By Jenny Udale, Richard Sorger
Книга об основах дизайна олежды: основные принципы, подробные схемы, исторические справки. Richard Sorger изучал моду в Middlesex collage, создал собственную линию женской одежды, разрабатывает украшения и преподает в альма-матер. Дженни Udale - специалист по текстилю, преподает историю моды в университетах КИнгстона, Миддлсекса и Равенсборна, является автором книги «Основы дизайна моды».
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The Fundamentals of Fashion Design.
Книга об основах дизайна олежды: основные принципы, подробные схемы, исторические справки. Richard Sorger изучал моду в Middlesex college, создал собственную линию женской одежды, разрабатывает украшения и преподает в альма-матер. Дженни Udale - специалист по текстилю, преподает историю моды в университетах КИнгстона, Миддлсекса и Равенсборна, является автором книги «Основы дизайна моды».
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Indd 42 10/26/2012 9:32:51 PM TH E ONTOLOGY OF DESIGN What we can conclude for the moment is the following: if we consider design from the perspective of a class of objects, we can claim that function is a feature they all have in common, one by virtue of which they are defi ned as the kinds of things they are. Th is quality is clearly not enough to provide any kind of robust defi nition—even working defi nition—of design as a kind of object, nor does it adequately distinguish design from art or craft.
Second, I mean that the object must have been intentionally made to serve those needs, rather than simply being found to be useful to us. Opposable thumbs are beyond question useful, and serve us extremely well, as do almonds and trees. But I would not defi ne them as being designed, and the reason why points beyond their use to their maker (or lack of one). Obviously even the notion of function will involve the activity of designing, just as significant form is not an accident for Bell, but the product of an artist’s creative activities.
But more importantly, in focusing on a so-called aesthetic property—whether of beauty or significant form or of some other kind—these sorts of theory run up against one of the intuitive problems I mentioned in the last section: they confuse defi nition with aesthetic evaluation, and are often reduced to tautologies. The defi niendum is presumed in the defi nition: art (as a particularly aesthetic object) is defi ned by the properties that make it an aesthetic object—aesthetic properties, which gets us no further than saying design is to be designed.