Estetica applicata
Docente: Renato Troncon
Data di inizio: 25 ottobre 2001
Orario: giovedì 16 - 18:30
Totale incontri: 14
Quali sono gli scopi del corso?
Anche la moda, come ogni altra espressione umana, è oggetto
di interpretazioni, controversie, teorie, riflessioni! La moda fa
gioire ma fa anche… litigare e discutere!
Designer, esperti di marketing, responsabili delle vendite,
responsabili dell'ufficio stampa, ecc., sono tutti nel frequente
obbligo di chiarire a sé e agli altri il senso particolare (o
generale) della loro attività. In ciò, dalla progettazione alla
commercializzazione, nelle questioni più semplici così come
in quelle più complesse, essi si trovano spesso ad impiegare
termini e argomenti dei quali non è sempre facile comprendere
i limiti e, soprattutto, le potenzialità.
Per queste ragioni il corso di estetica applicata, offerto a tutte
le classi dei master, ha come scopo quello di orientare
nell'universo delle innumerevoli parole che costituiscono
l'anima della moda come espressione della creatività umana,
insegnando l'uso almeno dei suoi termini principali ma anche
qualche cosa di….
…ma anche qualche cosa di più
profondo, come già oggi
inizieremo a vedere…
scopo del corso è infatti soprattutto
imparare a capire e interpretare
tutto ciò che è e fa qualità…
Quali argomenti tratteranno i 14
incontri previsti?
Consigli pratici
• Come si seguono queste lezioni (parole,
libri, personaggi)
• Come si stendono degli appunti
• Come si fa un indice di argomenti
• Come si raccoglie un dossier
• Come si crea un dizionario delle (proprie e
altrui) idee
1) Cosa è la qualità 1
2) Come si impara a pensare 1
3) Cosa è la bellezza 1
4) Estetiche extraeuropee 1
5) Estetiche extraeuropee 2
6) Teorie della sensorialità 1
7) Teorie del colore 1
8) Cosa significa comunicare 1
9) Cosa significa comunicare 2
10) Cosa significa raccontare 1
11) Come si impara a "leggere" un oggetto 1
12) Come si impara a "leggere" un oggetto 2
13) Cosa significa progettare 1
14) Teorie della moda 1
Cosa è la qualità?
Qualcosa di assai profondo…
Gli autori oggi in discussione
Christopher Alexander
• Christopher Alexander was born in Vienna, Austria, and
raised in Oxford and Chichester, England. He graduated
from Cambridge University, where he studied Mathematics
and Architecture. He then obtained a Ph. D. in Architecture
at Harvard University. For his Ph. D. Thesis, later
published as the book Notes on the Synthesis of Form, he
was awarded the first Gold Medal for Research by the
American Institute of Architects. Since 1963 he has been
Professor of Architecture at the University of California at
Berkeley, and Director of the Institute for Environmental
Structure. In 1980, Professor Alexander was elected
member of the Swedish Royal Academy; and in 1996 he
was elected fellow of the American Academy of Arts and
Sciences. Christopher Alexander is a Trustee of the Prince
of Wales's Institute of Architecture.
curriculum vitae
geboren 1936, österreichischer Auswanderer
studierte in Cambridge Mathematik, dann in
Harvard Architektur
seit 1963 in Berkeley als Professor für
Architektur an der University of California;
gründete dort das Center for Environmental
Structure (CES)
Selected writings
Scritti principali
di Christopher Alexander
• Notes on the synthesis of form, Cambridge
1963
• The timeless way of building, New York
1979
• A pattern language : towns, buildings,
construction, New York, 1977
• The Oregon experiment, New York, 1975
Robert M. Pirsig
• Born in 1928 (Minneapolis) Pirsig is the author of Zen
and the Art of Motorcycle Maintenance and Lila, an
Inquiry into Morals, the former being the best ever
selling philosophy book. He was trained in philosophy
and journalism at the Universities of Minnesota and
Benares. Prior to his novels, he was a technical writer
and teacher. Pirsig is presently living quietly in New
Hampshire, USA with his wife Wendy and daughter
Nell. He admits to being a bit of a recluse and won't
even answer the phone. He explains his behaviour
thus: "The Buddhist monk has a precept against
indulging in idle conversation, and I think the basis of
that precept is what motivates me." (letter from Robert
Pirsig to Bodvar Skutvik, August 17th, 1997)
Selected writings
Scritti principali
di Robert M. Pirsig
Zen and the Art of Motorcycle Maintenance: An
Inquiry Into Values, 1974
Lila: An Inquiry Into Morals, 1981
Pirsig sulla qualità
“What the Metaphysics of Quality would do is take this
separate category, Quality, and show how it contains within
itself both subjects and objects. The Metaphysics of Quality
would show how things become enormously more coherent-fabulously more coherent--when you start with an assumption
that Quality is the primary empirical reality of the world....
...but showing that, of course, was a very big job…”
( Lila )
Alexander sulla qualità
Timeless continues this theme, opening with phenomenologically toned
essays on ``the quality without a name'', the possession of which is the
ultimate goal of any design product. It is impossible to briefly summarize
this. Alexander presents a number of partial synonyms: freedom, life,
wholeness, comfortability, and harmony. But no single term or example
fully conveys meaning or captures the force of Alexander's writings on
the reader, especially surrounding the human impact of design, the
feelings and aesthetics of designers and users, the need for commitment
by developers to obtain and preserve wholeness, and its basis in the
objective equilibrium of form. Alexander has been working for the past
twelve years on a follow-up book, The Nature of Order, devoted solely
to this topic
Eurythmics
The miracle of love
How many sorrows
Do you try to hide
In a world of illusions
That's covering your mind ?
I'll show you something good
Oh I'll show you something good.
When you open you mind
You'll discover the sign
That there's something
You're longing to find...
The miracle of love
Will take away your pain
When the miracle of love
Comes your way again.
Cruel is the night
That covers up your fears.
Tender is the one
That wipes away your tears.
There must be a bitter breeze
To make you sting so viciouslyThey say the greatest coward
Can hurt the most ferociously.
But I'll show you something good
Oh I'll show you something good.
If you open your heart
You can make a new start
When your crumbling world falls apart.
UNKNOWN MASTER, German
The Garden of Eden
c. 1410.
Tempera on wood, 26.3 X 33.4 cm
Städelsches Kunstinstitut, Frankfurt
In the legendary world of a multicoloured garden surrounded by a wall the Virgin,
the Child Jesus, three holy women and three holy men have met. This enclosed
garden (hortus conclusus) is the symbol of the Virgin's purity, with its peaceful mood,
its protected area, its fruits and flowers, but the serpentine intertwinement of the
two trunks of the trees on the left also reminds us of the Garden of Eden, the scene
of the happy life of the first human couple. Even more does the picture intend to
evoke the ancient, original harmony of the universe, of divine, human, animal and
vegetable worlds, where sin and evil were present only in a latent, harmless form.
The Satan-monkey is squatting helplessly at St Michael's feet, while St George's
dragon, not at all awe-inspiring, seems to be basking in the sun, turning his belly
upwards.
The patron who commissioned the picture may have seen his own ornamental
garden in the flowers, herbs, birds, butterflies and dragonflies, all represented with
scientific exactness. However, this true-to-life interpretation, in a manner
characteristic of the International Gothic style, is restricted only to certain minor
motifs. The garden, the table, the fountain and the musical instrument are depicted
from a different angle and are seen from above and thus they are not included in the
plane of the picture; the figures are airily light and the forms do not cast shadows.
Like patterns on a carpet the details are rather close to one another and are
represented in a two-dimensional way. The forms of the world of humans, of the
vegetation and of objects are harmoniously fitted to one another. The crowns are
golden garlands of flowers, the left arm of St Cecilia holds a psaltery and the outlines
of her instrument form a single vigorous arch of mirrored symmetry, and the parallel
lines of grasses appear to be growing from the strings of the psaltery.
CONCLUSIONI….