Evaluating Aesthetics in Evaluating Aesthetics in DesignDesign

A Phenomenological ApproachA Phenomenological Approach

link this article to my film of link this article to my film of clairvoyance, the “extra” sense, the clairvoyance, the “extra” sense, the

blurring of subject & objectblurring of subject & object

The Aesthetic challenge for The Aesthetic challenge for designersdesigners

1.1. Challenge to work consciously & Challenge to work consciously & strategically with the SENSUOUS impact strategically with the SENSUOUS impact of designof design

- drawing attention to the SENSUALdrawing attention to the SENSUAL

i.e. the concept of AMBIENCEi.e. the concept of AMBIENCE

(enhanced perception)(enhanced perception)

2. 2. Communicative self-reflection : way in Communicative self-reflection : way in which design communicates & how it can which design communicates & how it can be coded aesthetically in its construction be coded aesthetically in its construction of meaningof meaning

aesthetics: the aesthetics: the neglected area of neglected area of

researchresearchthe relationship between the relationship between

surface, appearance, styling surface, appearance, styling and functionalityand functionality

Historically scientific Historically scientific discourse focussed on…….discourse focussed on…….

methodologymethodology the impact of culture (making & the impact of culture (making &

consuming) consuming)

rather than on the “EMOTIONAL” factors.rather than on the “EMOTIONAL” factors.

Design = a meeting point of multiple Design = a meeting point of multiple interests, a practice of innovation & interests, a practice of innovation & change, problems & solutionschange, problems & solutions

Aesthetics – applied to Aesthetics – applied to Panton & CampbellPanton & Campbell

Form & Sensuous ExperienceForm & Sensuous Experience

Aesthetics is no longer the preserve Aesthetics is no longer the preserve of art but applies to our immediate of art but applies to our immediate sensuous experience of the world.sensuous experience of the world.

Appeal to the sensesAppeal to the senses

Communication that challenges Communication that challenges experienceexperience

Role of formRole of form

Return to original ideasReturn to original ideas

““Aistheta” ‘that which can be sensed’ & Aistheta” ‘that which can be sensed’ & the very perception of reality the very perception of reality (aesthetically)(aesthetically)

Schusterman, Seel & BohmeSchusterman, Seel & Bohme

Logos “doctrine” of “phainomenon” Logos “doctrine” of “phainomenon” ‘that which shows itself’‘that which shows itself’

Merlau-Ponty: interlaced structuresMerlau-Ponty: interlaced structures

aesthetics & sensuous experienceaesthetics & sensuous experience

Blurring of subject & Blurring of subject & objectobject

Reciprocally intertwinedReciprocally intertwined Impossible to separate the experiencing Impossible to separate the experiencing

subject from the experienced worldsubject from the experienced world Sensing/viewing subject can be sensed Sensing/viewing subject can be sensed

or viewed & become an objector viewed & become an object The flesh “la chair” – density of the fleshThe flesh “la chair” – density of the flesh

Bohme develops ambience further; Bohme develops ambience further; things, situations, surroundings – things, situations, surroundings – essential realityessential reality

AmbienceAmbience

First reality – coexistence of subject First reality – coexistence of subject & object& object

Synaesthesia – ambience is Synaesthesia – ambience is experiencedexperienced

Made or manipulated tooMade or manipulated too

(commercials, architecture)(commercials, architecture)

Structure of appearance: Structure of appearance: Panton & CampbellPanton & Campbell

Gesamtkunstwerk – surrealist / Gesamtkunstwerk – surrealist / psychedelicpsychedelic

ambience of colour, texture, fabric, layers, ambience of colour, texture, fabric, layers, materials, surfaces, elements of form as materials, surfaces, elements of form as variations of geometryvariations of geometry

Panton intensifies the ambience – the Panton intensifies the ambience – the immediate appearance of the world (Seel), immediate appearance of the world (Seel), the pure presentthe pure present

(pictures)(pictures)

Communicative self-Communicative self-reflectionreflection

The invisible idea or meaning (Merleau-The invisible idea or meaning (Merleau-Ponty)Ponty)

Its double & its depthIts double & its depth Transparence behind the sensibleTransparence behind the sensible MP breaks with the metaphysic…MP breaks with the metaphysic… Idea – structure of immanent Idea – structure of immanent

transcendencetranscendence

every design has an idea, a dimension of every design has an idea, a dimension of immaterialty – a matter of communication!immaterialty – a matter of communication!

Added QualityAdded Quality

Adorno – the other, the negation of Adorno – the other, the negation of the giventhe given

““the non-being in the works of art is the non-being in the works of art is a constellation of being”a constellation of being”

art produces something “more” art produces something “more”

Herstellung des MehrHerstellung des Mehr

an “otherness”an “otherness”

surplus of meaning (Seel)surplus of meaning (Seel)

Working with aesthetics: Working with aesthetics: CampbellCampbell

the diagram (animation)the diagram (animation)

How design performs or reflects How design performs or reflects meaning in its physical form….meaning in its physical form….

how it relates to the kind of self-how it relates to the kind of self-reflective “aesthetic function” where reflective “aesthetic function” where it displays a surplus of meaningit displays a surplus of meaning

x = relation to aesthetic functionx = relation to aesthetic function

y = reflection of the idea y = reflection of the idea

Framework for Framework for conceiving Aesthetics in conceiving Aesthetics in

DesignDesignconcept designnatural mapping

Non-surplus in appearance “functionality”

anonymous design lifestyle design

Surplus in appearance“aesthetics”

indirectly mediating the idea

directly displaying the idea