Elective

Art, Craft and Design

ASSIGNMENT 1
INTRODUCTIONARY QUESTIONS
1. MEANING OF ART AND DESIGN
• Design is focused on achieving solutions with measurable results, whereas art is more concerned with expressing ideas that may have
more than one meaning.

WHAT ARE THE ROOTS

• Perhaps journeying back to the origins of art, we might find art in a pristine form. Philosophers point out difficulties in defining art,
and critics and historians point out difficulties in interpreting art. The Pleistocene, the period between 1.8 million years to 10,000
years ago, is when we find traces of early art. Perhaps examining ancient art, including ornaments and their decoration and geometry,
will give us insight into both art and aesthetic experiences at their very inception.
• Roots of Design is about the creative process that is involved in shaping the world that we live in. Some podcast episodes will be
interviews with creative professionals, some episodes will tell the story of the designed world.
• Design history is the study of objects of design in their historical and stylistic contexts. ... Design history has as its objects of study all
designed objects including those of architecture, fashion, crafts, interiors, textiles, graphic design, industrial design and product
design.

2. WHAT IS INCLUDED IN ART AND DESIGN ?

• An art & design degree studies different visual media like painting, drawing, sculpture, and graphic design. Art and design majors
learn basic design principles, color theory, critical thinking, and artistic techniques.

WHAT IS THE DIFFERENCE BETWEEN ART AND DESIGN? 

• An Art & Design degree includes creating expressive artwork and the implementation of industry-changing designs.
• Art is a way of expression and communication, while design also has the similar traits it includes a layer of inclusion of the context.
WHERE DESIGN AND ART CLASH
• Design is focused on achieving solutions with measurable results, whereas art is more concerned with expressing ideas that may
have more than one meaning.
• Artists can work to their whim, eschewing standards and refuting expectations, whereas designers gobble them up and abide by
their every word.
• Unfortunately, the designer vs. artist discussion often deteriorates into ranting and raving. Lines are drawn, battle flags are raised,
and productive dialogue becomes impossible

WHAT IS THE PURPOSE OF AET AND DESIGN

• Design has to function.” “Art is meant to provoke thought and emotions, but it doesn't solve problems.” “Artists primarily work
off instinct, whereas designers employ a methodical, data-driven process.”
• “Design is not art. Design has to function.”
• “Art is meant to provoke thought and emotions, but it doesn’t solve problems.”
• “Artists primarily work off instinct, whereas designers employ a methodical, data-driven process.”

3. DIFFERENCE BETWEEN ART, CRAFT AND DESIGN

• Art is an end all on its own, in and of itself. We appreciate art because it nourishes the soul (as cheesy as that
sounds). Craft combines the means with the end. Crafts are useful in an everyday sense as well as aesthetically satisfying pottery
is a good example. Design is a means to another end. Design usually facilitates sales or a superior product experience.
• With rare exceptions, art makes little money. Craft makes some money. Design makes a lot of money. There’s a direct relationship
between the whether the pursuit is closer to ends or means and how remunerative it is. Creative expression that performs some
practical function — enriching the mind doesn’t count, sadly — has a better chance of being financially viable.
4. TIMELINE OF ART, DESIGN AND CRAFT WITH DETAILS
TIMELINE OF DESIGN:

Arts and Crafts Movement 1850-1915

• The Arts and Crafts movement was a British and American aesthetic movement occurring in the last years of the 19th century and
the early years of the 20th century. Inspired by the writings of John Ruskin, it was at its height between approximately 1880 and
1910.

Art Nouveau 1880-1910

• Art Nouveau (French for 'new art') is an international style of art, architecture and design that was most popular at the beginning
of the 20th century (1880-1914) and is characterized by highlystylised, flowing, curvilinear designs often incorporating floral
motifs. Natural Design.

Modernism 1880-1940
• Modernists, especially those involved in design, had more realistic views. Modernist architects and designers believed that new
technology rendered old styles of building obsolete.

Futurism 1910-1945
• Futurism was the first movement in the history of art and design to be engineered and managed like a business. It embraced
technological progress and celebrated the potential and dynamism of the modern age. It was an extremely forward thinking
movement.

Art Deco 1910 – 1940

• Art Deco was a popular design movement from 1920 until 1939, affecting the decorative arts such as architecture, interior design,
and industrial design, as well as the visual arts such as fashion, painting, the graphic arts, and film.
Bauhaus 1920 - 1934
• Bauhaus is the common term for the Staatliches Bauhaus, an art and architecture school in Germany that operated from 1919 to
1933, and for the approach to design that it publicized and taught. The most natural meaning for its name (related to the German
verb for "build") is Architecture House.

Organic Design 1930 – 1960 & 1990 – Present

• Organic Design is a philosophy of architecture which promotes harmony between human habitation and the natural world through
the design approaches of buildings, furnishings, and products; which are sympathetic to their surroundings.

Pop Art 1958 – 1972

• Pop art is one of the major art movements of the twentieth century. The movement was characterized by themes and techniques
drawn from popular mass culture, such as advertising and comic books.

Minimalism 1967 – 1978

• Minimalism describes movements in various forms of art and design where the work is stripped down to its most fundamental
features.
• Minimalist design has been highly influenced by Japanese traditional design and architecture.
DOES ART AND DESIGN HAVE AESTHETICS ?

• In visual terms, aesthetics includes factors such as balance, color, movement, pattern, scale, shape and visual weight.

• Designers use aesthetics to complement their designs' usability, and so enhance functionality with attractive layouts. Design can
be art and design can be aesthetics.

• Aesthetics is an integral element of art and design. It is relational, depends on the subject and object. An object can be
aesthetically coded by a designer/artist and perceived with equal rigor by a user/observer having aesthetic perception. The
approach to investigate aesthetics in art and design can be same.

• Aesthetics is a core design principle that defines a design’s pleasing qualities. In visual terms, aesthetics includes factors such as
balance, color, movement, pattern, scale, shape and visual weight. Designers use aesthetics to complement their designs’ usability,
and so enhance functionality with attractive layouts.

• Aesthetics is an age-old principle that revolves around the nature of beauty and the fact that people prefer pretty things. It’s central
to the fields of architecture, graphic design and more. As a vital ingredient in user experience (UX) design and interaction design,
aesthetics impacts an interface’s UX in several ways. 
ASSIGNMENT 2
Elaborating selected design topic into
design stages
ELEMENT OF DESIGN – Lounge chair

STEPS OF DESIGNING PROCESS :

• Review of chairs

• List what you want to do with your chair.

• Take ideas from common objects.

• Research current chair designs to get more ideas.

• Developing a Concept on chair

• Sketch a basic ideas on paper or in a digital drawing program.

• Making Models
 ASSIGNMENT 3
Elaborating Lounge chair and history of it with detail and
use appropriate image for references
INTRODUCTION
• In simplest terms, and using the strictest definition, a lounge chair is an armless recliner, paired with an ottoman, designed for
relaxing. 
• Lounge chairs specifically do not recline.  That is, they are built in a permanently reclined position that cannot be adjusted by the
user, which is the key feature that differentiates them from recliners, which puts the angle of recline (or the act of reclining at all)
under the user’s control.
• This strict definition, however, has become muddied over time, especially in the United States, with the development of the Eames
Lounge Chair in 1956. 

MAIN USAGE OF LOUNGE CHAIRS

• As the name implies, lounge chairs are used for lounging and leisure.  
• They’re not designed for work or productivity, but rather, relaxation.  
• As such, they’re seldom found in even the most progressive business environments and these days, are most often found in homes
in developed nations.

Different Types of Lounge Chairs

• As mentioned at the start, the term “lounge chair” has morphed and changed over time, so that today, if we abided by the strictest
definition of the term, some chairs that self-identify as loungers (like the Eames Lounge Chair) would not meet the strictest
definition of the term.
TRADITIONAL CLASSIC LOUNGERS
• Armless chairs in a permanently reclined position, with an
ottoman, that meet the strictest definition of the term.

CHAISE LOUNGES
• Translated literally, this means “Long Chair” and is best
described as a lounge chair that’s long enough to stretch out
completely on without having to use an ottoman

ARM CHAIRS & RECLINERS

• Armchairs are simple, padded chairs with two arms.  You
can certainly still find them, but they’ve long been eclipsed
by recliners, which are more versatile and in general, more
comfortable.
CLUB CHAIRS
• Club Chairs inspired the Eames Lounge Chair. These chairs
can be identified by their low backs and deep seats and
gained popularity in English Gentlemen’s Clubs in the
18th Century.

WING CHAIRS
• These stand in stark contrast with club chairs and are noted
for their high backs and “wings” which are designed to keep
drafts of air from the sitter’s back.  
• Most are overstuffed and incredibly comfortable. They
gained popularity in English Gentlemen’s Clubs in the
19th Century.

POOLSIDE LOUNGERS
• In addition to these, you could also consider lounge chairs
designed for outdoor use  or poolside loungers to be a
distinct subcategory.
ORIGIN AND HISTORY OF LOUNGE CHAIRS
• Lounge chairs in one form or another have been around for thousands of years, although for much of that time, they were
playthings of the wealthy.  
• You can find depictions of chairs that could accurately be described as Chaise Lounges in Ancient Egyptian Hieroglyphs, and in
Roman murals, depicting wealthy aristocrats lounging and enjoying life.
• The Lounge Chair as the term is understood today can trace its origins back to 1928, and were invented by Marcel Breuer, of
Hungary.  
• His original design was crafted from tubular steel, plated in chrome, and upholstered with leather.

THE EAMES LOUNGE CHAIR

• While Breuer’s design was wildly
popular in Europe, the Lounge Chair
wasn’t popularized in the United
States until 1953 when Charles and
Ray Eames designed the Eames
Lounger for the Herman Miller
Furniture Company.
• These chairs were originally made
from plywood, with an aluminum
base, and were upholstered with
leather. 
PARAMETRICISM
FROM - 1952
PARAMETRICISM
• Parametricism is an architectural style based on
computer technology and algorithms.
• The concept emerged from the digital animation techniques of the mid-
1990s, but has risen in prominence in the early-21st century with
the development of advanced parametric design.
• The parametric design approach has resulted in many of the curving, non-
rectilinear buildings completed in the last couple of decades.
• The term 'parametricism' was coined by Patrik Schumacher, partner
at Zaha Hadid Architects, who promoted it as the natural successor to post-
modernism.

ACCORDING TO SCHUMACHER:
• The style finally closes the transitional period of uncertainty that was
engendered by the crisis of modernism and that was marked by a series of
short lived episodes including post-modernism, deconstructivism,
and minimalism. 
• Parametricism is the great new style after modernism.
• Schumacher theorized that, in becoming the dominant single style for
avant-garde architectural practice, Parametricism is able to articulate
increasingly complex social processes and institutions.
• In terms of aesthetics, the style is characterized by the elegance of
ordered complexity, of fluidity and seamless curvatures that are
reminiscent of systems found in nature.
• Schumacher identified the defining heuristics of parametricism as being
both positive (dogmas) and negative (taboos):
TIMELINE
Proto Parametricism (1952–1992)
• Throughout his career, Frei Otto conducted research focused on
constructing light-weight, tensile structures through form-finding physical
models that performed analog "material computation". This work is
regarded as the precursor to Parametricism. 
Early Parametricism (1993–2008)
• Beyond the discursive paradigm shifts that led to the emergence of
Parametricism, the ambition of the early built projects (1993-2008) was
focused on adapting and innovating manufacturing and construction
processes, upgrading the discipline's capacity to translate complex digital
designs into constructible material assemblies.
• One of the earliest built examples, the Water Pavilion (1993-1997), by Lars
Spuybroek (NOX) and Kas Oosterhuis (ONL), was the first building to
combine continuous geometry with the utilization of sensors throughout
the interior, creating an interactive environment (also known as responsive
architecture) where light and sound could be transformed by visitors.
Spuybroek's building was praised by the renowned architecture
critic Charles Jencks as "yet to be surpassed" in his book The New
Paradigm of Architecture.
• Morphosis Architects' Giant Interactive Group Corporate Headquarters,
designed in 2005-2006 and constructed in 2009–2010, is described by the
architects as "emerging organically from complexity". The campus is
designed as a village that accommodates a diverse array of functions
within a continuous folding plane that undulates in and out of the ground
plane, creating a new artificial landscape.
TIMELINE
Parametricism 1.0 (2009–2014)
• The most complex and important built projects designed in the style of
Parametricism were completed after the global financial crisis of 2008.
• The Louis Vuitton Foundation was designed by Gehry Partners between
2006-2014. It is considered "a catalyst internationally for innovation in
digital design and construction, setting a new standard for the use of
advanced digital and fabrication technologies".
• Chhatrapati Shivaji International Airport Terminal 2 in Mumbai, India,
designed by Skidmore Owings and Merrill and completed in 2014, serves
over 40 million people yearly.

Parametricism 2.0 (2015–present)

• In a 2014 debate between Michael Hansmeyer and Patrik Schumacher of 
ZHA, part of "The New How" lecture series hosted by Alejandro Zaera-
Polo at Princeton University School of Architecture, Schumacher
introduced "Parametricism 2.0", the "upgraded" and now fully matured
"Parametricism with parameters that matter".
• Schumacher emphasized that after two decades of cumulative build-up of
knowledge and experience, Parametricism is now fully prepared to "go
mainstream", fulfilling the full gamut of the societal tasks of architecture in
the "organization and articulation" of the built environment, including
tectonic articulation and environmental adaptation.
• Examples of projects that fit the Parametricism 2.0 paradigm and are
currently in the design phase include Google's California Headquarters
by Bjarke Ingels (BIG) and Thomas Heatherwick (Heatherwick Studio).
 Architecture of
Parametricism

Minimal Surface

One Main Office, USA

 Furnitures of
Parametricism