Visual Arts Extended Essay - The Aesthetics of Function

Figure 11

International Baccalaureate Visual Arts Extended Essay

November 2010

The Aesthetics of FunctionTo what extent can aesthetics be considered to have functional properties?

School: St. Peters Lutheran CollegeSupervisor: Julie Seidel

Candidate Name: Pei-Han Sabrina WongCandidate Number: 003063-040

Word Count: 3620

1 Squeeeeze. 11 May 2004. DeviantArt. N.p., n.d. Web. 2 Apr. 2010. <http://lorrainemd.deviantart.com/art/Squeeeeze-7198396>.

i

Pei-Han Sabrina Wong: ii003063-040

ABSTRACT

The aim of this investigation was to explore the functional power of aesthetics

through the studying of a specific industrial product. After brainstorming many ideas,

a research question has been formulated to study the question: To what extent can

aesthetics be considered to have functional properties?

The topic conspicuously holds elements and principles of the visual arts and the main

focus of this investigation is the functionality and aesthetics of citrus squeezers. The

exploration of this concept has enabled me to analyse three specific citrus squeezers,

ranging from an A-list to supermarket quality product. This includes Philippe Stark’s

Juicy Salif (Alessi), Halskov/Dalsgaard’s CHARM (IKEA) and an unbranded citrus

squeezer from a market place. It must be taken into consideration that the analysis

of the citrus squeezer within this investigation is about design and marketing and not

necessarily what is traditionally thought of as fine art.

My investigation includes: personal interpretation of the chosen citrus squeezers;

interviews with professional individuals; public surveys in four different suburbs; and

research via archives, books and art encyclopaedias. The Industrial Revolution,

notions of ‘form and function’ and theories by artists including Marcel Duchamp

underpins and reinforce the idea that the citrus squeezer is truly able to transcend

coexist and transcend the boundaries of functionality and evoke emotional senses.

Therefore, through the wide-ranging argument within my investigation, I was able to

conclude that the designing of aesthetically-based item is beyond doubt capable to

have functional properties.

Word Count: 240

ii

Pei-Han Sabrina Wong: iii003063-040

TABLE OF CONTENTS

i ....................................................................................... The Aesthetics of Function

ii ................................................................................................................... Abstract

iii ................................................................................................... Table of Contents

1 ............................................................................................................ Introduction

2 ................................................................................................................... Emotion

3 .................................................................................... Analysis of Citrus Squeezers

9 ...................................................................................................... Industrialisation

10 ................................................................................................ Form and Function

11 .................................................................................................................... Survey

16 ................................................................................................... Marcel Duchamp

18 ............................................................................................................. Conclusion

21 ............................................................................................................ References

iii

Pei-Han Sabrina Wong: 1003063-040

INTRODUCTION

My admiration for design and art has always led me to ponder the debate design ‘is

design art?’ I always believed that visual arts is a personal experience, that is to be

appreciated, whereas, design is not only about appreciation but also about

functionality and ergonomics. As our community is now surrounded by a myriad of

commercialised merchandise - our perceptions of these products, design and art is

varied, it has made me question – what is art and what is design? Inquiring about

this, I decided to explore the question, to what extent can aesthetics be considered

to have functional properties?

The generic definition of art is ‘the effort to form a substantial arrangement of

colours, textures and other forms that affects one’s sense of beauty’2. Hence, a

question we can ask is whether it is truly possible that an item can go beyond the

boundaries of acceptable functionality and evoke emotional senses as a result of a

successful design. When discussing aesthetics, one must understand that there is no

solid definition for this word. It can be concluded from a philosophical viewpoint that

an aesthetic is ‘a kind of representation that is purposeful in itself and though

without an end, nevertheless promotes the cultivation of the mental powers for

sociable communication’3. This interpretation poses another thought, whether a

serious aesthetic approach can coexist with function as the goal of a specific product. 2 "Art." The American Heritage Dictionary of the English Language. 4th ed. Boston: Houghton Mifflin Harcourt, 2000. Print.

3 Wood, Allen W. "Art and Genius." Kant. Malden: Blackwell Publishing Ltd., 2005. 165. Print. Kant, Immanuel. "44: Of Beautiful Art." Critique of the Power of Judgement. Ed. Paul Guyer. Trans. Paul Guyer and Eric Matthews. 1790. N.p.: Cambridge, 2000. N.pag. Print.

1


It can therefore be postulated that when a simple item evokes emotional senses and

also coexist with its functional purposes that the design of the practical object is an

establishment of aesthetics. The establishment of aesthetics and design of a function

coexisting simply demonstrates that they can be compatible and do not have distinct

differences. This effectively challenges multiple preconceived and standard

conventions concerning the divide between design and art.

The preconceived notions concerning the divide between design and art are based

on the distinct separations of function and form. The acceptable idea of what is

functional involves a key notion that practicality is found within the design. On the

other hand, form is often viewed aesthetically and alternatively considers the visual

values inherent in its structure - it is conspicuous that both concepts represent

different viewpoints. In addition, the assumption is made that both design for

function and design for aesthetics are two different concepts. This essay postulates

that contemporary society has the ability to perceive a simple functional object as an

item that holds some creative thought, and therefore can be considered to have

both functional and aesthetic properties.

EMOTION

Referring to the generic definition of as art mentioned in the introduction of this

paper, art is the effort to use elements and principles to evoke an individual’s

emotional senses. Design concerns the development of visual structures to further

develop the innovative humanisation technologies and the fundamental factor of

2


economic and cultural exchange4. Products do elicit emotional responses from

consumers, intentional or non-intentional, good or bad; emotion in design is said to

be a proven fact5. Moreover, pleasure can be derived aesthetically from the

appearance of a product through its form6. The intention from a designer’s

perspective is to employ artistic values to solve a client’s problem and also create a

sense of pleasure to the user – a selling point within the consumer’s market7.

ANALYSIS OF CITRUS SQUEEZERS

To explore whether designing for a common domestic appliance can be considered

an establishment of art, three different citrus squeezers will be studied with the

addition of interviews and surveys. Citrus squeezers are chosen for this investigation

because it is considered to be one of the most common household appliances within

a kitchen. Moreover, the use of citrus squeezers meets the requirements of an

indispensable utensil within the realm of kitchen appliances – accessibility to

effectiveness and ergonomics. These three citrus squeezers will range from products

listed as economically-oriented and aesthetically-oriented.

4 "Definition of Design." The International Council of Societies of Industrial Design. N.p., 2009. Web. 14 Jan. 2010. <http://www.icsid.org/about/about/articles31.htm>.

5 Popovic, Vesna. Chamorro-Koc, Marianella. Wrigley, Cara. Visceral Hedonic Rhetoric: Designing for the Visceral. MS thesis. Queensland University of Technology, 2008. Brisbane: n.p., 2008. PDF file.

6 Green, William S., and Patrick W. Jordan. "Product Appearance and Consumer Pleasure." Pleasure with Products: Beyond Usability. London: CRC, 2002. N. pag. Print.

7 Wrigley, Cara. E-mail interview. 12 Nov. 2009.

3


Figure 28

Above, an iconic citrus squeezer that is designed for the general market place and

sits on many kitchen bench tops, revealing consideration for the prime elements of

its function. The rigid surface of the dome provides a large surface area for the

consumer’s ease in extracting the juice. In addition, the dome is situated in the

middle so when the juice is squeezed out of the fruit it is conveniently caught in the

bowl. It has a filter that separates the seeds and pulp from the juice, as it travels to

the lipped bowl below. Using plastic as the key material allows the squeezer to

withstand the pressure exerted and to prevent the acidity of the juice causing

corrosion. Moreover, it is dishwasher-safe, providing ease of cleaning. With the

addition of the hanger which doubles as a grip to be hung upon, this manufactured

article provides an effective and efficient piece of kitchenware. The dome of this

8 Kitchen Craft Citrus Fruit Squeezer. 1 Mar. 2004. Amazon. N.p., n.d. Web. 24 Jan. 2010. <http://www.amazon.co.uk/Kitchen-Craft-Plastic-Citrus squeezer/dp/B0001IWVVC>.

4


citrus squeezer reflects the shape of a cut citrus fruit – the circularity reflecting the

form of dissected citrus. The similarity between the citrus squeezer and the citrus

fruit illustrates a visual cue in regards to appearance. Overall, this product can be

considered functional, practical and replaceable. It is easily replaceable because of

its inexpensive price and the concern for potential sales or commercial turnover is

evident where consumers can effortlessly afford to purchase another, if required.

Figure 39

Halskov/Dalsgaard’s CHARM lemon-squeezer (IKEA), shown above, is another iconic

citrus squeezer but in a different form. It is a simple, one piece article with a non-slip,

absorbing handle, and a non-stick coating applied. It is also dishwasher-safe which

makes the squeezer much simpler to wash. Less force is required when using this

product due to its pointed, cone-shaped projection, illustrating an ergonomically

9 CHARM lemon-squeezer. N.d. IKEA. N.p., n.d. Web. 24 Jan. 2010. <http://www.ikea.com/au/en/catalog/products/30083249>.

5


pleasing citrus squeezer. The design of the handle associates the buyer with a

distinctive, alluring feel and colour that reinforces the marketing intent. This is found

in the entire CHARM series. Furthermore, the choice of colour is bold and definitely

more attractive than the typical colour choices among kitchen wares. This plastic

structure is easy to maintain, store and use. One of IKEA’s objectives is to ‘create a

better everyday life for the many’10 through ‘affordable solutions and a wide range of

well designed, functional home products’11. Therefore, the production of an

ergonomic CHARM citrus squeezer reveals and effectively exceeds IKEA’s main

objectives. In addition, the colour and form references in the CHARM series entice

the consumer to purchase the entire set. Subsequently, not only does the sleek form

and bold colour result in a heightened aesthetic appeal and evoke emotional senses

but they also effectively demonstrate the use of visual elements as a marketing

function.

10 "The IKEA Concept: Intro." Inter IKEA System B.V. N.p., 2009. Web. 2 Apr. 2010.<http://franchisor.ikea.com/showContent.asp?swfId=concept1>.

11 "The IKEA Concept: Concept." Inter IKEA System B.V. N.p., 2009. Web. 2 Apr. 2010. <http://franchisor.ikea.com/showContent.asp?swfId=concept2>.

6


Figure 412

Figure 4 shows Stark’s Juicy Salif which reveals a dramatic interpretation and

application of the principles and elements of art and design. The space between the

three gangling legs provides a space for a cup to be placed underneath to collect the

citrus juice when squeezed. The upside-down tear drop is round at the top, thus

more pressure must be exerted to obtain citrus juices. Furthermore, the joints

12 Juicy Salif. N.d. Alessi. N.p., n.d. Web. 24 Jan. 2010. <http://www.alessi.com/en/3/1055/ kitchen-accessories/juicy-salif-citrus squeezer>.

7


between the main body and legs, as well as, the deep ridges within the main body

collect the fluids; therefore, less juice is dripped into the cup and overall it could be

considered to be less effective. The use of aluminium (or gold/black for the limited

edition) is contemporary in comparison with the typical steel kitchen equipment and

challenges ideas about what mainstream design is. Stark’s Juicy Salif has a height of

approximately 30 centimetres; therefore it is not easily accommodated to fit in a

standard conventional cupboard. In addition, when this product is purchased, the

packaging is wrapped as a gift as opposed to a standard cardboard box, reinforcing

and illustrating its purpose as a decorative item. The unconventional design is

considered to be a ‘social lubricant’13 as it draws attention to its use of form and

space. Moreover, unlike other citrus squeezers, Juicy Salif is used as an object of

desire and indication of social status within the kitchen.

Comparing the threes types of citrus squeezers, it is evident that they have different

target audiences. ‘The object of this invention [lemon-squeezer] is to obtain a

simple, economical and durable implement whereby citrus fruits may be squeezed

for domestic purposes with minimal power and with far greater efficiency than

ordinary squeezers in general use’14. Referring to this statement and the study of the

13 P. Lloyd, and Snelders D. "What Was Philippe Starck Thinking of?" Design Studies 24.3 (2003): 251. Print.

14 Chichester, Lewis S. Lemon-Squeezer. Patent 28,967. 3 July 1860. United States Patent and Trademark Office. N.p., n.d. Web. 30 Jan. 2010. <http://patimg2.uspto.gov/ .piw?docid=00028967&SectionNum=3&IDKey=E938F2E7086C&HomeUrl=http://patft.uspto.gov/netacgi/ nph-Parser?Sect2=PTO1%2526Sect2=HITOFF%2526p=1%2526u=%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html %2526r=1%2526f=G%2526l=50%2526d=PALL%2526S1=0028967.PN.%2526OS=PN/28967%2526RS=PN/28967>.

8


three citrus squeezers, it is evident that Juicy Salif’s purpose is to obtain a durable

implement whereby conventional thoughts and opinions can be expressed and or

challenged. This product fully illustrates that within the context of necessity it is

possible to have more than one solution. Consequently, Stark’s objective for his Juicy

Salif is mainly its aesthetic value, and secondly its functionality. Observing

Halskov/Dalsgaard’s citrus squeezer, simplicity and modern sleek design are its

essential marketing factors; drawing parallels to the initial objective which is to

provide a well designed and functional product. Similarly, the non-branded citrus

squeezer provides an economical and durable implement with greater functionality,

however unlike CHARM; it does not exude innovation and is simply just another

generic product on the shelves. Clearly, Juicy Salif suggests a greater importance of

symbolic and aesthetic function, whilst the non-branded citrus squeezer focuses on

practical function and has thus inadvertently became a revived symbol of retro

culture and can be considered to be aesthetically pleasing in the perspective of retro

culture. This culture, a symbolic intention, differs from the others due to the current

popularity of retro products that society deems to be trendy in the current decade.

The sudden popularity of this sculptural culture is mainly due to the demonstration

of the typical design in the mid 1900s, the era of functionalism.

INDUSTRIALISATION

The industrial revolution has shaped the economic market through the forces of

mass production and mass consumption. Machine-based manufacturing in the 18th

century has resulted in the transition from commissioned products into mass-

produced objects; creating unsolicited economically-oriented and replaceable

9


merchandise. This revolution resulted in commercialised designs being more

practical, economical and replaceable – with fewer industries having the intention of

focusing on aesthetic appreciation of a product. Moreover, the industrial revolution

has reduced demand for the availability of custom-made products; therefore, the

presence of an exclusive work is immensely appreciated. Progress in ergonomics and

improved technology (allowing for greater mass production) along with reduced

production cost has resulted in mass produced items that are functional designs

which satisfy the majority of the human population. The industrialisation of our

market has created products similar to the non-branded citrus squeezer - as it is

mass-produced and economically-oriented. This merchandise is popular within our

society to the extent that people subsequently tend to perceive a necessity as a

dispensable object, nothing more or less. Consequently, this has placed competition

in the market place, as items previously thought of as necessities are increasingly

easy to replace.

FORM AND FUNCTION

Product functionality has always been a key factor within the creative industries,

with utilitarian values and purposes being the key concerns. The edict ‘Form Follows

Function’, invented by an American architect Louis Sullivan in the 1920s was

established by the Modernist movement. This slogan for modern design clearly

suggests a division between the impacts on the senses and its utilitarian function. On

the other hand, Frank Lloyd Wright believes that ‘Form Follows Function’ was

misunderstood and too simplistic, enlarging the concept by saying form and function

10


should be joined together as one instead15. Therefore, one can say that the non-

branded citrus squeezer represents Sullivan’s edict, whereas, Juicy Salif, illustrates

Wright’s philosophy. This conclusion can be justified because the non-branded citrus

squeezer focuses on practicality; whereas, Juicy Salif priorities on the appearance of

its product. From a different perspective, a product’s function and its purpose

centres on its appearance. With this in mind, what appears to be form can

alternatively be considered as function, and what is thought as function can be

viewed as aesthetic16. Consequently, all three citrus squeezers may have three

different motives and purposes despite the common function of squeezing fruit.

SURVEY

The survey included the citrus squeezers introduced earlier in this paper: Philippe

Stark’s Juicy Salif, Halskov/Dalsgaard’s CHARM citrus squeezer, and a non-branded

citrus squeezer that can be purchased in a supermarket for less than AUS$5 - all

three products are labelled as A, B, C in the survey.

In the survey, the citrus squeezers were tested in four different suburbs in Eastern

Australia to investigate the possibility that different population bases interacted with

the object in different ways. The four areas include urban, suburban, more

educationally advanced and less educationally advanced areas – to investigate if the

different socio-economic impacts on different products. Areas that are more

educationally advanced are those where a higher percentage of university degrees 15 Carter, Amanda. "Biography." Frank Lloyd Wright. Frank Lloyd Wright Foundation , n.d. Web. 2 Apr. 2010. <http://www.cmgww.com/historic/flw/bio.html>. 16 Scott, Andrew. E-mail interview. 16 Nov. 2009.

11


are recorded and theoretically, higher levels of employment. The less educationally

advanced areas are the opposite. The Myer store in Brisbane’s central business

district represents the urban section; Queens Street in Sydney represents the more

educationally advanced region. Garden City in Brisbane’s suburban division is visited,

and Woolooga Road; Gympie, a farming area represents the less educationally

advanced vicinity. The following table clearly demonstrates this notion:

Urban Brisbane’s Central Business District (CBD)

Suburban Brisbane’s Garden City

More Educationally Developed Sydney’s Queen Street

Less Educationally Developed Brisbane’s Woolooga Road (Gympie)

Moreover, this experiment was split into three sections: photograph, product, and

price with the commercial photographic image, actual products and prices on display

respectively. Each area has 10 samples, in an attempt to keep the qualitative data

controlled.

12


SECTION ONE:Which product does the physical appearance appeal to you?

Which product would you buy to use?

SECTION TWO:Does the product you chose in section one still appeal to you; if not, which one does now?

Would you still buy the product you chose in section one; if not which one would you buy now?

SECTION THREE:Does the price change your mind to which product you would buy; if so, which one you would buy now?

Figure 4

Figure 5

13


Figure 6

Figure 6, shows the qualitative data collected from the conducted survey, seen in

Figure 5. The investigation was split into three parts (first, photo; second, product

and finally, price) to examine the squeezer’s aesthetic appearance, function and

market success, respectively. Considering the individual citrus squeezers, it is evident

that they are all produced for the same function – to extract juice from a citrus fruit.

The photo of the non-branded squeezer only interests 2 out of 40 people within the

different locations. Unmistakably, areas that are more urbanised and educationally

advanced showed no interest in the appearance of this product – effectively that this

manufactured product doesn’t resonate with the viewer as an object of desire or

14

Sydney’s Queen Streetmore educationally advanced Photo Product PriceJuicy Salif 7 7 5CHARM 3 3 5No Brand 0 0 0

Brisbane’s CBDurban Photo Product PriceJuicy Salif 7 6 4CHARM 3 4 6No Brand 0 0 0

Brisbane’s Gympieless educationally advanced Photo Product PriceJuicy Salif 5 5 1CHARM 4 5 4No Brand 1 0 5

Brisbane’s Garden Citysuburban Photo Product PriceJuicy Salif 4 5 3CHARM 5 5 3No Brand 1 0 4


interest. Moving to the next stage – product – it received no interest, suggesting the

actual object does not appeal to the consumers due to the ineffectual form or

function. When it comes to the price, 9 respondents chose this item for

consumption, therefore the cheaper price tag with a possibility for great value for

money is the approach for selling this product.

Many people appreciated the form and function of Juicy Salif. This is in the area of

Photo and Product in all four locations. In other words, appreciation for form can be

found anywhere; urban or rural. As soon as the price was mentioned, an average of

two respondents changed their opinion in each location and went for the cheaper

products. It is postulated that the Juicy Salif, although it intrigues many consumers, it

is not viewed as an effective and economical citrus squeezer in comparison to the

cheaper, just as usable, non-branded citrus squeezer. As many people appreciate the

form of Stark’s Juicy Salif; it can be said that the appearance of Juicy Salif is the

purpose of its invention, thus its function, and is viewed through its aesthetic value.

Approximately 4 people chose Halskov/Dalsgaard’s CHARM citrus squeezer under

the functionality category, the results are relatively similar to those from Juicy Salif.

Conversely, when the prices of all citrus squeezers are revealed, approximately half

of the total 40 surveyors valued and chose CHARM at the end. This illustrates that

CHARM is able to provide an influential amount of aesthetic value in comparison to

Juicy Salif and the non-branded citrus squeezer. Additionally, it carries out its

economical function where citrus can be squeezed with ease for a reasonable price.

Juicy Salif being the most aesthetically appreciated citrus squeezer, and the non-

15


branded product to be the most economically appreciated utensil – demonstrates

the different intentions within the market and therefore it’s different function.

However, it can be observed from the data collected that at the end of the survey,

many people decided to choose CHARM for aesthetic appreciation, function and

cost. This makes it successful in the eyes of designer, marketer and consumer.

Moreover, this can be reflected through IKEA’s mission statement where they ‘aim

to offer a variation of household products of good design and function at low prices

to serve more people living in a higher standard of living’17.

MARCEL DUCHAMP

Marcel Duchamp (1887-1968), a famous French/American artist known for his Dada

and Surrealism movements challenged the conventional opinion about art and its

artistic approaches.

Figure 518

17 "The IKEA Concept: Concept." Inter IKEA System B.V. N.p., 2009. Web. 2 Apr. 2010. <http://franchisor.ikea.com/showContent.asp?swfId=concept2>.

18 Stieglitz, Alfred. Fountain. 1917. Marcel Duchamp. Wikipedia. Web. 9 May 2010.

16


His famous Fountain made in 1917 (as seen in Figure 5), introduced and explored in a

radical manner how an everyday object can be contextualised to become artistic

concept. Duchamp successfully raised the question whether anything, in particular

functional appliances or objects, can be considered art. Consequently, items

displayed within an art gallery can be viewed not so differently from those in one’s

household when it concerns surface appearance. However, as beauty is in the eye of

the beholder the debate of art, beauty and aesthetics is widened due to technology,

development and globalisation.

Duchamp and many other artists challenged the conventional notions of art and

objects which can be effectively applied to the three citrus squeezers used for this

investigation. Juicy Salif, the well known citrus squeezer designed by Philippe Stark

(Alessi), believes that this visceral design’s function is not to simply squeeze juice out

of fruits, but to start conversations19. Observably, Stark’s intention is similar to

Duchamp’s work – capturing pieces from our daily lifestyle, and placing them within

a new context. Juicy Salif truly indicates the notion where a functional product is

able to reveal an aesthetical and creative side. The non-branded citrus squeezer that

can be easily bought in a supermarket demonstrates the antithesis of Juicy Salif,

effectively illustrating the concept that there is room for a product that reflects pure

function. CHARM citrus squeezer designed by Halskov/Dalsgaard (IKEA), indicates

there is a middle ground of both non-branded and A-list works. This suggests a

conservative rod to aesthetic balanced against price. <http://en.wikipedia.org/wiki/Fountain_%28Duchamp%29#cite_note-0>.

19 Norman, Donald Arthur. Emotional Design. New York: Basic Books, 2005. 114. Print.

17


CONCLUSION

Observing the three citrus squeezers examined within this essay, it is evident that

the context, demographic type of the population and target groups affect the

evidence concerning the research question of ‘to what extent can aesthetics be

considered to have functional qualities’ as well as considering if form follows

function or the other way around. In addition, it can be suggested that aesthetics

equate to a specific aspect of functionality because it contributes to the selling of

products in the market place. It has been established that the nature of aesthetic

and function are not the same and are measured in different values, thus, aesthetics

and functionality are not parallel. Rather, both concepts intersect and overlap each

other and one cannot exist without the other. I propose this because, as art affects

one’s sense of beauty and challenges thoughts in a creative framework with the

addition that design is developing and changing our lifestyles, it seems that both

concepts can not exist together. Depending on how the object affects one’s

emotions, and the reactions that demonstrate the ability to change one’s lifestyle,

then ultimately, design and art coexists. It can not be said that design is equivalent or

interchangeable with art; it can merely be considered that design is a sub set of the

generalised idealisation of art.

Before this investigation began, the assumptions were that the design of function

and of aesthetics were two different concepts, clearly defined and separate. Through

the extensive research collected for the purpose of this essay, I found that there is a

grey section between these two concepts and that the design of aesthetics can be

18


functional as well. Through the development of technology and the era of

industrialisation and urbanisation, the idea of function has been challenged and

extended. Function, in a contemporary context such as advertising, design marketing

and consumerism, providing a new definition for our community. At this current

moment, function has more than one definition, allowing our society to consider the

coexistence of both function and form.

Regarding the definition of art; if art is to affect, our perspectives, then there is a

need for somebody to appreciate it in the first place and what affects an audience is

its function. Without one to appreciate and experience a specific artwork, to an

extent, the artwork itself ceases to exist. Subsequently, the role of an audience is of

the utmost importance within the realm of aesthetics. With this in mind, as the

audience is a necessity in aesthetics, the same must apply to function as well.

Integrating the conducted survey within this context, where a large audience has

been surveyed, only Stark and Halskov/Dalsgaard’s citrus squeezers received positive

feedback on the aesthetic appearance and therefore can be considered functional.

This illustrates that design may have the opportunity to employ aesthetic dimensions

to increase the value of a utensil in the economic market; implying that the designing

of function is mainly a device to increase market value. This further highlights that

the aesthetic appearance is to be considered as a function within the economic

market. As the designing of a function is able to increase the market value, according

to the conducted survey, it demonstrates that it can affect the consumers’ thoughts

for consumption. Evidently, the designing of a function is able to affect one’s senses

and challenges their thoughts in expenditure. As mentioned beforehand, art is

19


something that is able to affect one’s emotions and sensually excite the audience,

thus, items are truly able to transcend their boundaries of functionality and evoke

emotional senses, as well as coexist with each other.

As a result, the designing of an aesthetically-based item is beyond doubt largely

capable of having functional properties.

20


REFERENCES

21


Primary Sources:

Andrew Scott; Subject Area Co-ordinator: Industrial Design, School of Design, Queensland University of Technology

Cara Wrigley; Postgraduate Researcher, School of Design, Faculty of Built Environment and Engineering, Queensland University of Technology

Citrus Fruit Squeezer, Coles Supermarket

CHARM Lemon Squeezer, C Halskov/H Dalsgaard, IKEA

Juicy Salif, Philippe Stark, Alessi

Figure 4: Conducted Survey

Figure 5: Conducted Survey’s Results

Secondary Sources:

"Art." The American Heritage Dictionary of the English Language. 4th ed. Boston: Houghton Mifflin Harcourt, 2000. Print.

Chichester, Lewis S. Lemon-Squeezer. Patent 28,967. 3 July 1860. United States Patent and Trademark Office. N.p., n.d. Web. 30 Jan. 2010. <http://patimg2.uspto.gov/ .piw?docid=00028967&SectionNum=3&IDKey=E938F2E7086C&HomeUrl=http://patft.uspto.gov/netacgi/ nph-Parser?Sect2=PTO1%2526Sect2=HITOFF%2526p=1%2526u=%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html %2526r=1%2526f=G%2526l=50%2526d=PALL%2526S1=0028967.PN.%2526OS=PN/28967%2526RS=PN/28967>.

Carter, Amanda. "Biography." Frank Lloyd Wright. Frank Lloyd Wright Foundation , n.d. Web. 2 Apr. 2010. <http://www.cmgww.com/historic/flw/bio.html>.

"Definition of Design." The International Council of Societies of Industrial Design. N.p., 2009. Web. 14 Jan. 2010. <http://www.icsid.org/about/about/articles31.htm>.

Green, William S., and Patrick W. Jordan. "Product Appearance and Consumer Pleasure." Pleasure with Products: Beyond Usability. London: CRC, 2002. N. pag. Print.

"The IKEA Concept: Concept." Inter IKEA System B.V. N.p., 2009. Web. 2 Apr. 2010. <http://franchisor.ikea.com/showContent.asp?swfId=concept2>.

"The IKEA Concept: Intro." Inter IKEA System B.V. N.p., 2009. Web. 2 Apr. 2010.

22


<http://franchisor.ikea.com/showContent.asp?swfId=concept1>.

Norman, Donald Arthur. Emotional Design. New York: Basic Books, 2005. 114. Print.

Popovic, Vesna. Chamorro-Koc Marianella, Wrigley, Cara. Visceral Hedonic Rhetoric: Designing for the Visceral. MS thesis. Queensland University of Technology, 2008. Brisbane: n.p., 2008. PDF file.

Snelders D, and P. Lloyd. "What Was Philippe Starck Thinking of?" Design Studies 24.3 (2003): 251. Print.

Wood, Allen W. "Art and Genius." Kant. Malden: Blackwell Publishing Ltd., 2005. 165. Print.

Images:

Figure 1: Squeeeeze. 11 May 2004. DeviantArt. N.p., n.d. Web. 2 Apr. 2010. <http://lorrainemd.deviantart.com/art/Squeeeeze-7198396>.

Figure 2: Kitchen Craft Citrus Fruit Squeezer. 1 Mar. 2004. Amazon. N.p., n.d. Web. 24 Jan. 2010. <http://www.amazon.co.uk/Kitchen-Craft-Plastic-Citrus squeezer/dp/B0001IWVVC>.

Figure 3: CHARM lemon-squeezer. N.d. IKEA. N.p., n.d. Web. 24 Jan. 2010. <http://www.ikea.com/au/en/catalog/ products/30083249>.

Figure 4: Juicy Salif. N.d. Alessi. N.p., n.d. Web. 24 Jan. 2010. <http://www.alessi.com/en/3/1055/ kitchen-accessories/juicy-salif-citrus squeezer>.

23

Documents

Visual Arts Extended Essay - The Aesthetics of Function