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[2] [3] But the terms form and content can be applied not only to art: every meaningful text has its inherent form, hence form and content appear in very diverse applications of human thought: from fine arts to even mathematics and natural sciences. Even more, the distinction between these terms' meanings in different domains of application ...
The Wainwright Building in St. Louis, Missouri, designed by Louis Sullivan and built in 1891, is emblematic of his famous maxim "form follows function".. Form follows function is a principle of design associated with late 19th- and early 20th-century architecture and industrial design in general, which states that the appearance and structure of a building or object (architectural form) should ...
That is why it is imperative that the artist knows how to properly convey their work through their own words. What the artist writes in their statement may be integrated in wall text, handouts at an exhibition or a paragraph in a press release. Judgments will be made based both on the nature of the art, as well as the words that accompany it.
Conceptual design is an early phase of the design process, in which the broad outlines of function and form of something are articulated. It includes the design of interactions, experiences, processes, and strategies. It involves an understanding of people's needs and how to meet them with products, services, and processes.
A design is the concept of or proposal for an object, process, or system. The word design refers to something that is or has been intentionally created by a thinking agent, and is sometimes used to refer to the inherent nature of something – its design. The verb to design expresses the process of developing a design. In some cases, the direct ...
Art criticism includes a descriptive aspect, [3] where the work of art is sufficiently translated into words so as to allow a case to be made. [2] [3] [7] [11] The evaluation of a work of art that follows the description (or is interspersed with it) depends as much on the artist's output as on the experience of the critic.
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One way this was done was by building on to the existing modernist knowledge from Europe and making the processes, production and consumption meet the standards of the different cultures. [7] The problem with this idea is that it assumes that there is only one narrative of design history by limiting it to a specific place and time. [8]