The Aesthetics of Design Processes
A special issue of Applied Sciences (ISSN 2076-3417).
Deadline for manuscript submissions: closed (31 December 2019) | Viewed by 505
Special Issue Editor
Special Issue Information
Google Designer Matías Duarte explains that, “unlike real paper, our digital material can expand and reform intelligently. Material has physical surfaces and edges. Seams and shadows provide meaning about what you can touch.” Google states that their new design language is based on paper and ink, but implementation takes place in an advanced manner. Morphology and Aesthetics are the basic components for a successful design language. How to define a form in design underlies different methods, rules, and proportional studies, as well as material characteristics and surface treatment. The maxim Form follows function is a principle associated with 20th-century modernist industrial design which says that the shape of an object should primarily relate to its intended function or purpose. It has influenced form giving decisions for decades. The product was a hardware and its form was determined by the function and often by the dimensions of a mechanical core. However, production has changed the traditional way of appreciating the product, with new technologies invading with new materials, higher performance, and higher speed. Further, the world has been become timelessly digital, and everything is at the same time everywhere available. Design has become a process rather than a definition of a form, a service rather than a function.
However, the “traditional” values of design, morphology, aesthetics, semiotics and sensorial qualities still distinguish the discipline from others like software engineering, mechatronics or robotics. The question this Special Issue wants to investigate is the way these values still dominate or influence the design, when it becomes a process or a service. How can design education tackle these theoretical topics in an era of Virtual Reality and Internet of Things. Do new applications of design still have to refer to elements such as form, aesthetics and meaning?
Contributions are warmly welcomed discussing these and not only topics:
- Morphology, semiotics, aesthetics, and sensorial qualities of Design 4.0;
- Design strategies for products of Industry 4.0;
- Educational models for a new generation of designers related to design theory and methodology;
- History of future and anticipation of design language;
- Ethics and aesthetics: Their role in the wellbeing of the tomorrow’s society of 4.0
Prof. Andreas Sicklinger
Guest Editor
Manuscript Submission Information
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Keywords
- Design 4.0
- process
- service design
- morphology
- aesthetics
- semiotics
- education
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