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Erschienen in:
Introduction Kapitel lesen Erstes Kapitel lesen

2015 | OriginalPaper | Buchkapitel

4. Style as Identities in Design Products

verfasst von : Chiu-Shui Chan

Erschienen in: Style and Creativity in Design

Verlag: Springer International Publishing

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Abstract

Architecture, together with painting, sculpture, music, and poetry, has long been classified in the domain of “Arts” or “Fine Arts” (Greene 1940) and studied within this fine arts domain. For example, architecture has been extensively studied by architectural historians to understand historical developments, and by theorists to explore individual characteristics (Pothorn 1982). Thus, architectural style has been described as the collective characteristics of buildings where structure, unity and expressiveness are combined in an identifiable form related to a particular period or region, sometimes to an individual designer or school of design (Smithies 1981, p. 25). All these notions and approaches attempt to examine the prominent features in forms and to systematically illustrate the underlying cultural, social, economical, and technical relationships among different regions, periods, and designers that are associated with these features.

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Vorheriges Kapitel Development of Studies in Style
Nächstes Kapitel Style Approached from the Design Process
Fußnoten
1
In color rendering and printing, a few color models are developed. The four common ones applied in most computer software are (1) hue, saturation, and brightness (HSB); (2) red, green, and blue (RGB); (3) cyan, magenta, yellow, and black (CMYK); and (4) CIE L*a*b, which L is for lightness and a and b are the color-opponent dimensions of x, y in the color space.
 
2
The geometric relationships between the repeated features (forms) and other elements define syntax, which has not been focused in this book.
 
3
Designs by Charles Moore and Robert Venturi, in general, represent vernacular style in the States. Using photographs of their works published in various architectural periodicals (Bloomer and Moore 1977; Allen 1980; Johnson 1986), 11 buildings were selected as examples and experimental stimulus for explanatory purposes. See Fig. 4.9.
 
4
Form generalization: In psychology, a form represents the entity of a notion. Form generalization is the formation of a general concept which is an act or process of recognizing or perceiving similarity or relation between different stimuli, as between words, colors, sounds, lights, concepts, or feelings, to make a common knowledge.
 
5
The frequency of appearance varies among individual styles. In Wright’s Prairie Style, for instance, a large set of common features was constantly apparent in most of his designs. Thus, Wright’s style was more constant than Charles Moore’s style.
 
6
Two personal interviews with Professor Charles Moore were conducted in Austin, Texas on 15 and 16 of November, 1991. This piece of information was obtained from these personal conversations.
 
7
For two tails distribution (as Fig. 4.17), 95 % internal of the data is statistically recognized as significant.
 
8
The contradiction between this result and the results on the Experiment 2 (that a style is determined by the number more than the identity of characteristic features present) may be explained by the fact that the feature effect is balanced by the variable of individual student effect which is not present in this experiment.
 
9
In this experiment, the size of a feature is not an issue as long as it is within the normal and expected range for that kind of feature. An unusually massive roof or a set of tiny windows will certainly be noticeable.
 
10
Names of the 35 certified paintings of Johannes Vermeer and the resources holding the collections are itemized chronologically on the following list. Names of paintings in bold font are included in Fig. 4.30 for reference. Most of them had been displayed and could be found on the Internet Wikimedia public domain Web pages. They are all accessed on 10 Oct 2013.
1.
Christ in the House of Martha and Mary – Edinburgh, National Gallery of Scotland – 1654/55
 
2.
Saint Praxidis – Private Collection – 1655
 
3.
Diana and her Companions – The Hague, Mauritshuis – 1655–56
 
4.
The Procuress – Dresden, Gemäldegalerie – 1656
 
5.
 
6.
A Girl Asleep – New York, Metropolitan Museum – 1657
 
7.
The Little Street – Amsterdam, Rijksmuseum – 1657/58
 
8.
Officer and a Laughing Girl – New York, Frick Collection – 1658, http://​en.​wikipedia.​org/​wiki/​File:​Jan_​Vermeer_​van_​Delft_​023.​jpg.
 
9.
 
10.
The Glass of Wine – Berlin, Gemäldegalerie Alte Meister – 1658/60
 
11.
The Girl with the Wineglass – Braunschweig, Herzog Anton Ulrich Museum – 1659/60
 
12.
Girl Interrupted at her Music – New York, Frick Collection – 1660/61
 
13.
View of Delft – The Hague, Mauritshuis – 1660/61
 
14.
Woman in Blue reading a Letter – Amsterdam, Rijksmuseum – 1662/64
 
15.
A Lady writing a Letter – Washington DC, National Gallery of Art – 1662/64, http://​en.​wikipedia.​org/​wiki/​File:​DublinVermeer.​jpg.
 
16.
 
17.
Woman with a Lute – New York, Metropolitan Museum – 1663
 
18.
Woman with a Pearl Necklace – Berlin, Gemaldegalerie – 1664
 
19.
Woman with a Water Jug – New York, Metropolitan Museum – 1664–65, http://​en.​wikipedia.​org/​wiki/​File:​Jan_​Vermeer_​van_​Delft_​019.​jpg.
 
20.
The Girl with a Pearl Earring – The Hague, Mauritshuis – 1665
 
21.
The Concert – Boston, Isabella Stewart Gardner Museum – 1665/66, http://​en.​wikipedia.​org/​wiki/​File:​Vermeer_​The_​concert.​JPG.
 
22.
 
23.
Portrait of a Young Woman – New York, Metropolitan Museum – 1666/67
 
24.
The Allegory of Painting – Vienna, Kunsthistorisches Museum – 1666/67, http://​en.​wikipedia.​org/​wiki/​File:​Jan_​Vermeer_​van_​Delft_​011.​jpg.
 
25.
Mistress and Maid – New York, Frick Collection – 1667/68
 
26.
 
27.
Girl with a Red Hat – Washington, National Gallery – 1668
 
28.
The Geographer – Frankfurt am Main, Steadelsches Kunstinstitut – 1668/69, http://​en.​wikipedia.​org/​wiki/​File:​Jan_​Vermeer_​van_​Delft_​009.​jpg.
 
29.
The Lacemaker – Paris, Louvre – 1669/70
 
30.
 
31.
Lady writing a Letter with her Maid – Blessington, Beit Collection – 1670
 
32.
The Allegory of Faith – New York, Metropolitan Museum – 1671/74
 
33.
The Guitar Player – London, Iveagh Bequest – 1672
 
34.
Lady Standing at the Virginals – London, National Gallery – 1673/75
 
35.
Lady Seated at the Virginals – London, National Gallery – 1673/75
 
 
11
Of course, there certainly are other features existing in the pictures relating to the use of color and techniques of stroke.
 
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Metadaten
Titel
Style as Identities in Design Products
verfasst von
Chiu-Shui Chan
Copyright-Jahr
2015
Buch
Style and Creativity in Design

Print ISBN: 978-3-319-14016-2

Electronic ISBN: 978-3-319-14017-9

Copyright-Jahr: 2015

DOI
https://doi.org/10.1007/978-3-319-14017-9_4

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