Technical aesthetics - the theoretical basis of design ; a scientific discipline that studies the socio-cultural, technical and aesthetic problems of the formation of a harmonious subject environment created for human life and activity by means of industrial production [1] .
Technical aesthetics studies the principles and methods of artistic design, the problems of professional creativity and skill of the artist-designer (designer) [1] .
Content
Tasks of technical aesthetics and methods for solving them
The technical methodology of each individual has differences, but despite these differences in technical aesthetics, there are theorems. Theorems (about all surrounding matter, feelings, etc. - all that our brain is capable of perceiving) are the basis for solving problems related to technical aesthetics. There are no techniques in technical aesthetics.
History
The ideas of technical aesthetics originated in the middle of the 19th century, long before the appearance of design. The English art theorist J. Ruskin introduced (1857) the concept of aesthetically valuable products of production. He emphasized: hastily created hastily and perishes; the cheap is ultimately the most expensive; the art of everyday things is fundamental in the hierarchy of arts; machine production cripples the manufactured thing, its producer and consumer. Ruskin offered a retrospective utopia: to return from cheap machine production of substandard goods to craft manual labor (See: Ruskin. 1902). This idea was supported by the English researcher W. Morris, who unsuccessfully tried to create a modern manufactory.
The German design theorist G. Semper, in his two-volume work “Style in Technical and Tectonic Arts ...” (1860-1863), developed the foundations of technical aesthetics. According to Semper, the form of a thing is determined by:
1) its function
2) material
3) manufacturing technology
4) the ideological principles of society.
The German engineer F. Röhlo, in his book On the Style in Mechanical Engineering (1862), advocated the interaction of art and technology and the introduction of architectural styles in mechanical engineering. Architect X. van de Velde (beginning of XX century) argued that the product should combine technical and artistic form, expediency and logic, “practical and reasonable beauty”. Theorist of art G. Muthezius spoke in favor of "cooling" of technical products, and the director of the AEG concern P. Behrens - for artistic standardization and stylistic cliché of products. Architect V. Gropius argued for the need for aesthetic design that inspired the industry's products.
In Germany (in 1919), the Bauhaus Technical Aesthetics Center was founded. In Russia at the beginning of the XX century. ideas arise of the unity of art and technology, the beauty of the manufacturing enterprise itself (See: Strakhov. 1906), the rejection of embellishment in industrial products, the organic merging of their benefits, functions and beauty (See: Engelmeyer. 1910; Stolyarov. 1910). In 1920, VKHUTEMAS (All-Union Art and Technical Workshops) was formed, where A. Rodchenko, V. Tatlin, L. Lisitsky, M. Ginzburg, I. Leonidov developed the ideas of “production art” of design and technical aesthetics.
Notes
- ↑ 1 2 Technical aesthetics / Yu. B. Solovyov // Strunino - Tikhoretsk. - M .: Soviet Encyclopedia, 1976. - ( Great Soviet Encyclopedia : [in 30 vol.] / Ch. Ed. A. M. Prokhorov ; 1969-1978, v. 25).
Literature
- Voronov N.V. , Shestopal Ya. E. Aesthetics of technology: Essays on history and theory. - M .: Soviet Russia , 1972. - 176 p.
- Team of authors. Technical aesthetics. Proceedings of VNIITE: Problems of shaping and composition of industrial products. - VNIITE , 1975.