The Concept of Design Icons

The Concept of Design Icons Abstract The concept of design has evolved along the same lines as human civilization. Perhaps this is the paramount aspect that has contributed to the evolution of design both as utilitarian and functional concept. Equally, the very dynamics of design is thus correlated to environment this is testified by the diverse artistic designs that have been created imitating biological concepts.Advertising We will write a custom essay sample on The Concept of Design Icons specifically for you for only $16.05 $11/page Learn More Hence, the emergence of modernism makes the concept of design more simplified and more functional. By attempting to examine the evolution of designs it becomes apparent that design icons are a product of human creation. The plethora of designs as well as architectural values is thus produced. The ancient artifacts demonstrate that styles, designs as well as decorative motifs forms a crucial part of design evolution. Design icons Design icons are in essence representation of style, fashion or objects, imperative not only for aesthetic objectives but as a component of visual identity. This includes utilitarian objectives as well for they act as shorthand tool of sending the meaning or identity to the users. The manner the design icons have evolved captures countless analogies concerning the evolution of diverse organisms as well as human generation of artifacts, in particular buildings. The way designs have over the time developed provides a priceless insight into the evolution of design icons. These developments are profoundly apparent in diverse social aspects especially in architectural including design concepts. Exploring the dynamics of human production in regard to artifacts it would be essential to argue that design icons have evolved from a biological perspective (Wohl 1999). From the ancients times designers have demonstrated that they looked for inspiration from natural features. This has resulted in the creatio n of design icons generated as replica of diverse natural forms either be it a plant or an animal. This illustrates why the pre-modernist designers sought to create features that were almost analogous with the aspects of growth as well as evolution of diverse designs. In essence, the design icons have evolved from the biological perspective. However, in scope of presentation the common approach relied on static emphasis on finished icons which illuminated the completed designs. Therefore, with the years diverse methods were developed in order to establish refined design icons.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Though, there were diverse approaches of enhancing the scope of design icons, their evolution touches on such aspects as religious figures, nature and ethnic aspects (Kumar, et al 2004). The diverse designs witnessed all over the world testify to this. Therefore, fr om religious perspective to ethnic approach design icons evolved gradually presenting insight into the community’s innate relationship with the nature. Despite the existing theoretical frameworks existing today, the cultural and technological aspects have continued to impact on designs. Therefore, the manner designs have continued to change can be attributed to historical evolution of designs. While in academic disciplines the evolution of designs is correlated to economic and technological history. Hence, the scope of architecture provides a profound explanation concerning the evolution of design icons. Exploring the typical aspects apparent in the existing assumptions on design the essential elements pertaining to design evolution lays its significance to the society. As is today the design icons have evolved due to the innate aspects of social changes in taste, focus as well as ethnic and environmental influences. Consider that such aspects as cultural influences which inc lude economic and ethnic influences have played a considerable role in reshaping the design models. From environmental perspective researchers have established design icons to be key features that have contributed to the growth of architecture. Therefore, the manner the aspects of design icons have developed illuminates the development of diverse artifacts that defines our tastes and social preferences in both clothing and architecture. It is thus imperative to argue that the current theoretical premises in regard to development of designs are rooted in the ancient aspects of design. Hence, from the scope of aesthetic, moral and cultural context the evolution of design added value to the society. Eventually, such aspects go beyond scientific research in understanding how the ancient designers embraced and propagated designs. Hence, the growth of architectural design has witnessed the development and evolution of design concepts. By evaluating the fundamental questions regarding desi gn concepts we find that the evolution of design icons was fundamental to the growth of diverse design concepts. Though it has taken a considerable period to establish the genesis of design icons but exploring the modern aspects of designs we find the analogy steps back during the ancient period.Advertising We will write a custom essay sample on The Concept of Design Icons specifically for you for only $16.05 $11/page Learn More Under the scope of empirical analysis as well as theoretical investigations the scope of design icons is shown to have been rooted in the ancient traditions. These traditions rotated around the scope of architecture, cultural identity as well as religious context. Therefore, designs or design icons being objects of human creation illustrated the manner the design evolution withstood the times and established itself as core aspect of human civilization. From the scope of utilitarianism we find that designs have continued to grow with time attaining more profound meaning, more so, becoming visual aspects of identity. Hence, as archeologists have established it is through designs that diverse social artifacts are identified. Design icons can be said to have evolved due to diverse social or cultural assimilation with the nature resulting in the scope of human imitating the diverse forms of design presented by the environment. Therefore, from a biological standpoint the creation of artifacts and the presentation of architectural designs explain the innate evolution of designs. Through architecture one can easily identify a particular mood concerning a specific historical period. Through the integration of architecture with the development of design we are in a position to understand the way designs evolved. This is due to the fact that from social to ethnic viewpoint architectures are more involving in regard to designs presentations. The manner the design icons have continued to develop equally relates to diverse geometrical concepts within the ancient and existing geometrical designs. Therefore the critical assessment of design evolutions shows that it is from the growth of cultures that designs flourished. As a 17th century, for instance, the impacts of designs were being experienced and executed in diverse architectural tastes all over the world. Therefore, looking the development of designs from the social context, biological considerations must be also be given a greater consideration. This is due to the fact that design icons reflected the manner designs were presented and employed to communicate. Hence the dynamics of design wholeness, integration, coherence, and correlation became the epitome of design development (Goldthwaite 2000). More so, with the time they evolved to be the principal tools of expressing the mood and the relationship relating to design icons with the environment.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More As pundits and philosophers of ancient Greece established natural features provides the unique models of harmonious balance as well as proportion in regard to development of designs. Therefore, this testifies to the fact that all aspects of design evolution touches on the beauty offered by the intricate environment. Hence, the design icons were established on the same platform of providing aesthetic beauty and identity. Therefore, the production of designs demonstrates that the work of art cannot be separated from the concepts of aesthetics which governs the production of designs. This demonstrates the growth and evolution of design or design icons rests on the fact that works of art as well as living organisms are in essence schemate,unique in their own way, which man as well as the nature profoundly generates by qualifying diverse elements. Hence, this observation applies to the evolution of design which acquires definite shape, structures with the development of separate identiti es with established structural symmetry (Wilk 2006). Therefore, the above observation illustrate that the evolution of design icons was fuelled by the aspects of visual appearance as well as functional concepts. And both elements have evolved to be the base on which design wholeness is created becoming the source of the beauty as is seen in the production of design icons. Basically, this approach is well illustrated by the manner American architects have been doing in the course of 19th century. In their works it is evident that the evolution of design icons is as complex as is its organic and functional forms. Therefore, concerning the elements of designs, it’s apposite to argue that design icons evolved from static balance which is a product of generating something from the available materials. And this eventually established the profound context of designs. Modernist examples The dynamics of modernism reflects the modern aspect which strongly deviates from the traditional liberalism. Looking at the scope and the development of designs it would be instrumental to equally examine the aspects of modernism. The objective of such an approach is to understand the ancient and the modern flight of designs. This can be related to the fact that unlike in the previous periods modernism aspects came to establish design icons which have elements of simplification as their core foundation. This is well illustrated in the architectural designs which have moved away from designs which were popular during the classicism, gothic and romanticism period. It should be noted that some of the predominant designs iconic in nature were preceded by non-technological designs. However, today, the modernist designs are almost everywhere this can be testified by such iconic designs as the Salk institute complex which was designed by Louis Kahn (Thuku 2000). The manner this piece is done reflects the broad aspects which have evolved over the time. Hence, design icons have remained etched on the concepts of retaining the historicism while embracing the concepts of modernism. Therefore, the modernist example illustrates that simplicity and functional are the core elements of modern design icons. However, one of the key elements shared by the ancient aspects of design with the modernism scopes concerns the fact that both accepts that form and function are tied together. However, examining the instrumental dynamics of modernism simplicity as well as the clarity of form is given a greater weight. And this facilitates the elimination of unnecessary details. Exploring the concepts of designs leading to the modernism approaches it would be essential to realize that the old designs correlates in one way or the other with the modernist approaches. This is well reinforced by the manner the modernists create their designs though simple but employing the same principals as was employed during the gothic or romanticism period. For instance, the crystal palace though ancie nt overshadows the modern concepts of modernism theories. Therefore, the evolution of designs has taken a considerable duration to be where it is today. Despite the seamless changes the profound and iconic changes are all linked to functionality. Though the scope of modernism in evolution of designs can be defined as a revolt against the traditionalism realms of reality, the ancient approaches are equally incorporated into the modern designs. Hence what compels the modern design to be iconic is the manner they have been produced using the incorporation, as well as recapitulation of previous aspects of design into the emerging new world (Findlen 1998). The design discourse that has come to shape their iconic status regards the social changes which have been as a result of political and economic changes. Also it ought to be noted that despite the emergence of computer aided designs the old concepts as well as the modernist concepts are all linked. Take for instance, the emblematic des ign of world trade centre have a central design concept that can be said to be guided by the gothic or classism concepts. Therefore, in regard to the manner designs have evolved the diverse discourses can be allied to architects as well as design theorists interests. Looking at the aspects of applied arts concerning the past both the old and modern aspects of designs are connected by the desire to maintain design conservatism. The analogy of design history offers considerable insight into the manner diverse instruments influenced the development and evolution of design to the modern functional forms. From utilitarian scope the question of evolution is well explored where desire icons are examined from both functional and decorative perspective. Diverse elements concerning the evolution of design icons as is testified by such architectural pieces as Seagram Building in New York reflects the evolution of design icons. Hence such a design remains as iconic feature due to the manner the architectures as well as the designers modeled it on open-plan perspective. Therefore, it can be assumed that discourse that has come to shape their iconic status is founded on such assumption as artificial evolution which includes aspects of decoration (Childs 2000). That is why diverse architectural and design theorist asserts that designs are shaped by common evolutionary progressions. Therefore, considering the given examples of modernist designs it is imperative to point that they attained their iconic status due to the simple and natural prominence of the designers. In that respect, exploring the dynamics of design we are allowed to understand that the iconic status of these given designs are predominant in nature. These attributes are due to the structural, motif as well as natural forms they tend to embrace. Hence, considering designs do undergo continuous seamless abstractions and formalizations hence their origin is not obvious. Also another considerable feature giving th e mentioned designs regards the concepts tied to structural as well as the material used. Therefore, the decorative attributes offers the design structures artistic attributes. Conclusion The aesthetic beauty of designs plays a considerable role in our lives. However when we look at the concepts of design in regard to modernism we find elements of rejection which tend to sideline the aspects of former designing concepts. Despite that, it would be instrumental to assert that each period provides critical insights into the aesthetics of designing which is a trend that have continued to change (Berman 1988). Therefore, the modernist approach which ahs evolved from such periods as romanticism, classism and gothic is today influenced by technological advancements. Today the aspects of modernism designs take the central role in our social lives which are more and more are linked to diverse natural aspects. Therefore, in regard to such approach we can conclude that both old and new aspects of design have evolved as a consequence of our environment. Thus, though the design icons have evolved but the critical aspect it is equally based on what we see or relate with the natural phenomenon. Annotated bibliographies Berman, Marshall. (1988)The Experience of Modernity. London, Penguin. The aspects of modernity are examined from a critical point of view. The author looks at the development of designs in regard to the evolution of design aesthetics. Therefore, examining the elements of nature as well as the manner designs evolve the author correlates the dynamism of modernism in design to the previous patterns preceding modernity. In his opinion he captures the genesis of designs and how they have evolved. More so he delves into the various aspects related to design models and their significance. Therefore, looking through the historical lens he offers a candid insight into the scope and the nature of incorporated designs aspects which have come to be defined as modernity. C hilds, Peter (2000) Modernism.NY, Routledge. The impacts of modernism on designs cannot be under looked. Perhaps it is from such a stand the author embarked on examining the relationship and effects of modernism on designs. This is demonstrated in the manner he examines the assumptions of design evolution touching on the relationship between modernism as well as gothic periods. Using well researched and articulated observation he offers a candid insight into the genesis of designs both in functionality and utilitarianism context to the realm of modernism. Findlen, Paula. (1998)Possessing the Past: the Material World of the Italian  Renaissance. American History, 103, (1), pp. 83-114. The author has profoundly delved into the significance of material cultures in regard to aspects of design. Using a critical approach to decorative aspects the author explores the dynamics of modernism concepts in regard to the past structural features as etched in design icons. Equally, she touches o n diverse objects that embrace the designing features in our daily engagements. Using a plethora of sources she examines the impact of renaissance mindset on design icons. More so, her approach too touches on the impact of design on humanistic aspects which blends into the natural beauty we cherish. Therefore, the consequential balance touches on the convincing measures that design both in ancient and modern context. Goldthwaite, Richard A. (2000)The Economic and Social World of Italian  Renaissance Maiolica. Renaissance Quarterly, 42 (1), pp. 1-32. The evolution of design can be compactly explored from the stance projected by the author on this article. From the authors perspective the changes in styles defines the designs essence both in and after production. Therefore, the author looks at the core features of luxury market which operates in line with the production of artifacts. In regard to such engagement he highlights the potter’s expertise in styles and designs. Thus in analogy to potters approaches the author explores the historical analysis of design, growth and creation of design icons. Hence, with structural and material consideration he offers profound insight into the significance of design as is opposed to the modernists who had the knack to reject the old design features. Kumar, Sandeep, et al. (2004) Analyzing planning and design  discourses.London,Pion The authors have employed the critical features of design discourses in regard to models. Their argument illuminates the significance of having analytical approach in regard to designs. This they assert in instrumental in developing apposite methods of evaluating the stability of evolving designs. Therefore, according to their analysis design discourses is paramount in identifying diverse discrepancies. Equally, they have noted that designs do evolve within definite platforms which must be established effectively. Looking at the concepts of design from the scope of art, film, style ar chitecture the authors touches on the significance of design and their prominence. Thuku, Daniel. (2000).Designing the world.Capetown, Blackman Book. The author explores the aesthetics of designs, investigating the structural motifs as well as the patterns which define ancient and the modern design models. In essence, the author takes us through the history of design models which have shaped the world. In his approach the author notes designs provides essential concepts which are fundamental ways. Wilk, Christopher. (2006) What was modernism. London, V A Publications. From a profound perspective the author tackles the broad aspects of modernism in the ever changing world of design. By exploring the diverse aspects of design he offers a decisive insight into growth of modernism. This he does by explaining the manner design models have acquired prominence and influenced the society. The author tackles the question of what is modernism by exploring the previous design aspects which wer e popular during the renaissance. Looking at the effect of art he touches on the foundational concepts of art which reflects natural scope of designs. Wohl, Hellmut. (1999) A Reconsideration of Style. Cambridge, Cambridge  University. Through a critical culture analysis the author delves into the world of renaissance art. Using the contextual understanding of cultural context he explores the value as well as the significance of design and style in the Italian art. From his perspective he traces the path designs undertake when evolving. From his stance we get the reflection of such aspects as artificial design evolution, the relationship between romanticism and constructivism in regard to design. More so he touches on concepts of decorative features most commonly evaluated by architectural and design theorists. References List Berman, Marshall. (1988)The Experience of Modernity. London, Penguin. Childs, Peter. (2000) Modernism.NY, Routledge. Findlen, Paula. (1998)Possessing the Pas t: the Material World of the Italian Renaissance. American History, 103, (1), pp. 83-114. Goldthwaite, Richard A. (2000)The Economic and Social World of Italian Renaissance Maiolica. Renaissance Quarterly, 42 (1), pp. 1-32. Kumar, Sandeep, et al. (2004) Analyzing planning and design discourses.London, Pion Thuku, Daniel. (2000).Designing the world.Capetown, Blackman Book. Wilk, Christopher. (2006) What was modernism. London, V A Publications. Wohl, Hellmut. (1999) A Reconsideration of Style. Cambridge, Cambridge University.