many instances has been successfully coupled with function. But in no circumstance should aesthetics take precedence over the function and practicality of a building. It seems more likely that a happy medium between function and aesthetics can be reached, on a project by project basis, and then applied to the design process of creating the building.
Aesthetics found that through their great interest in beauty, pleasure that is derived form objects of art is more beautiful than other pleasures.
Philosophies of Art and Beauty Edited by Hofstadter and Kuhns, (Chicago: University of Chicago press, 1976) chapters one and two for an overview of the aesthetics of Plato and Aristotle.
Aesthetics is the study of nature, beauty and taste. Found information states “that Aesthetics refer to environmental factors and how they are manipulated to influence our feelings and emotions”. When referring to environmental factors it was including colors, lighting, spatial arrangement, and sounds. Found information also states that we “manipulate environmental factors to affect mood by controlling the setting”. For example, you may change the lighting in the room to a dim to give a romantic mood for someone. Aesthetics is used in many different ways.
Aesthetics is the theoretical study of the arts and related types of behavior and experience. It is traditionally regarded as a branch of philosophy, concerned with the understanding of beauty and its manifestations in art and nature. However, in the latter 20th century there developed a tendency to treat it as an independent science, concerned with investigating the phenomena of art and its place in human life. Yet, what in a field with a hazy line in between being classified as a science or study of beliefs is considered data for determining what can be studied? It can simply be drawn to the only three things involved in the process of art : The creator, the person experiencing, and the art itself.
One of the key ideas of the modern era was to forge the designs of the future on the corpses of the past, disregarding everything from the last era and moving forward with new ideals and styles. Refining and discarding they shaped, molded and constricted the ideas of design until reaching the pinnacle of minimalism. Creating design with pure aesthetics and reducing an object down to its core fundamental elements. Using the ideas of “less is more” or even “using less for more”, the designs ended up simple and elegant with a focus not in quantit...
Hegeman, J. (2008). The Thinking Behind Design. Master Thesis submitted to the school of design, Carngie Mellon University. Retrieved from: http://jamin.org/portfolio/thesis-paper/thinking-behind-design.pdf.
Design has major impact with concerns to environmental qualities. This field is a direct study of the relationship between behaviouristic actions of its inhabitants. Designers constantly interact with people and communicate to solve the needs of their clients regardless of large or small scale projects. Analysis is key in combining creativity with managerial design solutions. These outside-of-the-box designers have the ability to create beautiful, safe and functional and aesthetically pleasing spaces using common factors, designing for communities as well as,
‘You cannot hold a design in your hand. It is not a thing. It is a process. A system. A way of thinking.’ Bob Gill, Graphic Design as a Second Language.