Form language and style description

Design Studies

Volumn 18, Issue 3, 1997, Pages 249-274

  Chen, Kuohsiang ^a   Owen, Charles L ^b  

^a NATIONAL CHENG KUNG UNIVERSITY   (Taiwan)

^b ILLINOIS INSTITUTE OF TECHNOLOGY   (United States)

Author keywords

Aesthetics; Computer aided design; Form language; Product design

Indexed keywords

COLOR COMPUTER GRAPHICS; COMPUTER AIDED DESIGN; COMPUTER SYSTEMS; HIGH LEVEL LANGUAGES;

FORM LANGUAGE; STYLE DESCRIPTION;

PRODUCT DESIGN;

EID: 0031191571     PISSN: 0142694X     EISSN: None     Source Type: Journal    
DOI: 10.1016/s0142-694x(97)00002-1     Document Type: Article

References (73)

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2. Stein, J and Berg Flexner, S (eds) The Random House thesaurus college edition Random House, New York (1990) p. 696
3. Enkvist, N E 'On defining style: an essay in applied linguistics' in J Spencer (ed) Linguistics and style Oxford University Press, London (1964) p 28
4. Goodman, N The status of style in critical inquiry Vol 1 (1975) Reprinted in N Goodman Ways of worldmaking Hackett Publishing Company, Indianapolis (1978) p 38
5. Goodman, N The status of style in critical inquiry Vol 1 (1975) Reprinted in N Goodman Ways of worldmaking Hackett Publishing Company, Indianapolis (1978) p 38
6. Beardsley, M 'Verbal style and illocutionary action' in B Lang (ed) The concept of style University of Pennsylvania Press, Philadelphia (1979) p 152
7. Goodman, N The status of style in critical inquiry Vol 1 (1975)
8. Reprinted in N Goodman Ways of worldmaking Hackett Publishing Company, Indianapolis (1978) p 39
9. Ullmann, S Language and style Barnes and Noble, New York (1966) pp 100-117
10. Enkvist, N E 'On defining style: an essay in applied linguistics' in J Spencer (ed) Linguistics and style Oxford University Press, London (1964) p 28
11. Cooper, L Theories of style with especial reference to prose composition, essays, excerpts, and translations Burt Franklin, New York (1968) p 12
12. Meyer, L B 'Toward a theory of style' in B Lang (ed) The concept of style University of Pennsylvania Press, Philadelphia (1979) p 3
13. Feldman, E B Varieties of visual experience: art as image and idea Prentice-Hall, Englewood Cliffs, NJ (1972) p 169
14. Schapiro, M 'Style' in P Philipson and P J Gudel Aesthetics Today The New American Library, New York (1980) p 137
15. Ackerman, J S 'Style' in Ackerman and Carpenter (eds) Art and archaeology Prentice Hall, Englewood Cliffs, NJ (1963) p 164
16. Saarinen, E The search for form in art and architecture Dover Publications, New York (1985) pp 182-183
17. Dondis, D A A primer of visual literacy The MIT Press, Cambridge, MA (1973) p 128
18. Smith, C S A search for structure: selected essays on science, art and history MIT Press, Cambridge, MA (1981) p 359
19. 'For the archeologist, style . . . as a diagnostic means; . . . To the historian of art, . . . style is . . . a system of forms . . . communicating and fixing certain values . . .; For the synthesizing historian . . . or the philosopher of history, . . . style reflects or projects the 'inner form' of collective thinking . . .; The critic, like the artist, . . . style is a measure of accomplishment . . .' Schapiro, M 'Style' in P Phillpson and P J Gudel Aesthetics today The New American Library, New York (1980) pp 137-138
20. '. . . style as. . . expression; . . . as the choice between alternative expressions; . . . as exclusive categories; . . . as deviations from a norm; . . . as . . . inclusive categories.' Enkvlst, N E 'On defining style: an essay in applied linguistics' in J Spencer (ed) Linguistics and style Oxford University Press, London (1964) pp 12-27
21. Schapiro, M 'Style' in 0P Philipson and P J Gudel Aesthetics today The New American Library, New York (1980) p 138
22. Schapiro, M 'Style' in P Philipson and P J Gudel Aesthetics today The New American Library, New York (1980) p 139
23. '. . . an attempt to represent fully and exhaustively on a flat surface all aspects of what the artist saw in three dimensions. . . .' in E Lucie-Smith The Thames and Hudson dictionary of art terms Thames and Hudson, London (1984) p 61
24. '. . . designed . . . in accordance with their devotion to simplicity and practicality and . . . to avoid ostentation and . . . led to designs of great simplicity and elegance. . .' in J Pile Dictionary of 20th-century design Facts On File, New York (1990) p 241
25. Wisbey, R. A. The computer in literary and linguistic research: papers from a Cambridge symposium Cambridge University Press, London (1971)
26. Ullmann, S Language and style Barnes and Noble, New York (1966) pp 100-117
27. Tallentire, D. R. 'Mathematical modeling in stylistics: its extent and general limitations' in R A Wisbey The computer in literary and linguistic research: papers from a Cambridge symposium Cambridge University Press, London (1971) pp 117-128
28. Milic, L T 'The possible usefulness of poetry generation' in R. A. Wisbey (ed) The computer in literary and linguistic research: papers from a Cambridge symposium Cambridge University Press, London (1971) pp 169-182
29. Knight, T W 'The generation of Hepplewhite-style chairback designs' Environment and Planning B Vol 7 (1980) 227-238
30. Ames, C 'Automated composition in retrospect 1956-1986' Leonardo: - Journal of the International Society for Science, Technology, and the Arts Vol 20 (1987) 169
31. Wisbey, R. A. The computer in literary and linguistic research: papers from a Cambridge symposium Cambridge University Press, London (1971)
32. Smith, C S A search for structure: selected essays on science, art and history MIT Press, Cambridge, MA (1981) p 362
33. Smith, C S A search for structure: selected essays on science, art and history MIT Press, Cambridge, MA (1981) p 359
34. Smith, C S A search for structure: selected essays on science, art and history MIT Press, Cambridge, MA (1981) p 366
35. Meyer, L B 'Toward a theory of style' in B Lang (ed) The concept of style University of Pennsylvania Press, Philadelphia (1979) p 14
36. Meyer, L B 'Toward a theory of style' in B Lang (ed) The concept of style University of Pennsylvania Press, Philadelphia (1979) pp 14-32
37. Ullmann, S Language and style Barnes and Noble, New York (1966) p 111
38. Dondis made clear that visual elements were not the materials or media, the wood or clay or paint or film, but the basic substance of what we see, including: dot, line, shape, direction, tone, color, texture, dimension, scale, and movement. In Dondis, D A A primer of visual literacy The MIT Press, Cambridge, MA (1973) p 39
39. Dondis recognized that it would be impossible to name all the visual techniques available, or, in naming them, succeed in giving them hard definitions. However, he suggested each technique and its opposite can be defined as a polarity. The following were included in his list: balance-instability, symmetry-asymmetry, regularity-irregularity, simplicity-complexity, unity-fragmentation, economy-intricacy, understatement-exaggeration, predictability-spontaneity, activeness-stasis, subtlety-boldness, neutrality-accent, transparency-opacity, consistency-variation, accuracy-distortion, flatness-depth, singularity-juxtaposition, sequentiality-randomness, sharpness-diffusion, and repetition-episodicity. In Dondis, D A A primer of visual literacy The MIT Press, Cambridge, MA (1973) pp 111-127
40. Dondis, D A A primer of visual literacy The MIT Press, Cambridge, MA (1973) p 128
41. Smith, C S A search for structure: selected essays on science, art and history MIT Press, Cambridge, MA (1981) p 362
42. Kubler, G 'Towards a reductive theory of visual style' in B. Lang (ed) The concept of style University of Pennsylvania Press, Philadelphia (1979) pp 119-127
43. Goodman, N The status of style in critical inquiry Vol 1 (1975) Reprinted in N Goodman Ways of worldmaking Hackett Publishing Company, Indianapolis (1978) p 38
44. Cooper, L Theories of style with especial reference to prose composition, essays, excerpts, and translations Burt Franklin, New York (1968) p 12
45. Enkvist, N E 'On defining style: an essay in applied linguistics' in J Spencer (ed) Linguistics and style Oxford University Press, London (1964) p 28
46. Ullmann, S Language and style Barnes and Noble, New York (1966) p 111
47. Hendricks, W O Grammars of style and styles of grammar North-Holland, Amsterdam, The Netherlands (1976)
48. Barthes, R 'Style and its image' in S. Chatman (ed) Literary style: a symposium Oxford University Press, London, UK (1971)
49. Defined as the 'German school of design that, in the 1920s and 1930s, became the leading intellectual and creative center in the development of Modernism. . .' in Pile, J Dictionary of 20th-century design Facts On File, New York (1990) p 23
50. '. . . Memphis was an outgrowth of the earlier Studio Alchymia and shared its radical intention to break away from the formalism of the International Style as it had developed in Italy in the 1950-70 period' in Pile, J Dictionary of 20th-century design Facts On File, New York (1990) p 170
51. 'General name given to the succession of Avant-Garde styles in art and architecture which have dominated Western culture almost throughout the 20th century.' Defined in Lucie-Smith, E The Thames and Hudson dictionary of art terms Thames and Hudson, London, UK (1984) p 122
52. '. . . which makes use of the imagery of consumerism and mass culture (e.g. comic strips, pin-ups, and packaging), with a finely balanced mixture of irony and celebration. . .' in Lucie-Smith, E The Thames and Hudson dictionary of art terms Thames and Hudson, London, UK (1984) p 149
53. Dondis, D A A primer of visual literacy The MIT Press, Cambridge, MA (1973) p 21
54. Bowman, W J Graphic communication John Wiley, New York (1968) p 9
55. Osgood, C E, Suci, G J and Tannenbaum P H The measurement of meaning University of Illinois Press, Chicago (1957)
56. Kojiro, Y Forms in Japan Bijutsu Shuppan-sha, Tokyo Japan (1963) translated by Kenneth Yasuda, East-West Center Press, Honulu (1965)
57. Dondis, D A A primer of visual literacy The MIT Press, Cambridge, MA (1973) p 39
58. Bowman, W J Graphic communication John Wiley, New York (1968) p 10
59. Bowman, W J Graphic communication John Wiley, New York (1968) p 16
60. Bowman, W J Graphic communication John Wiley, New York (1968) p 20
61. Pile, J Dictionary of 20th-century design Facts on File, New York (1990) p 84
62. Osgood, C E, Suci, G J and Tannenbaum P H The measurement of meaning University of Illinois Press, Chicago (1957)
63. Dondis, D A A primer of visual literacy The MIT Press, Cambridge, MA (1973) pp 111-127
64. Dondis, D A A primer of visual literacy The MIT Press, Cambridge, MA (1973) pp 67
65. Kojiro, Y Forms in Japan Bijutsu Shuppan-sha, Tokyo Japan (1963) translated by Kenneth Yasuda, East-West Center Press, Honulu (1965) pp 12-15
66. Chien, G T H Dynamic modeling and simulation in product design. Master of Science in Design Thesis. Illinois Institute of Technology, Chicago, 1989
67. Lee, S-J The linguistic evaluation method using fuzzy set theory. Master of Science in Design Thesis. Illinois Institute of Technology, Chicago, 1984, pp 69-76
68. Lee, S-J The linguistic evaluation method using fuzzy set theory. Master of Science in Design Thesis. Illinois Institute of Technology, Chicago, 1984, pp 89-90
69. Chien, G T H Dynamic modeling and simulation in product design. Master of Science in Design Thesis. Illinois Institute of Technology, Chicago, 1989, pp 78-79
70. Lee, S-J The linguistic evaluation method using fuzzy set theory. Master of Science in Design Thesis. Illinois Institute of Technology, Chicago, 1984, pp 80-93
71. Braun is a trade mark of a German manufacturer of electrical and electronic products
72. Krups is a trade mark of a German manufacturer with a similar style to Braun's
73. In Figure 8, Braun's coffee maker uses cylindrical form for both filter and base while Krups uses cylindrical for one and cuboid for the other; and the arrangements of the switches of the two products are also different. Other evidence can be found in coffee grinders