TAILIEUCHUNG - Design for aesthetics: interactions of design variables and aesthetic properties

But then again—Leopold checks himself—science is no guarantee that one will see what is there either. 'Let no man jump to the conclusion that Babbitt must take his . in ecology before he can "see" his own country. On the contrary, the . may become as callous as an undertaker at the mysteries at which he officiates. . . . Perception, in short, cannot be purchased with either learned degrees or dollars; it grows at home as well as abroad.' The essential perception is of 'the natural processes by which the land and the living things upon it have achieved. | Header for SPIE use Design for aesthetics interactions of design variables and aesthetic properties Binh Pham School of Information Technology Mathematical Sciences University of Ballarat PO Box 663 Ballarat VIC 3353 Australia This is the author s version of this work. Please refer to the published proceedings for the definitive published version. Pham B 1999 Design for aesthetics interactions of design variables and aesthetic properties . In Proceeding of SPIE IS T SPIE 11th Annual Symposium - Electronic Imaging 99 Vol 3644 pages pp. 364- 371 San Jose USA. ABSTRACT This paper proposed a systematic approach for exploring the interactions of aesthetic properties and design variables by integrating knowledge from other fields such as philosophy psychology and arts. Commonly-accepted aesthetic properties and language terms used for evaluation and criticism are first discussed and a common set of nine principles for achieving aesthetic products in a number of creative disciplines is identified. We then analyse the way these principles influence product characteristics and extract concrete and computable properties of products that may be varied to induce different aesthetic judgements and responses. Keywords computer-aided design design for aesthetics aesthetic factors. 1. INTRODUCTION Much research work on design has been focused on how to satisfy constraints that are largely objective and measurable such as functionality manufacturability economy efficiency and technicality. Although there is an increasing demand to produce objects that are more artistic pleasing the integration of aesthetic factors to design has been very slow. The main difficulty is that aesthetic factors are subjective and efforts to date have been made in an ad hoc manner. To make any significant progress a systematic approach is essential. While a designed product can trigger definite aesthetic responses to observers it is not easy to relate these responses to the characteristics of the product.

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