Since 2015, I feel that the design works in the

Since 2015, I feel that the design works in the industry can give me inspiration and touch, and I have become less and less. It seems that they are all repetitive things. So I started to explore the ideas of cross-border designers, so this time, share some cross-border insights about product design aesthetics.

The first one is the teacher of Kurokawa, the eight aesthetic senses of Japan. This book was bought by Page One in Sanlitun, Beijing. After reading this book, I solved a problem: What are we praising when we are designing aesthetic Japanese?

First, micro

Micro is derived from the difference between Eastern and Western religious philosophy. The Western religion speaks of the gods. In the East, more are Buddhas in the heart.

What micro is telling is to pay attention to every detail, just like the details of the construction of the dry landscape, it is devoted to the creator to all engrave.

Every detail, in the process of design and development, is devoted to their feelings, and may not come again at this moment.

The first session of a meeting is an idiom of Japan. What is stated is that the moment when the other party is talking, it will not come again. Cherish the moment and cherish the process of doing everything. It is very likely that there will be no more opportunities in the future.

The essence of micro-the details reflect the concept of the product.

The second one, and

The design of the Japanese is extremely admired by the natural beauty itself.

Like the seven gods, they do not have a serious religious distinction. But if you put it together, you feel good and harmonious, you can. Or, they can go very extreme for an extremely harmonious beauty. Continuous absorption, integration, and death to some extent, is also their pursuit of extreme beauty. Influenced by Buddhism, the Japanese used death as a nirvana. The laparotomy is the pursuit of this pure beauty.

Third, gas

The picture above is a building in the commune at the foot of the Great Wall, and the bamboo house of Kengo Kuma. The essence of Qi is energy, which gives people a feeling of peace of mind. In Japanese design, I am very concerned about the construction of the energy field. In the bamboo house, the square area in the middle constitutes the energy container, and the square table is the point where the energy is emitted.

The essence of gas – energy.

Fourth, between

In the performance, we usually use white space and residual sound to describe. The example of combining the gas and the atmosphere, above is the work of the architect Io Tadao, which I really like, the Church of Light. The concept of yin and yang is combined.

When people make things, they directly produce yang, and what they cannot produce is yin.

When making an object, if you only understand the object, there is no way to understand yin and yang.

Local is not independent of the whole, focusing on the combination of white space and energy. Like the Church of Light, the cross constitutes energy, and the shadow behind the light is not created by the designer. The combination of energy and the white space of the space constitutes harmony.

Fifth, secret

The core of the secret is to stimulate the imagination of the audience. Do not deliberately pursue expression, through the setting of scenes, qi, and between, inspire each other’s imagination, and integrate each other into their own interpretation.

That is, a work is completed by the interpretation of the creator and the audience.

The essence of the secret – to build a feeling of endless feelings.

Sixth, prime

Advocating the beauty of the material. Deep love can be integrated into the beauty of nature, time to polish the traces of artificial, love the purity of no impurities.

The shape is originally something that people are processing, and the shape is not worth mentioning.

Seventh, false

Here’s the fake, take the meaning of fake.

Everything is fake, and life is like that.

Do not resist, take advantage of the trend.

When repairing a house, Japan will not repair it as new, but keep the traces of use. Just like the iPhone does not film, scratches, that is, the traces of use, is the accompanying proof.

In the long river, you are going down the river, and it is better to go upstream.

False aesthetic consciousness is the calmness of the laws of the universe.

Eighth, broken

When Leji Zuoweimen is making tea bowls, he will make a large number of them to be put into the firing. After the burning, they will be broken one by one, and they will be taken out of their satisfaction. This tea bowl, the process of making, and the finished product.

It covers almost all aesthetic senses. Breaking is to give up the complete artificial design and borrow from the accident.

How is the design aesthetic in MUJI produced?

“Simple”, “pure”, “Zenyi aesthetics”, in this age of ubiquitous brand, MUJI is “fading the brand.” Behind the brand paradox, it has won countless fans. What is the source of good products and good design?

The design concept of “simplification” and “restraint”

There are more than 7,000 products in MUJI, but there is not much language from product design to poster promotion. The designer’s original research philosophy was to give MUJI a design concept of “empty” (“EMPTINESS”).

Trend revelation: It is not easy to be able to do “simplification”. The problem faced by many brands today is that it is often difficult to “restrain” desires in the face of consumers’ demand for a lot of products. In many cases, the design that makes consumers feel is “this” The realm of “soundless and vocal”, “simplified” and “reduced”, both for product development and brand marketing, are two keywords worth considering.

The combination of Zen and aesthetics

As a generation of design masters, MUJI’s original designer is pursuing daily design, emptiness, and whiteness, and advocating for all things. Muji is considered by Japan and the world as the most representative “zen aesthetics” in contemporary times. In the embodiment, with a sense of Zen beauty, it seems that the design of the product has sublimated the product to the cultural level. This design spirit is close to the realm of “big sounds, elephants invisible” that the ancient Chinese said.

Trend revelation: Good products must have cultural aesthetics. Without culture, there is no soul. Good products also need to express this culture to consumers. There are endless tensions in expressing some elements of traditional culture through design language.

Trafficking philosophy of life

MUJI is also known as the “Life Style Store”, which advocates a simple, simple and comfortable life, rejecting the vain brand worship and reaching the essence of life. The design of MUJI goods satisfies the “potential needs” that consumers have not yet had time to export. In this “seeing and hating late” mood, many consumers are willing to pay for it.

Trend revelation: Why do people pay for design? Impressing consumers’ products, driving consumption is outside the design. It is not so much a brand as a life philosophy. If a brand sells a philosophy of life, it will affect consumption. The spirit and soul of the person. The original research talked about the design of MUJI, referring to “desire”. He said that desire is the starting point of creativity. If an item is produced to satisfy people’s expectations, then the essence of expectation will act on the essence of the item.” The desire to create is the core of all brands that need to be considered.

Insight into the details of the consumer’s life

MUJI strives to find ways to make life more convenient and tasteful. MUJI often sends designers to visit consumers, observe their daily lives, discover needs and find design inspiration. For example, the designer observed that the last person to read before going to bed is to take off the glasses and turn off the bedside lamp. The next morning, the first action is to find the glasses by hand. Therefore, the bedside lamp with the base recessed toward the center was developed, so that the glasses were placed on the pole for easy access.

Trend revelation: There are many brands that always think that their products are the best, or impose their own design ideas on consumers. In fact, all the ideas and innovations come from the details of consumers’ lives and life scenes. The pain point in the middle, however, this is not easy to do. As the original research said: “In our work, the logic of capitalism is slightly surpassed by the logic of human nature.” Industrial thinking and the brand’s self-world are often easy to feel a sense of distance from the consumer world.

Literary style and style

Is “Muji” cheap? In fact, sometimes, cheap is a subjective feeling. The concept of MUJI is “reasonably cheap”, that is to say, when you think that this product is of high quality and valuable, then the price is not the core, so MUJI improves and develops everything that can be seen everywhere in life into a unique quality product. Premium space. More importantly, the products have become “literary and artistic” through improvement, and many consumers who go to the “Mujiu” shop are some of the characteristics of the young artists.

Trend enlightenment: Brands need to be ethnicized, and ethnic grouping is stylized. If you can’t define a clear group, the group can’t identify with the brand, it is difficult to have brand loyalty.

Consumers who like MUJI are only immersed in the world created by MUJI. Other kinds of fashions have nothing to do with them. Therefore, MUJI has nothing to do with the trend of new fashions. He only insists on his own language and style. Consumers living in the world of MUJI have a sense of belonging.

Trend revelation: Brands must become consumers’ safe havens, consumers’ girlfriends. When a brand is closely tied to the lives of consumers, the brand has a lasting vitality.

From a trend perspective, each brand needs to find something that “excites” consumers. This excitement comes from the spirit, proposition and soul of the brand. If a brand has no core soul, the consumer will change. Freedom, humanization and details of life are still the source of all good products, good design and good ideas.

From MUJI’s daily necessities, Xiaomi’s “tribute” to the home appliance

From MUJI’s daily necessities, Xiaomi’s “tribute” to the home appliance brand BALMUDA, the movie screen of Chi Yuhe, to Japan’s promotional posters, advertisements and even the decoration style of ordinary people, almost all Japanese designs seem to be some kind of unified things. Shrouded. We usually describe it in terms of freshness and elegance.

This Japanese national aesthetic has a long history of emotions, and has even become a subconscious mind, but where does it come from?

Here are 15 of the Japanese designs that have influenced the world. This is also the temperament. As for the reasons, you may find traces from the following traditional Japanese aesthetics keywords.

Quiet (わびさび)

Today’s most famous concept of Japanese aesthetics in the world, the discovery of charm in the “imperfect, incomplete” or even “broken” things, closely linked with the Japanese ideology.

Ya (みやび)

One of the traditional laws of Japanese aesthetics. To reach the realm of elegance, we need to abandon all vulgarity, absurdity, and rudeness; pay attention to appearance and be courteous and courteous, and strive to move closer to elegance.

涩 (しぶい)

Simple, subtle, unobtrusive beauty. It means practical, no extra decoration, neither flashy nor rigid.

粋 (いき)

The point of view is the human courtesy in the city, which is effortless and cumbersome. Focus on the restraint and complex unity.

Yu Xuan (ゆうげん)

The beauty of Yu Xuan is often difficult to express because it is about the grand view of the universe. One of the important aspects is that it leaves a blank and is filled by the imagination of the audience. It is an aesthetic that transcends clarity and integrity.

The beauty of these five Japanese traditions is actually interrelated. Substituting them to appreciate the modern Japanese design seems to have a sense of “harmony”.

【 1 】Golden chopsticks pillow

By Duck Under the Beauty

Japanese artist Yasaka Katsumi got a lot of ceramic fragments on his way to the coast. So, she used the traditional Japanese porcelain patching method, “Golden Dragonfly”, to bond these discarded pieces with the pieces in her personal collection, and finally created a charming and unique gold chopsticks pillow.

The ingenuity of the gold enamel process is that it never hides the uneven pieces, but deliberately highlights them with shiny metal binders.

[ 2 】 space twisted plate pad

By APWorks

Japanese design studio APWorks uses this curved curved plate to interpret Albert Einstein’s bending theory. Through the twisted grid pattern design, the mat creates an illusion to the human vision, as if the vertical space of the plate and tableware has sunk, and the planets and stars twist the space-time plane.

[ 3 ] 3D printing aquarium

By San Zeyao

Designed by Japanese designer Mizusawa, this art aquarium series vividly presents a wonderful environmental change between air and water through the latest 3D printing technology. The collection features traditional water gardens and the classic elements of Japan’s popular underwater setting, and incorporates the style of modern water architecture. The various mesh grids that fill the bottom space are reminiscent of corals and underwater plants in the underwater world.

[4] “Tumbler” vase

By Fujiwara

This teardrop-shaped multicolored vase is from the hands of Japanese designer Toshiyuki Fujiwara. In order to make the vase look more crystal clear, the bottle body is specially made of reflective material. There are five different color styles, each with a calm and natural gradient that complements the flowers in the bottle. Thanks to the solid weight on the bottom of the cylinder, it is always tilted and not inverted, adding a relaxed, playful atmosphere to the space.


[5] “nameless” pigment

By Ima Moteki

In order to stimulate children’s imagination and creativity, the Japanese design duo “Ima Moteki” (いま, もてき, もてき) designed this pigment without the name of the color, hoping to make the children feel the color with their own feelings. .

The label and the specific color name are replaced by a clear primary color circle. The tube has a simple color and a new color with a mixture of colors and colors. The size of the circle also represents the different colors in the tube pigment. What is the proportion? By not assigning a name to the color, the designer completely assigns the definition of the color to the children’s freedom or play. Let the children learn color theory and color matching, as well as the basic concepts of creating new colors.

[6] model mini bike rack

By 野野佑真

Inspired by the Japanese bicycle parking system, Japanese designer Kano Yuki designed the mini parking rack called “On BicycleStand”.

Like the traditional bicycle frame, this frame is also made of steel and is also very convenient to install. Separate bicycle parking spots are a special design for this creative parking rack. The shape of the small bicycle and the black line drawing style make the bicycle parking rack, which is a common public facility, look more pleasing and greatly enhance its recognition.

【 7 】 book chair

By Infinity Design

The curved chair “Slinky Chair” is a sculptural seat designed by the Italian studio Infinity Design, inspired by the Japanese calligraphy.

The chair’s smooth, soft look and feel, as well as the brushstroke-like design style, present a dynamic visual impression that makes it look like a call from a calligraphy work, full of spirituality. It is both beautiful and practical, perfectly interpreting the complementary balance between modern design and traditional art.

【 8 】 Balloon sofa

By h220430

Japanese studio h220430 is the protagonist behind this balloon sofa. Inspired by the 1956 French film “Red Balloons”. In fact, each balloon is made up of fiber reinforced plastic (FRP) and a hidden lanyard attached to the ceiling. The clever design gives the chair an illusion of natural floating, as if it were a fairy tale world. The designer explained, “If you sit in this chair, even if your mood is lost, you can instantly generate positive psychological hints.”

【 9 】 Folding bookshelf

By Nendo

Nendo, a famous Japanese design company, combines the traditional concept of Russian dolls with ordinary bookshelves, allowing readers to have a space for personal book collection that can be continuously expanded.

Known as the “Nest Shelf,” this creative bookcase is designed with practicality in mind and will give you a special surprise. At first glance, this shelf looks the same as an ordinary three-story bookcase, but when you pull the sides, the bookshelf will stretch out like a magical moment, giving you more storage.

[ 10 ] Light bookmarks

By 荣荣Design

Bookmarks and book lights were originally two separate gadgets, but the Japanese design studio Co., Ltd. has cleverly combined the two into a practical and interesting new product – the bookmark light. The design is also extremely simple. A silver nanoparticle ink that transmits electricity is embedded in the film. Just put a lithium battery in the middle and fold it up to turn the bookmark into a small light and give it to you in the dark. Bring a hint of light.

[11] voice ring

By Encode Ring

The Japanese ring custom brand Encode Ring has launched a “ring made with sound”.

Convert the customer’s three-second recording into a sonic pattern and then make the sound pattern a special metal ring. Depending on the content and tone, each person’s sound waves will not be exactly the same, which ensures that each ring is unique to its gift object. It has the abstract voice pattern of the peaks and valleys, so that its symbolic meaning will be permanently accompanied by the wearer, aiming to express the emotion to the gift object in a special way.

【 12 】LED mushroom light

By Takano Yukio

Any natural lover will fall in love with these LED mushroom lights by Japanese designer Takano Yukio. The exquisite “mushroom” is made of glass and looks like it grows naturally from wood and stumps. These small, glowing mushrooms can be used as a versatile creative lighting in any part of the home.

The small light consists of embedded color, wavy LED beads that produce a soft gradient from light blue to light red to warm yellow. The battery is hidden in the bottom of the wood, and the retro switch on the side is striking. In addition, each product is packaged in a rectangular wooden box, the combination of ancient style and painting, which adds a lot to the whole product.

【 13 】Flower Ring

By Gahee Kang

Inspired by the traditional Japanese floral art, New York-based designer Gahee Kang has created a “flower arrangement ring” that can be DIY. It is not so much a ring as it is a flower on the fingertip. It uses sterling silver to make two holes on the ring. You can insert the flower stems according to your personal preference and create your own flower ring. Every day. Put on a brand new ring.

【 14 】 Surreal shower light

By Nendo

Nendo has designed a concept product for the bathroom brand Axor that focuses on the future of the shower scene – a simple and elegant hybrid shower light series. Although these surreal conceptual works may not have the most practical features, they do present an unexpected scene that is quite amazing. Just like the magic trick, the shower light hides the lower part of the water column in a magical shadow before the water column spills from the shower head.

【 15 】 Floating shelves

By YOY

If you like the illusion of the decorative style, then this exquisitely designed wall shelf is absolutely difficult to resist. They look like a moment of wind blowing over a piece of white paper. The design is called “Blow” and was completed by the Japanese design studio YOY. They bent A4 size steel sheets into five white shelves of various shapes. Using the upper or lower side, each shelf can be individually attached to the wall with a hook, which can be combined according to your preferences.

How to understand the design aesthetics of MUJI

After more than 30 years, MUJI has become an international brand representing Japanese design. It is a commercial system that supports the development of MUJI, but it must be said that the aesthetics of MUJI is the soul of MUJI. The concept and aesthetic system supported the empire of 5,000 varieties of MUJI, and the aesthetic system was removed. 

Perhaps MUJI was only the original groceries without logos. Designer Ye Ping believed that it was based on three reasons. I. Based on the deep cooperation with design masters such as Tanaka Yoshihiro Tanaka Izumi talked about the design of MUJI Muji, and had to say that Diqing and Tianzhong Yiguang, in the late 1970s, Muji was only one of the Seibu Department Stores. In the grocery store, after the young literary youth Di Qing received the Seibu department store from his father’s father, he found the designer friend Tanaka Izumi, based on their literary feelings and insights into business. 

The two thought that Muji could develop to meet the future. A unique brand of social needs, Tanaka was hired as the artistic director of MUJI, and he also became a member of the board of directors. At the same time, space designer Sugimoto Takashi joined the MUJI MUJI design team, responsible for shop design. . Space designer Sugimoto Takashi Tanaka was fully responsible for brand positioning and design. In 1980, Tanaka Yoshihiro proposed the development of MUJI with the guiding ideology of “the most suitable form to show the essence of products”

Tie Qingyi felt that the market was too colorful and proposed the idea of ​​“anti-branding” and hoped to create unbranded goods. He and designer Buddy Tanaka jointly finalized the brand name of MUJI Muji. In the 1980s, it was the heyday of the rapid development of Japan’s economy. Tanaka had a keen insight into the design to be involved in the public life and exert a strong social influence in design. Starting from environmental protection, advocating “recycling of resources” and starting from the basic concept to promote the “appropriate” concept of life has had a great impact on society. 

The MUJI that Tanaka Ichiko wants to create is a simple design, simple packaging, and functional first, emphasizing the user experience and environmental protection. In fact, Tanaka was localized in modernist design in Japan, and Bauhaus modernism combined with Japanese Zen and material sorrow culture, pointing out the direction for MUJI and even Japanese modern design, precisely because this Tanaka is called no The father of Yinliang, the father of modern Japanese graphic design. In the week before Tanaka’s death, Tanabata finalized the original design as the new design leader of MUJI Muji, and found a successor for the MUJI.

 The original research also did not disappoint the expectations, and brought the product designer Shenze. Naoto, who is responsible for product development and innovation, the original research and the deep-seated people along the route of Tanaka Ichiko, together to promote the design of MUJI to the world. The product designer Shenze Zhiren MUJI MUJI design success is based on the in-depth design of excellent designers. The cooperation method is to become a shareholder, board member, and long-term cooperation, because only such a designer can understand business more deeply, with a kind of Long-term vision is a longer-tailed way to think about design. 

Because of this, design has become one of the core competitiveness of MUJI, and it has also made MUJI a more durable design driver. The former consciousness design Ye Ping believes that this is a clear road for the domestic brand builders who are eager for quick success, that is, enterprises must find excellent suitable designers, become shareholders, and establish long-term cooperative relationships. Second, MUJI MUJI design conforms to the needs of the world business process for the design of MUJI. One of the products: the development of the commodity society to the 1980s, the developed countries have seen a surplus of goods, a weak consumer situation, and excess commodity There is only a surplus in the total amount, and there is a surplus in the form of goods.

 

There are dozens or even dozens of choices for a casual jacket. People are caught in difficult choices. After shopping for an afternoon, they have seen more styles and don’t know how to buy them. What is good, people are lost in the jungle of consumer goods. MUJI MUJI timely proposes the “this is good” consumer concept, and then provides “everyday” products to meet daily needs. All the products are designed in a simple and elegant style, without excessive design decoration. All this seems to make you lost. Volkswagen found the export, the original goods are very good, simple, generous, practical, and not lacking in the design. Such MUJI is naturally deeply rooted in the hearts of the people.

The Beauty of Haze – Japanese Design Aesthetics.

If the design of the United States is rooted in an innovative culture, emphasizing the concept of innovation and constantly exporting new things to lead the world, then Japanese design is supported by profound aesthetic concepts, emphasizing the cultural characteristics of design. Although today’s ability to design creative problem-solving is increasingly emphasized, it is difficult to have unique tastes if there is a lack of aesthetic considerations. One of the charms of Japanese design comes from the unique haze aesthetics.

Note: Here are some of the characteristics of Japanese design aesthetics, and the beauty of the haze that Mr. Tanizaki Junichiro has in the “Yellow Praise” is perhaps the most important feature of Japanese design aesthetics.

a haze

The Japanese ancestors who lived in the dark house for a long time did not know when they found beauty in the haze and gradually developed a unique aesthetic. In the Japanese concept, beauty exists in the haze of the haze between objects. Gemstones can only show brilliance in the dark night, and the natural greenery is even more fascinating in the dim indoor environment… The haze is a beautiful backdrop.

The ancient residences in Japan are extremely simple, and the beauty is completely submissive to the shade of the haze. The beauty of this haze is manifested by the rejection of direct light, and the dark beauty created by the pursuit of faint light (in sharp contrast to the overlap and directness of light that Westerners love).

The beauty of the haze, the beauty is the transfer of nature. Junichiro Tanizaki describes the most elegant place in Japan’s ancient residences as toilets. “This kind of toilet is separated from the main house. It is built in the shade of the green leaves and the fragrant green leaves. It walks through the corridor, and in the darkness, while enjoying the reflected light of the slightly transparent paper window, while meditation, Can overlook the view of the garden outside the window.” The dark and dark light reflects the vitality and vitality of the outdoor scenery, and creates a peaceful atmosphere for people to immerse themselves in meditation.

Haze aesthetics also affects the unique performance of Japanese artifacts. For example, the texture of Japanese lacquerware is only black, brown, and red. These colors are especially harmonious with “dark”. In combination with the lacquer ware, the lacquer is not strong, and the subtle glimmer is the most subtle and luxurious. The Japanese prefer wood utensils, and the wood can withstand the time of washing. Over time, the wood becomes dark and shimmering, and the natural texture is gradually fascinating, and it can be refreshed.

In short, Asian aesthetic culture prefers something with a sense of history. The time-tested, faint and faint artifacts are more likely to be calm, which is the gift of the beauty of the haze.

Second, concealment can be a flower

The esteem for the beauty of the haze also reflects Japan’s preference for implicit expression. Japanese man-made objects do not start directly from objects, but create an implicit relationship between things and objects, thereby indirectly bringing out things. With the art of shadows, the artifacts in the Japanese ancient residences are beautiful in the backlight, and the edges of people and things will have wonderful light. The hidden elements make for a unique poetry.

There is an invisible energy between things and people, and the Japanese call it “between.” “Between” is the space in which life energy flows, and matter is only a component of energy flow space. Yamamoto’s design will make the air flow delicately between the clothing and the body, and the clothing will bring out the beauty of life, which is fundamentally different from the concept of the West. If Western design is more inclined to start with matter directly, Japanese design is good at incorporating hidden or invisible elements into the creative thinking of things.

Three touch-led

The aesthetic preferences of the Japanese touch are also closely related to the aesthetics of the yin. In a dim environment, people have more tactile sensations on things than visual ones. Modern design emphasizes visual transmission too much, but ignores the rich perceptual ability of human beings… I don’t know the deep meaning of existence can often feel deeply after contact. The touch of the palm of the hand embodies the feelings of the whole body. In terms of the form creation of the object, the Japanese design pays special attention to the fit of the hand. The classic butterfly chair has traces of hand-carved sculpt in every detail.

Implanting “different touch” into the product is highly appreciated by many Japanese designers. Because of the importance attached to the sense of touch, the Japanese value the material in the creation. The characteristics of natural materials (texture, temperature, etc.) are directly against the sense of touch. Excessive expression of the form will weaken the power of the material itself. Therefore, the simplicity of many Japanese utensils is actually the result of the material.

Four subtle points see the universe

The enthusiasm for the beauty of the haze also gives the Japanese a more delicate aesthetic experience. “One-on-one meeting” is a unique concept of Japanese people’s time, meaning to cherish the moment and the moment. The short opening of the cherry blossoms is not sad, it is just the momentary smash, let people see the condensed changes in the life of the universe. It’s not just a point in time, it contains memories of the past and ideas for the future. With such an idea, the Japanese will do their best in the details of creation, because every minute moment is more worthy of experience and cherish.

Five unnatural dry mountains

Pursuing too pure natural interest may be the most anti-natural in Japanese aesthetics. The quietness and loneliness expressed by the most typical Japanese dry mountains and rivers is actually a departure from the richness of nature. The geometry of nature has always been irregular and has its own logic. The mountain is not an absolute triangle, the tree is not a simple cone, and the geometry of Euclidean is pure and beautiful but not close to reality. The dry landscape is the natural nature of the imagination, and it is far from the reality. It must be said that Japan’s simple design is very cold and lacks humanity. On the contrary, many of the traditional Chinese artifacts are mixed and different, and they are more warm.

“Yellow Praise” is a book that global product designers love to read. It opens a unique perspective for modern designers to understand the aesthetics of oriental creation… Compared to the aesthetic interest that ancient civilizations have accumulated slowly, It is obvious that modern society is much boring in the depth of aesthetics. As the incandescent light emitted by incandescent lamps can not match the beauty of “the dark moon clearing snow”. The beauty of interest is like the shadow behind the new things created by civilization. Ignoring it makes innovation only new and boring, and digging into beauty with heart, it will give things “the beauty of time”, so that the items really have human feelings.

A product is designed to reflect its epochal characteristics and

A product is designed to reflect its epochal characteristics and aesthetic abilities. The times and aesthetics influence each other. On the one hand, the times restrict aesthetic ability. On the other hand, the improvement of aesthetic ability promotes social progress. And car design is one of the most contemporary cultural products. For more than a century since the birth of the automobile, human science and technology have been rushing forward, and the tides are overlapping or disillusioned. All of this embodies the hard work of countless car inventors, injecting a cold machine into the soul that human beings can communicate with, taking them from The vehicle has gradually become a partner that human beings can’t live without. This alive art mind has grown stronger and again, and it shines again and again. From the evolution of car design that generations of designers participated in, we can clearly see the use of design aesthetics, and rely on humanity’s pursuit of the future until it is beyond the technological innovation of the times. From the history into the reality of the red dust, where will we head?

Going to follow the day and night, the car is more crazy than the times.

Western aesthetics in the 20th century were pluralistic, and the aesthetic schools of the various schools were self-contained. Every morning, the sun shines and wakes up the car designers. It’s the dream of a new night last night.

Regardless of the design concept of the car or the production and consumption of the car, the United States in the 1950s was far ahead of the world. As far as car life is concerned, the United States at this time is really, “the interesting soul is a few hundred pounds”, the kind of shining, the stalwart to Europe has to look up.

Today we talk about the art of car styling, not to mention the dream era of American cars in the 1950s and 1960s. The caudal fin opens the crazy curtain. It is the perfect embodiment of the artistic temperament of car designers, and it is also the most typical representative of American politics, economy and social culture.

After the Second World War, the automobile industry ushered in a booming development, the design changes, the aesthetic power is amazing, and the performance has been greatly improved. It is very close to the contemporary model. Moreover, the charm of car design at that time was enough to make today’s sigh.

In that era of great pursuits, airplanes, aircraft carriers, moon landings, and nuclear power have become the behind-the-scenes inspiration for car design. Boldly conquering the tail fins of the sky and the universe, the nuclear power engine was moved to decorate the body, exaggerating to the turbine inlet of the next second; high-purity red, yellow, blue, black, etc. The glass-and-steel body of 200 color accessories, the large-area chrome-plated decoration is full of American pride; the extra-long, widened, low-profile shape with the streamlined line decoration with different side styles, all show that: America, we are different.

There is a lot of car classics worthy of appreciation for the period of design that has been experiencing large inflation and not too many harsh restrictions on the fuel economy and safety of automobiles.

Bel Air (1957) is regarded as a classic design. The sleek, well-decorated fin-shaped empennage has two jet-like decorations on the front and is highly recognizable. Compared with the contemporary models of the big tail fin article, it looks quiet and dignified.

In the post-modern stage, the “muscle car” shines

In the march of the 20th century, the United States gradually dominated the world automobile industry. In the 1960s, when modern thought and modern aesthetics peaked and modernity turned to post-modern turn, in the fierce competition of peers, General Motors Corporation became not only the world’s largest auto company at the time, but also a leading multinational group. It is also difficult to be shaken.

At the same time, after the recovery in the 1950s, the West German economy entered a golden period of development, and the car consumption of the wealthy West Germans also reached a step. They favored the family car with a four-cylinder four-stroke engine. From the very beginning, the imitation of Europe and the United States, and the popularization of domestically produced cars, Japan has officially entered the automobile society.

In the era of rapid changes, the inventions of a few years ago were quickly marked by the times. Mini skirts, thick bangs, hot pants, boots, American college students in the 1960s put on the popular indicators of that era, the social air is full of emotions that want to “send wild”, refuse to be rigid, have a car with a specific spirit It has become fashionable.

“Designer, come hard.” The Muscle Car was popular in the United States, and it was at that time that Malibu was born. It was a high-end model of the Chevrolet Chevelle. Chevelle is known for its large-displacement naturally aspirated engine, rear-wheel drive and pure vintage body. It is the epitome of the American car culture with full blood and pure man.

Malibu’s name comes from Malibu Beach, a California tourist destination. At the moment of its name, Chevrolet has already thought about the role to be given. It is a metaphor for the beautiful and free life that Malibu yearns for, and it is brought to the world through this car. The sales performance is a perfect testimony to its popularity among young Americans: 200,000 units were sold in the first year of the market and won the annual model.

Street competition and environmental worries

In the 1970s, the color of automobile design tends to be rich and varied, such as red, white, blue, silver ash, and camel gray. However, since entering the “dark age” of automobiles, the carnival party of internal combustion engines that never considered fuel consumption and emissions ended up. EPA emissions regulations, reduced particulate emissions, large bumpers, 55 mph legal speed limit, each like a steel knife pierced into the seemingly tough body of the American automotive industry.

On the other hand, automobile social problems such as traffic safety, air pollution, and traffic jams in Japan have gradually emerged. Major auto dealers have called for advanced and low-risk technology research and development and safety countermeasures. At this time, the German Volkswagen also focused on reducing costs to develop new economic cars.

In the face of opportunities and changes, those who always have their own unique insights are the real “trends” who are at the cutting edge of the times. The typical feature of the second generation of Malibu in 1968 was “handsome”. The creative design of the back-to-back design was so handsome that after a lot of Hollywood film and television dramas, it was always in the limelight. Born in the shadow of the oil crisis, Chevrolet designers also developed small displacement engines.

Reducing muscle changes, the family car is coming, the mainstream of middle and high-end cars

After the first oil crisis, Japan was ranked first in the world in terms of small car development, and Japanese car dealers challenged new technologies. New technologies such as turbines and diesel engines, front-wheel drive and lightweight body bodies appeared. . The launch of Golf (1974 edition) has brought the German public back to life under the oil crisis.

Waiting for no wind and rain, a lifetime of sun. From a time of bitterness, the global automobile brand has been annihilated with its various car models. It is not easy to want to be evergreen, and there are only a handful of people who can enter the classic legendary car hall. In the past 10 years of creation, Malibu is undoubtedly the most shining star. It is still one of the most popular models with good sales volume.

The model line is more rigid and straight, the chassis is greatly improved, and the more masculine third-generation Malibu came out in 1973. The brilliant achievements of the 25-game victory in the NASCAR contest were shocked, and the American car was used to control the throne. The excellent overall performance makes it a favorite of a new generation of muscular men. A total of 1.7 million units were sold in 1973-1977, and now it seems to be a mythical number.

It is worth mentioning that in the Chevrolet third-generation Chevelle, the newly added Laguna replaced the previous Malibu as the name of the top model. The long-awaited Malibu is also about to create a history of its own.

The fourth-generation Malibu, which was launched in 1978, was officially upgraded to an independent car and became the flagship model of Chevrolet. Foreseeing the arrival of the family sedan era, the design road of the four-door sedan was completely pushed to the mass market. After several generations of change, Malibu’s unique style and the essence of advocating control have never changed.

It can carry more people’s laughter, face the sea and the sun, taste warm and reunion. Leverage the retreat of muscle aesthetics to create the beach life that Malibu truly yearns for. Its appearance has changed the mainstream development trend of mid- to high-class cars, and it has become a classic model that later generations are emulating. It is worth remembering that the fourth generation of Malibu is also the last rear platform model in the family.

American coupe pedigree continues, the endorsement of the spirit of victory

In the 1990s, the world situation was turbulent, and the Japanese cars under the economic bubble fell into a period of painful depression and passively entered the era of low fuel consumption. During this period, Japanese cars began to establish three characteristics: environmental protection, fuel economy, and recycling. The introduction of alternative energy new vehicles has heralded the coming of environmental protection themes.

After nearly 10 years of the savings and loan crisis, inspirational movies have been popular in the United States. “Shawshank Redemption”, “Forrest Gump” and “Brave Heart” are all popular films of this period. Culture is a reflection of social life. The film profoundly expresses the national spirit and political connotation of the United States. It interprets the importance of freedom and courage to people. It is hard-working and respectful of the American grassroots spirit of individual struggle. It is widely accepted by the audience and conveys its own personality. At the same time, it emphasizes the importance of the family and evokes the yearning and return to a better life. With the resurgence of national confidence, people realize that lofty and beautiful ideals can not only be boldly pursued, but also can be experienced personally.

Not satisfied with the past and not obsessed with the status quo, determined to persevere to create a better future – with the rise of the American spirit in this period, after 19 years of silence, the Malibu car finally returned to the river in 1997. The fifth generation of Malibu’s personality is a mixture of the mainstream character of American society, independent, optimistic, self-confident, pioneering and innovative. The design style of home style means deep life and people’s hearts.

In addition to the stylish streamlined appearance, this generation of models is built with a new front-wheel drive platform, with the perfect balance of control and comfort, and a friendly price, capturing consumers’ hearts, defeating Japanese cars and winning the annual Motor Trend magazine. Become the endorsement of American cars.

Family design, inheriting classic aesthetic talent

In the millennium, greenhouse gas carbon dioxide has become a key word in the world, and the rectification of heavy industry is the first to bear the brunt, and the auto industry can’t escape. In response to this situation, Germany adopted a solution to the main diesel vehicle to meet the emission regulations one-sidedly, and clean energy vehicles were welcomed in Japan. The depressed market is forcing the international mainstream car dealers to appeal to young people.

In order to better adapt to the trend of low-carbon and environmental protection, after the evolution of the first five generations of models, the sixth generation of Malibu, which focused on the new design, met with the public in 2004.

With the continuous development of the body design, the masterpiece of the GM global advanced platform Epsilon front platform technology, this generation for the first time appeared the upper and lower split grid design, and gradually evolved into the Chevrolet family front face features. The sixth generation of Malibu did not unexpectedly gain excellent market recognition, ranking first in the same class in the J.D. Power evaluation and the new car quality survey.

The American tough guy who is stunned by the juvenile

In the past few years, the Japanese car was attacked in the North, and the seventh-generation Malibu, which was upgraded in all directions and greatly upgraded, was returned to the battlefield. From the cheap route to the high-quality, high-tech direction, one turned into a quality idol that conforms to the trend of the times and breaks through the trend. In 2008, it broke into the market and quickly became one of the most watched car brands in its class. The innovations made the seventh generation of Malibu more than 40 heavyweight American industrial awards.

From the most authentic American muscle car to today’s global strategic model, the evolutionary history of half a century, and the transformation of Malibu’s genes, has been sold to this day. After 80s and 90s, it gradually became the mainstay of society. After 00, it will become an adult. With its excellent insight into new human beings, Malibu has increasingly reflected the dual characteristics of “fashionable men + muscle tough guys” sought after by young people.

In 2012, the eighth generation of Mai Rui Bao boarded China, which was the 100th anniversary of the Chevrolet brand. Different from the Japanese car, which pays attention to comfort and fuel economy, and the German car pays attention to steady driving, the eighth generation Mai Rui Bao is called the masterpiece of the three generations. Details such as the waistline highlight the return of muscle culture, making it a car for young athletes. The beauty of the power of the luxury sports car Corvette and the legendary sports car Comalo is close at hand.

In 2015, the new Mai Rui Bao upgraded 24 technological innovations based on the 8th generation Mai Rui Bao, and raised the “integration of driving and driving” to a new height. It once again ushered in a legendary record, and the global sales exceeded 10 million.

Modern design pioneer, open time and space aesthetic dialogue

This is an era of looking at the face, the value of justice is justice. Young car users are becoming more and more individual, and the reason for paying the bill may be just a beautiful side. The value of the face has formed the hard power of a car.

In 2016, Mai Rui Bao XL was built based on the ninth generation of Malibu models overseas, making Chevrolet a new generation of high-end flagship sedan. XL is the abbreviation of Cross Limits, which means beyond the imagination and breaking through the limits. XL also means “XL”, but the lengthening of the car is not all of it.

In Hegel’s aesthetics, beauty is a perceptual manifestation of reason. If the shape and function of the car is a set of “dramatic conflicts” that cannot be combined, when the classic soul encounters modern inspiration, when the aesthetics of design meets human-machine considerations, Mai Rui Bao XL perfectly breaks the common sense boundary and looks at “good” The play was staged. The beauty of quality is reflected in the streamlined sideways, and it is also hidden in every figure that breaks through imagination. When the young post-85 designer Jaymer Starbody returned to the California vacation paradise Malibu Beach, the waves, the beach, the bikini… Later we saw the three waves on the side of the Mai Rui Bao XL car, and understood his obsession. The sports car-class large-slip C-pillars have a large dip angle to express the aerodynamic aesthetics, and the unique sculpture surface design adds a rhythmic beauty.

Mai Rui Bao XL: Technology boundaries? nonexistent

Lightweight and safe have long been a contradictory concept, especially in the Mai Rui Bao XL, but the best interpretation of American security. Under the premise that the safety standards are not relaxed, the weight drops to 1415kg. It is enviable to think about losing the weight of two adults (120kg).

The vehicle is 4,493*1,854*1,470 mm in size, lowered by 4 mm, and finished with a wider, flatter, slender and low-profile dynamic shape. Meet the dynamic needs of more young people for cars without sacrificing interior space. The main and the second drivers fully satisfy the ergonomics, and the welfare of the rear seat passengers does not fall: double cup holder design, dual USB interface, 12V power interface, low 5CM rear floor, 5° opening angle and top concave design The details are controlled to burst.

Once inside the car, it is as quiet as the deep sea; open the sound, BOSE outstanding sound quality and let you stay in the theater; familiar old friend An Jixing brings a new 4G Wi-Fi experience, 7 units can be connected to 700 high-speed Internet access within 700 square meters; The strength of the security system defensive Mai Rui Bao XL US Department of strong security reputation.

Let remote start, keyless entry and support for Apple CarPlay’s central control system, try to transform your car habits. In the hottest and coldest months of the year, start the car leisurely before departure, let the air conditioner work in advance, and feel comfortable on board. The configuration is not the more piled up the better, the everyday is not practical, only you know.

If performance is the life of a car, design aesthetics is the soul of a car. Who will not be attracted to a good soul? Looking back on the past, the iterative design of automobile design conforms to the trend of the times, and it is also breaking through the trend. Its shape, color and texture follow the rules of aesthetics, and the heartbeat is not unreasonable. The consumption upgrade is destined to be an aesthetic upgrade, as is the automotive sector. The combination of aesthetics and technology sets a new dimension for the future of the car.

Prada designer sunglasses-Top 10 Luxury Eyewear Brands in the World

NO.1 Prada

Prada designer sunglasses.Exclusively patented mirror legs. Mirror legs bend for maximum comfort. The design is upside down, the flat steel material is light and bright, the lenses and frames asymmetrical joints create a light feature. Natural colors and other uniforms create the latest Prada boutique. Today prada’s master, Miuccia Prada, is Mario’s granddaughter.
Prada sunglasses series has strong features and personalities. Contour designs range from round to cat-eye styling to squares and are a must-have for all stars. Prada’s starting point is to combine perfect quality, innovative methods with a deep process heritage, which permeates every step of its production process, from design to material selection, from manufacturing to sales concepts, from advertising to communication strategies, creating a “value chain” with “overall quality”
.


NO2. Oakley 

In 1975, Jim Jannard pioneered the OAKLEY era. OAKLEY GLASSES ON THE CONCEPT OF EYEWEAR PRODUCTS SUBVERT, IT IS THAT THE COMFORT OF GLASSES, PRACTICALITY, ARTISTIC INTEGRATION.
Whether it’s a product design or a selection of materials, it’s subjected to a series of advanced scientific experiments and testing to ensure its comfort and high quality, and to allow for a high degree of integration of functionality and fashio
n.

NO3 JUDITH Leiber  

                   
 

HungariaHn fashion brand Judith Leiber with innovative and unique handbag design deep into the hearts of the people, in fact, the brand’s designer Judith Leiber as early as 1946 has been launched sunglasses series, the design concept from the production of handbags, the use of gemstones, crystal stone, agate, and mother-of-pearl, pieced together different patterns to present the people in a gorgeous style.


NO4. Donna Karen

 America’s current number one, a well-known world brand, and hollywood international superstars Bruce Willy, Demi Moore and his wife as a clothing spokesman, its charm is unparalleled. The pursuit of fashion, pay attention to personal taste, is the performance of mature and sound modern sense of the best choice.
Country of Origin: U.S. Producers: French, Japanese Series: Glasses, Clothing, Leather, Ties, Hats and Accessories


NO5. Yves Saint Laurent

 Founder yves saint Laurent i’r Saint Laurent (YSL) took inspiration from Saint Laurent’s design in 1936, incorporating artistic and cultural diversity into the design of the glasses, from a simple style design, gentle lines, and modern and timely style.
Gorgeous colors, lining the connotation of stability, maturity, is the first choice of successful people.


NO6. Donna 

Callan Donnakaran was founded by a woman with a calm appearance. Its glasses are modern delicate, beyond the ancient typical body of time and space, cold metal, chic plastic, black-based ergonomic sports body.
Clean lines are the core idea of the dkny sunglasses range, plastic changes cause color harmony, mixed materials are also dkny’s preference.

NO7.Louis Vuitton 

Louis Vuitton has introduced functional sunglasses, the mirror is not only equipped with very high UV sun protection coefficient, anti-fog, high nasal lining, the frame is very light, even if the falling water will float on the sea, the price of about 10,000, the appropriate boy’s degree is too high than expensive lady.
Louis Vuitton glasses are expensive, not only famous, or hand-polished processes, it seems that there is no monogram totem, is the main reason for the hard to buy


NO8.Chanel 

Founder: Gabriellechanel Chanel Registered: Paris, France (1913) Designer: Gabriellechanel (Gabriel Chanel) Each Chanel sunglasses are made of high hardness, hard-resistant corrosion and not easily deformed technical glue, the color of the sheet is bright and long lasting,
Rich color, the lenses use UV400 UV-resistant resin tablets, thoroughly filter the sun’s ultraviolet light, care for each user’s eyes

 


NO9.CD Glasses 

CD glasses have a wide range of styles and colors, and with a variety of exaggerated shapes to map the colorful world of glasses. CD glasses reflect the avant-garde trend and personality, the plastic sunglasses using CA sheet. CD frame design is simple, with CD proprietary wild taste.
Appreciate and reverie.

NO10. Cartier 

Cartier sunglasses, bold in the use of materials, using gold or platinum coated metal, precious wood, horns and monochrome and two-color synthetic resin material, and decorated with Cartier classic “C” logo and metal screws, in the classic and fashion to seek a harmonious unity. Green, brown, light purple, rose, gray and other colors are widely used in sunglasses lenses, in the sun to show a fantastic color.Since the birth of the first spectacles in 1887, Cartier has been exploring the path of eyewear creation, and the concept of “treating glasses as a piece of jewelry” has been carried out into every Cartier spectacle. Cartier paid for the art of making jewelry to his glasses. The introduction of pure gold and precious gemstones and other top materials, to create outstanding works, artisans through the precious materials for assembly, polishing, inlay, diamond polishing, painting, carving and other traditional crafts, the designer’s ideas are conveyed to the fullest.

Aesthetic design VS Usability

Today’s article is about understanding what is aesthetic design and its importance for the perception of usability. Humans like pretty and shiny design; they desire it much more than functional one.
We enjoy looking and using aesthetically pleasing design, because it satisfies our senses, it gives us pleasure.
Designers tend to think of aesthetics as the visuals of the design. However, aesthetic design consists of more elements than just how it looks.

what is Aesthetic design?

There is a whole branch of philosophy exploring aesthetics. Let’s scratch the surface of the Aesthetics field and learn how it relates to our design work.
There is a phenomenon that social psychologists call “the halo effect”. It means humans tend to assume that good-looking people have other positive qualities aside from their looks.
The same is valid for product design. Good looking products and user interface are perceived as more valuable and having more qualities.
“Beauty is in the eye of the beholder”. Aesthetics are in all our senses, not just the sight. Aesthetic design is a 4D experience. Product designers, who are doing actual physical products are aware of that.
With the emergence of VR and AR technologies it becomes more important for digital designers to consider the 4D experience too.

There are 4 important categories, which can make or break the aesthetics of our designs.
Vision:
The most dominant sense in majority of people is our sight. We can’t stop ourselves to look at what we find beautiful. It is as if the light that reflects from the beautiful design acts as a magnet for our eyes.
Visual aesthetics have these key elements: Color, Shape, Pattern, Line, Texture, Visual weight, Balance, Scale, Proximity and Movement. Using these element well will help us achieve good visual aesthetics.
Hearing:
Our ears are capable of perceiving a whole another level of aesthetic design. The ability to hear how your car engine works, how the digital product notifies you of new messages and etc. This is the power of sound aesthetics.
Sound aesthetics have these key elements: Loudness, Pitch, Beat, Repetition, Melody, Pattern and Noise. Using them well will create enjoyable “music” for our users.
Touch:
Skin is the largest organ in human body. It also helps us experience the aesthetics. Material aesthetics are especially important for physical products.

Just remember, the last time you were buying cloths and feeling their texture or when you were checking out the latest mobile phone and feeling the frame material. Sometimes people make there buying decisions only based on the material aesthetics. Powerful stuff are these material aesthetics.
Material aesthetics key elements are: Texture, Shape, Weight, Comfort, Temperature, Vibration and Sharpness. By mastering them we can make our customers adore our products.
Taste and Smell:
Taste and Smell are sense that help us experience aesthetics even more deeply. Especially in food industry and different environment designs, these senses play an important role in experiencing aesthetics.
Key elements are: Strength, Sweetness, Sourness and Texture (for taste). Use these elements when possible to enhance the full picture, so our users can feel the aesthetics even deeper.

why Aesthetics design matters?

Not long ago user were expecting only functional and usable products when they were buying. Today, users expectations have evolved together with the design field.
People expect usability by default and are seeking products that are more than functional and usable. We want to experience pleasure, to stimulate our senses. We want the products we use to evoke positive emotion in us. Aesthetic design is crucial to satisfy these needs.
We all judge the book by its cover. The better the book cover the more we believe the content is better. This is phenomenon called “Aesthetic-usability”. Beautiful products/objects are perceived as easier to use and more valuable than ugly ones. Even if it is not true!

This phenomenon is especially valid when the products compared are equal in functionality and ease of use. The better looking product will win over the users swiftly.
Aesthetically pleasing designs are bringing up positive attitude in the users. It makes them care more about the product. Aesthetic design makes people more loyal of the brand and tolerant toward mistakes or failures. Imagine all the apple fans.
Early impressions of a product design matter! Aesthetic design is influencing how people think and feel. It influences how much pleasure we feel from the product. Aesthetic design affects our long-term attitude about products and even people.
Aesthetic design matters not only to make the first impression, but also to keep strengthening the bond with the user. The design of our products needs to be aesthetically pleasing consistently across the whole product and user journey.

Design for Aesthetics pleasure

Let’s see how the words above can be useful for us to make better design. We have to design products that deliver pleasure to the user with aesthetics and usability.
But when aesthetics are in the senses of our users, how do we know what to design? The answer can be given by the people we’re designing the product/experience for. We need to understand them before deciding what is aesthetically pleasing.
When we are designing products for really wide audience it is wiser to keep things simple as much as possible!
There are 4 important pleasure aspect that we need to consider when we want to make our designs aesthetically pleasing.
Psychical pleasure
Pleasure derived mostly from touch, smell and taste. Think of designing hand-held product, computer devices, VR set even a normal pen.
We need to make sure the design is ergonomic, it feels comfortable and doesn’t overload the user senses. Consider how sensitive are your user’s senses, what is the average norm. Make sure the smell and taste is either neutral or brings positive associations.
Social pleasure
Pleasure derived from interacting with other people or with AI(still not that common). This context is very broad it can be from home assistant device and VR experiences to a room/building where social events will be hosted.

We need to make sure the design supports social interaction in the best way possible. It could be as simple as the sound aesthetics of the coffee machine that allows employees to communicate, while waiting for the coffee to be ready.
Psychological pleasure
Pleasure derived from completing a task or feeling in control and safe. This context is very tightly related to the usability of the product. But it can be also related to how the product design looks.
For example, a solid and stable looking car gives more psychological comfort than one that seems it might break if you open the door. Same is valid for digital products where the user feels in control and knows the task can be completed for sure.
Making things look and feel simple and stable. Guiding the user with great composition and motion. Using aesthetics plays a big role in making the users feel safe and in control.
Ideological pleasure
This context is mostly about abstract pleasure. I like to think of it as the glue that binds the other pleasure types. It is the meaning of the words in the books not the colors, font sizes and page layouts.
For example, in product design taking the sustainability angle can trigger pleasure in the user, making her feel well because she is responsible for the environment. Here are a 5 startups that are using that context.
We need to make sure that our designs communicate ideas and deeper meaning. This can frequently result in very deep aesthetically pleasure once the user realizes it.

Balancing aesthetics and usability

There are cases where we need to sacrifice aesthetics, due to different limitations depending on the context. Other times aesthetics could dominate the usability aspect.
Aesthetics and usability in balance
This is what most of the cases as Designers we should strive to achieve in our designs. There are many good examples from smart phones and apps to computer chairs that look and feel good, but also have the desired usability.
Aesthetics over usability
Some times products have dominating aesthetics that are not supported by good usability and ergonomics. This is mostly visible in the fashion industry.

I guess these might be nice in winter time 🙂
Shoes made to look nice and attractive, while at the same time destroying the feet of the user. This demonstrates clearly how humans can be seduced by aesthetic design and even at the price of their health.
Usability over aesthetics
Other times usability must be on focus no matter what. Equipment designed for emergency situations, where people cognition is compromised. In this cases aesthetics are with low priority. When designing for such cases there are a lot of constraints from different authorities and requirements. Using Hick’s law for quick decision making can help you make the better design decisions.

Conclusion

First impression matters. When we perceive beauty with more of our senses we feel deeper pleasure from the design. Aesthetic design gives users pleasure from the start! It makes them form a bond with the design, bond that goes beyond the initial interaction.
Aesthetic design is perceived as more friendly, usable and valuable.
Thanks for your time!