AESTHETICS

How is it related to Architecture????

Aesthetics can be an importantant link between technology developmen
design and architecture.
Thus, it is a connecting as well
ell as separating element between philosop
of technology and philosophy of architecture and design.

Aesthetics is the branch

bra of philosophy that
deals with the nature and expression of
beauty.

Architecture is a design proces

ess which involves planning, designing,
creating, erecting, constructin
ting and executing construction of various
types of spaces that are functionally efficient, economical, and
aesthetically pleasing.

The two most important factor tors in the design of building are Form and
function. Functionality is the most
m important aspect of space design. Th
other aspect is form or aesthetetics which related to feelings and emotion
• Architecture is considered a visual art like painting and
sculpture.
• Architects design buildings using a creative process by
which they manipulate e art
a elements to create a unified an
pleasing artistic statement.
• The difference between n a painting and architecture is tha
a building has a function
ion and must be designed with safety
in mind.
• When architects start wo orking on a project, they prepare
quick sketches that suggggest areas of function dictated by
the client.
• Next, architects use a process
pro of design to draw, and then
refine the form of the new building.
• Understanding architectuctural design is simplified if you think
the "façade" or face of the building as a painting.
The philosophy of aesthetics:

• Mass and space: A state in which various form a satisfying an

harmonious whole and not
othing is out of proportion or unduly
emphasized at the expense of the rest.
Proportion:
Proportion is the
term used to
describe the
relationship
between two
things of different
size. In architecture
we are looking for
the proportional
relationship
between spaces
and the size of the
human body.
Symmetry: In
architecture, symme
is the reflection of
shared forms, shapes
or angles across a
central line or point
called the axis.
Basically, componen
that mirror each othe
across an axis are
symmetrical. ... Just
imagine a vertical lin
straight down the
middle of that centra
tower, from tip to ba
Balance: Balance is the e equal distribution of visual weight in
design. Visual balance oc occurs around a vertical axis; our ey
require the visual weightt tot be equal on the two sides of the
axis. We are bilateral creaeatures and our sense of balance is
innate. When elements are ar not balanced around a vertical
axis, the effect is disturbing
ing and makes us uncomfortable.
Contrast: Contrast is a principle
p of art. When defining it, ar
experts refer to the arran
rrangement of opposite elements (lig
vs. dark colors, rough vs.
vs smooth textures, large vs. small
shapes, etc.) in a piece so as to create visual interest,
excitement, and drama.

The colors white and

black provide the
greatest degree of
contrast.
Complementary colors
also highly contrast with
one another.
An artist can employ
contrast as a tool, to
direct the viewer's
attention to a particular
point of interest within
the piece.
Pattern: Pattern is an underlying structure that organizes
surfaces or structures in a consistent,
co regular manner. Pattern
can be described as a repe peating unit of shape or form, but it
can also be thought of ass the
t "skeleton" that organizes the
parts of a composition.
Decoration: It is the somet
ething which is added to building o
any other structure to improve its aesthetical value and
appearance. eg. Light effects,
eff some ornaments, colors, etc
Massing: Massing is a term
erm which refers to the perception o
the general shape and form
fo as well as size of an element.
Unity: Unity is the relatio
tionship among the elements of a
visual that helps all the
he elements function together. Unity
gives a sense of onene ness to a visual image. In other word
the words and the images work together to create
meaning.
Rhythm: Repeating art elements in regular or cyclical
fashion to create interes
rest, movement, and/or harmony an
unity. Rhythms can be random, regular, alternating,
flowing, and progressive. Classes of pattern include
mosaics, lattices, spirals,
ls, meanders, waves, symmetry and
fractals, among others. When motifs or elements are
repeated, alternated,, or otherwise arranged, the intervals
between them or how they th overlap can create rhythm
and a sense of moveme ment. In visual rhythm, design motifs
become the beats. Rhyt hythms can be broadly categorized
as random, regular, altelternating, flowing, and progressive.
THEORIES
John Hospers Denis Dutton
• Elements • Expertise, Virtuosity
• Form • Nonutilitarian Pleasur
• Expression • Style
• Symbol • Criticism
• Truth • Imitation
• Criticism • Special Focus
• Value • Imagination
Monroe C Beardsley Gordon Graham
• Unity • Pleasure
• Complexity • Beauty
• Intensity • Emotion
• Understanding
Janet Murray
• New Poetics Aristotle
• Interactivity • Poetics
• Immersion • Plot
• Navigability • Character
• Transformation • Theme
Arnold Isenberg • Diction
• Verdict • Music
• Reason • Spectacle
• Norm
Karl Marx
arx & Aesthetics
 DESIGN PRINCI

Design
• The Fundamental Actt ofo Planning and Creating the Form
of an Object
• Putting Aesthetics into Play
• Communication

Poppy Evans and Mark Thomas

• Design is a Language
• Fundamental Principles and Elements
• Principles are Organizational Rules
• Primary and Secondary
• Elements are Building Blocks
• Content and Composition
Primary Principles
• Unity and Variety Elements
• Shape and Space
• Hierarchy • Line
• Proportion • Size
• Color
Secondary
• Texture
• Scale • Typography
• Balance
• Rhythm and Repetition
• Proximity
Robin Williams James Gordon Bennet
-Four Basic Principles
• Beyond Static
• Proximity
• Time
• Alignment
• Interactivity
• Repetition
• Additional Media
• Contrast

Elizabeth Resnick
• Design Process
Nathan Shedroff • Define the Problem and Esta
• Experience Design Objectives
• Knowable • Do the Research
• Reproducible • Develop Ideas by Brainstorm
• Designable • Analyze Ideas in Terms of
Objectives
• Implement Final
Scrum Donald Norman
• Agile Development • It’s not the Users Fault
• Real Progress • Design Principles
Scheduling • Conceptual Models
• Playtesting
• Iterative Design
• Rapid Prototyping

Jorge Frascara
• Communication
• Interpretation
• Organization
• Presentation
AESTHETICS & DESIGN
WORKS OF BRUNI MUNA
Italian artist and designer Bruno Munari is one of the world’s most celebrated
innovators. But despite being influenced by and working through different
artistic movements from Futurismm to Surrealism to Concrete Art, Munari cannot
be associated with any one specific genre.
genre Exploring his fundamental
concepts of functionality and uselessness,
use we take a look at his life and career

Born in Milan in 1907, Bruno Munari’s

interest in the second-generation
generation
Futurist movement was sparked by
Filippo Tommaso Marinetti, author
of the controversial Futurist
Manifesto.. The bold revolutionary
approach and experimental
aesthetic of the Futurists appealed
to Munari, and he first exhibited with
them in 1927.
Munari used impermanent materials in many
of his works. This means, of course, that many
of them no longer exist today. Despite the
strong influence of Futurism on Munari’s early
artistic career, he disassociated himself from
the movement after World War II, disagreeing
with the their Fascist political affiliations. The
Futurist aesthetic continued to influence
Munari however, and an emphasis on power,
speed and design remained evident in his
works.

The influences of Surrealism on his work are attrib

to Andre Breton, the official founder of the
movement. After Munari’s disillusionment with th
po
politics of Futurism, many of his works seemed to
on a Surrealist aesthetic, which became eviden
collages and graphic compositions – the former
which also possessed an element of Dadaism.
Futurist aesthetic Futurist architecture is an early-20th century form
of architecture born in Italy, characterized by strong
chromaticismism, long dynamic lines, suggesting speed, moti
urgency and lyricism: it was a part of Futurism, an artistic
movement founded by the poet Filippo Tommaso Marinet
who produced its first manifesto, the Manifesto of Futurism
1909.
Surrealist aesthetic Surrealism is a cultural movement that began in the early
1920s, and is best known for its visual artworks and writings.
Artists painted unnerving, illogical scenes with photograph
precision, created
cre strange creatures from everyday objec
and developed painting techniques that allowed
the unconscious to express itself. Its aim was to "resolve the
previously co
contradictory conditions of dream and reality in
an absolute reality, a super-reality".
super
Dadaism
Dada was an artistic and literary movement that began in
Zürich, Switze
tzerland. It arose as a reaction to World War I an
the nationalis
alism that many thought had led to the war.
Influenced by other avant-garde
avant movements -
Cubism, Futurism, Constructivism, and Expressionism - its ou
was wildly div
diverse, ranging from performance art to poetry
photography, sculpture, painting, and collage.
In 1966, well into his career,
Munari published the
influential Design as Art. He
wanted to democratize art
and design, showing people
that they were an integral
part of our everyday lives,
and that each was equally
important. Works like his L
Ora X clock were mass-
produced, so they reached
a wider audience. A
functional object as much
as an aesthetic one,
Munari’s X clock was an
alarm clock that had two
rotating half-circles instead
of hands.
While he created many useful, functional objects, Munari is best known for his ‘Useles
Machines’. Beginning in the early 1930s, s, he created delicate abstract works from
paper, cardboard, string, and glass. Insp
nspired by childhood memories of hanging swin
and the strips of paper he used to cutt out
o and watch float out his bedroom window,
these sculptures are both a link to his past
pa and a theoretical exploration into his ideas
around functionality and art. These geo eometric mobiles create kinetic compositions in
three-dimensional space, breaking free ee from the traditional static forms of painting a
sculpture. They are called ‘Useless Mach chines’ because they do not have an obvious
utilitarian function, yet they are not entirely useless. They function to indicate the
whimsical exploration of his childhood, d, encouraging
e the viewer to contemplate their
own relationship with the work.
WORKS OF NEIL M DEN
Neil Denari (b. Fort Worth, Texas September 3, 1957) is an
American architect, professor, and author. Based since 1988 in Los
Angeles, Denari emerged in New York during the 1980s with a series
of theoretical projects and texts based on the collapse of the
machine aesthetic of Modernism. His office, Neil M. Denari
Architects (NMDA)) is dedicated to exploring the realms of
architecture, design, urbanism, and all aspects of contemporary life.
No Mass House / 2011
Pacific Palisades, CA
Private Residence
4,900 Square Feet
Designed for a family of four, this house
ho is designed to create privacy, and at the
same time reach out to the landsca cape in traditional California Modernist style.
-
Sitting on a 60’ x 120’ site, the house
se has a footprint of 28’ x 67’, packing its three
bedroom three bath program into o three
t stories. As the family is interested in sport
(yoga, golf, swimming, soccer, football, etc), the yard has been designed to be
flexible and open. The lower living area,
a including the kitchen and dining, opens
directly onto the pool, while the sececond floor is used for more living activities. The
third floor contains the private bedrooms and bathrooms.
-
The main concept of the house stems from the dialectic between open and
closed, and between surface and d void.
v Each window is surrounded by a 3D surfa
of perforated aluminum. These wind indow assemblies frame views and also create t
effect of depth. Inside, the window w forms are expressed, not hidden, making a ne
twist on the inside-out
out relation of Modernism.
-
The structure is a steel frame with wood
wo joist infill. The window surrounds are speci
made from curved steel sheet with th insulation
i and plaster, allowing for an extreme
thin wall section. The exterior surface is smooth plaster.
320 La Cienega / 2021
Los Angeles, California
70,000sf / Mixed-Use
Use Residential
In collaboration with Togawa Smith Martin
PRESENTATION IN GROUPS

Thom Mayn

Eric Owen Mos

Greg Lyn

Lebbeus Wood

Bernard Tschum