All through this discussion of inter-cultural relations, terrorism, conflict
and other such Deep & Meaningful (TM) matters, runs a current which is
directly relevant to design (though many of you are probably scratching your
heads at this point trying to figure out how that could be).
I had mentioned before two things which are of great import here:
1. Immediacy and Importance, and,
2. Communication styles and Understanding another's perspective.
On the one hand, when we consider the aesthetic experience of built
environments, immediacy and importance become significant issues. Aesthetic
experience is all about induced emotion. Without gaining and keeping the
attention of the inhabitants of the environment, it is impossible to get any
sort of reaction from them at all (while we may either love or hate a work
with aesthetic power, indifference is the kiss of death for design). Once
you have their attention, any deeper aesthetic power is going to be yielded
directly from the communication of importance.
Similarly, the only way to design environments which will take on this
aesthetic aspect is to spend a little time considering the perception of the
end product from others' perspectives.
Design, like conflict, is a form of communication. Like all other forms of
communication, it can encompass many, many things and include within it a
nearly infinite variety of content and connotation. However, as
communication, design is not a solipsistic endeavor. There is a generator
and a receiver, and a bi-directional feedback between the two.
~g
---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.317 / Virus Database: 176 - Release Date: 1/21/2002
and other such Deep & Meaningful (TM) matters, runs a current which is
directly relevant to design (though many of you are probably scratching your
heads at this point trying to figure out how that could be).
I had mentioned before two things which are of great import here:
1. Immediacy and Importance, and,
2. Communication styles and Understanding another's perspective.
On the one hand, when we consider the aesthetic experience of built
environments, immediacy and importance become significant issues. Aesthetic
experience is all about induced emotion. Without gaining and keeping the
attention of the inhabitants of the environment, it is impossible to get any
sort of reaction from them at all (while we may either love or hate a work
with aesthetic power, indifference is the kiss of death for design). Once
you have their attention, any deeper aesthetic power is going to be yielded
directly from the communication of importance.
Similarly, the only way to design environments which will take on this
aesthetic aspect is to spend a little time considering the perception of the
end product from others' perspectives.
Design, like conflict, is a form of communication. Like all other forms of
communication, it can encompass many, many things and include within it a
nearly infinite variety of content and connotation. However, as
communication, design is not a solipsistic endeavor. There is a generator
and a receiver, and a bi-directional feedback between the two.
~g
---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.317 / Virus Database: 176 - Release Date: 1/21/2002