UNIT – 8 Aesthetic Concepts

Concept of unity
-concept of order with variety
-concept of purpose style and environment
–Aesthetic expressions.
Style –components of style house style,
-observation style in capital goods,
-case study.
06 Hours

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 AESTHETICS

 The branch of philosophy dealing with the nature of

beauty, art, and taste, and with the creation and
appreciation of beauty.

 It might suggest that beauty is something real and

external to an observer.

 For example a shape could conceivably have a

particular meaning for one observer and not for another.
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THE DEFINITION OF AESTHETICS IS SOMETHING
THAT APPEALS TO THE SENSES. SOMEONE’S
AESTHETIC HAS TO DO WITH HIS OR HER
PERCEPTUAL OR ARTISTIC JUDGMENT.

It comes from the root word:

Aesthesia: the ability to feel or
perceive; being awake and
able to feel senses.

The opposite is:

Anesthesia: the inability to feel
or perceive; to be asleep or
non-feeling.
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 The aesthetic choices we make influence many
parts of our lives.

We all have a personal aesthetic

(preferences and tastes based on what we see). 4
 LEON BATTISTA ALBERTI

 He was known as the father of

modern architecture.

 Alberti underlines the concept

of beauty in the following words
“ I shall define beauty to be a
harmony of all the parts in
whatsoever subject it appears,
fitted together with such
proportions and connections that
nothing could be added, diminished or altered but 5

for the worse”.

THREE MAIN ASPECTS OF UNITY

FIRST ASPECT :-
 Thesubject should appear to be complete, no part should
appear to be missing nor should there appear to be any
superfluous elements.

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SECOND ASPECT :-

 There should be a harmonious relationship between

all the parts contributing to the whole.

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 Arranging component parts to produce an apparent
whole may be a highly sensitive process.

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 Illustrations(h) and (i) underlines sensitivity of
judgement ,which may be needed to make the parts
in any subject contribute to the whole.

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ASPECT THREE :-

 Emphasis is placed on actually seeing the subject as a

whole and not regarding any one part of it to the
exclusion of others.

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 AESTHETICS

 Aesthetics is the branch of philosophy that deals with the

nature and expression of beauty. It concerns beauty or
appreciation of beauty. In other words, it is a philosophy
behind a pleasing appearance.
Aesthetics refers to the final shape around the basic
skeleton which are required for performance of intended
functions.
Aesthetics is concerned with bringing art into the daily
lives of the people. Like people need colorful, designer
clothes11 to wear and taste and presentation of food.
Likewise, people like to live and work in places that are
beautifully designed and are aesthetically pleasing to the
eye.
A set of principles followed by the designers for
that matter for the evolution of the end product that
is aesthetically pleasing to the eye, is called
aesthetics. It is directly influenced by the artistic
taste of an individual.
 It might suggest that beauty is something real and
external to an observer
 for example a shape could conceivably have a
particular meaning for one observer and not for
another

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AESTHETIC EXPRESSIONS
Aesthetics make the product attractive and induce in the customer a
willingness to possess.
The aesthetics in form and appearance have expressions such as:
Symmetry
Balance
Contrast
Continuity and
Proportion
thus adding value to the product.

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 SYMMETRY

Symmetry is
familiar to the
engineer for Many engineering
devices must be Symmetrical either
to achieve their purpose or to
enable manufacture
Symmetry is perhaps the simplest
way of achieving order
Symmetry frequently develops
from the way a product meets
technical requirements
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Fig shown have one common quality each is symmetrical about one or more axes
SYMMETRY

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 BALANCE
Symmetry could be regarded as a balance of two
identical features about a point, line or plane.

Balance is the delivery of the visual weight of

design elements

Where the features are not identical and particularly where more than two features are
involved, they may need to be arranged so that they appear to balance each other.

 In other words the designer may have to seek a relationship of the parts in order to
make the whole appear unified.
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BALANCE

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BALANCE

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 CONTRAST

It is possible to regard contrast as the balance of two

elements with distinctly different characteristics.

An analogy with the effects of colour contrasts can be

made here.

It may be seen, two contrasting colours juxtaposed in equal amount may be found
irritating.

But if one colour is allowed to act as a background to the other, then a harmonious
relationship
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 Much the same effect may occur with two dissimilar shapes of approximately
equal apparent mass.
Contrast helps us to differentiate and locate items more
effectively. And also to show differences between a multitude
of visual elements (type, color, size, shapes, etc).
The biggest items often receive the most attention. The
smallest items usually receive less attention.

EX:

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LOW CONTRAST

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HIGH CONTRAST

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CONTINUITY
Continuity could be regarded as simply another
word for order.

 Here it is interpreted as describing any characteristic which may run through a product
almost like an underlying rhythm in music. Continuity may be aided by paying attention
to what may seem to be comparatively minor features.

 The use of equivalent corner radii or similar fixing bolts throughout a product will
help visually be tie the whole product together.

Clearly standardisation not only of radii and bolt sizes, but also of such features as
bosses on castings, name-plates, visual, indicators and control elements can support an
impression of continuity through a product.

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CONTINUITY

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CONTINUITY

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 PROPORTION
Proportion describes the relationship of the main dimension of
a feature or the dimensional relationship of this feature to other
features.

proportion is being judged very much in terms of purpose.

Engineers will nearly always judge proportions in such terms and rightly so. However, it is
always necessary to guard against too strongly held stereotypes.

In designing a product, a similar approach, based on maintaining a relationship with its
main dimensions, will usually be more redrawing than attempting to adapt any so called
established system.

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The subject of proportion has always been of special interest to the architect and a
variety of proportioning systems have been devised to produce an orderly relationship
between the component elements of a structure.

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Proportion is the geometric relationship of the sides of volumes (e.g., rectangles). It is
also the ratio or comparative size of individual parts of the composition.

We cannot measure these relationships accurately by eye, but we can compare them and
try to judge the relationship of one part to another on a proportional basis.

Proportion relates to the relative size or

weight (darkness) of an item. When things
are darker or lighter, taller or smaller, wider
or thinner, then we are usually viewing
changes in proportion.

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AESTHETICS IN BIKE

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AESTHETICS IN CARS

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AESTHETICS IN NATURE

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COMPONENTS OF STYLE

1.BASIC FACTORS
2.ENVIRONMENTAL FACTORS
3.SOCIAL FACTORS
BASIC FACTORS

 TECHNICAL
 MATERIAL

 CONSTRUCTIONAL
HEAVY DUTY LATHE
ENVIRONMENTAL FACTORS
ACANTHUS MOLLIS
WHICH IS THE MOST MYSTERIOUS NUMBER
IN THIS WORLD….????
 FIBONACCI NUMBER
OR
FIBONACCI SEQUENCE
 THE FIBONACCI SEQUENCE

0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89,

144, 233, 377, 610, 987, 1597……..
THE RABBIT PROBLEM
Mo To
Rabbits from A: from B: from C: D: B1:
nth tal

0 A 1

1 A 1

2 A B 2

3 A B C 3

4 A B C D B1 5

5 A B C D E B1 B2 C1 8

6 A B C D E F B1 B2 B3 C1 C2 D1 B11 13

etc
etc. 1 2 3 4 5 6 7 8 9 10 11 12 13
.
WORLD FAMOUS MONUMENTS

PARTHENON TAJ MAHAL

 IN ANCIENT GREECE
THEY NOTICED THAT
THERE WAS A COMMON RATIO
IN NATURE THAT
MADE THINGS APPEALING TO THE EYE

THE RATIO IS 1: 1.618

AND THIS WE CALL
THE GOLDEN MEAN
 1.618……

GOLDEN RATIO
GOLDEN SECTION
GOLDEN MEAN
GOLDEN NUMBER
THE DIVINE PROPORTION
FIBONACCI RATIO
PHI (Φ)
THE GOLDEN RECTANGLE
THE GOLDEN RECTANGLE
THE PARTHENON
TAJ MAHAL
 CN TOWER-CANADA
TOTAL HEIGHT-553.33 METERS
OBSERVATION DECK-342 METERS

553.33 = 1.618
342
 THE EGYPTIAN PYRAMIDS

ANGLE OF SLANT FACE=51.83 deg

COS(51.83)=0.618
SPIRAL STAIRCASE
SPIRAL STAIRCASE
THE FIBONACCI SPIRAL
PHI USED IN MUSIC AND ART
PHI USED IN CREDIT CARDS

STANDARD SIZED CREDIT CARDS ARE

54mm BY 86mm CREATING A RATIO OF 0.628
PHI USED IN MARKETING
PHI USED IN LOGOS AND PRODUCT
DESIGN
GOLDEN SECTION IN HUMAN BODY
PHI AND SOLAR SYSTEM
Dimension Proportion Mathematical
(km) (Earth=1) Expression

Radius of the Earth 6,378.10 1.000 A

Radius of the Moon 1,735.97 0.272

Earth Radius +
8,114.07 1.272 B
Moon Radius

Hypotenuse 10,320.77 1.618 (Φ) C

Hypotenuse / (Earth
Radius + Moon 1.618 (Φ) A²+B²=C²
Radius)
FIBONACCI SPIRAL IN GALAXIES
HURRICANE IRENE
FIBONACCI NUMBERS IN FLOWER
PETALS
MICROSCOPIC VIEW OF
SUNFLOWER BUD
FIBONACCI SPIRAL IN SUNFLOWER
FIBONACCI SPIRAL IN PLANTS
NAUTILLUS SHELL
WHO IS GOD…?????
SOCIAL FACTORS

 INSTILLS PRIDE
 LEADER

 STATUS

 BOSS
 ROYALTY FLASHY
 PRIDE STREAMLINED
 PROUD ASSET SPORTY
 STATUS FAST
 SIMPLE MASTERPIECE
 CHEAP ANTIQUE
 COMPACT ROYAL
 STYLISH PRICELESS
HOUSE STYLE- CORPORATE
IDENTITY
BRAND VALUE

 How does a company portray their brand to consumers?

 It is important to understand that a brand is not a logo

design, company colours or a strapline!

 Your brand is the sum of :

 - your product/service and how they are delivered

 - your company’s personality - people
 - your company’s values
 - literally everything the company wants to be seen as.
CORPORATE IDENTITY
 Corporate identity is the visual aspects of a company in
its market including things like logos, design, and house
style.