Literatura académica sobre el tema "Design, Decorative.ment"

As an important part of the interior design, the architectural decoration materials can effectively improve the effect of the interior design, and make the interior design to meet people’s aesthetic needs. Based on this, the study analyzes the application of architectural decorative materials in interior design. Firstly, the paper introduces the common types of architectural decorative materials, such as metal materials, non-metallic materials, composite materials, etc. Secondly, analyzes the artistic attributes and characteristics of decorative materials; finally, analyzes the specific application of architectural decorative materials in interior design.

The history and development of traditional Chinese architecture goes back thousands of years. Still, the beauty of architectural forms amazes the imagination with the complexity of their designs, elegance, variety of decoration and materials from which they are made. The paper focuses on the decorating of roof-ridges, which have a special design. The type of adornments directly depended on the type of roof-ridges. The ornate statues of dragons, a celestial being and ten mythical ridge beasts are placed on the roof-ridges of the palace halls. They were meant to display the power of the imperial family and represent all kinds of magic things. Although the original purpose of these decorative elements was practical, under the influence of folk beliefs it also became symbolic. As a result, they have formed a special and unique aesthetics of roof adornments.

With the development of the national economy, the interior decoration work has received extensive attention, and the traditional decoration methods have been unable to meet its actual work needs. The application of mirror materials in interior decoration can not only enrich the technical methods of interior decoration, but also improve the decoration quality and comfort, so as to meet people’s growing decoration needs, achieving the purpose of promoting the sound development of interior decoration. Mirror material is one of the decorative materials widely used in modern indoor environment. It not only has decoration, but also can expand space. In recent years, the advent of the era of big data has promoted the reform of the design industry. Using big data thinking to assist the innovative design of furniture products will also become an important trend in the development of the furniture industry. According to the characteristics of customer demand in the era of big data, this paper designs and develops a set of customer demand analysis system based on big data by using cloud computing and big data mining technology. By collecting the behavior data of users when using products, this paper combines the mirror material with the manufacturing process of wooden furniture. The mining algorithm is applied to find out the improvement goal and direction of wood furniture manufacturing process based on mirror material, so as to enhance the competitiveness of furniture enterprises. The method proposed in this paper can obtain the furniture design elements according to the functional zoning and theme information and input the furniture design elements and zoning elements into the design element matching evaluation model to obtain the design matching element information.

With the development and accelerating of economy and social civilization, in the interior decorating and design, the pursuit of personal and environmental friendly trend has gradually emerged, but the traditional building materials and design materials often have safety problems of different degree. The green environmental protection materials can also meet the two requirements mentioned above. This paper mainly analyzes the causes and characteristics of interior decoration design using environmentally friendly materials, understands several kinds of environmentally friendly materials available in interior decoration design, and analyses specific direction for practical application.

The creation of wall hangings is motivated to meet the needs of aesthetic elements in spaces that have the function of helping to build the atmosphere in a room. The reason for visual selection by processing the natural nuance is because the scenery in the natural nuance has the ability to give the impression of comfort and serenity to its inhabitants. The results of the creation of this Final Project are as follows: Creation of visual design by processing the theme of the natural atmosphere through batik techniques and trapunto techniques for wall decoration totaling eight (8) visual designs. The overall visual design processes the elements contained in the natural atmosphere along with the stories in them which are illustrated through a decorative styling, using a two-size 110x80cm and 80x0cm philip berkolin cotton fabric that is done with Remasol staining.

With the rapid development of economic and social productivity, the living standards of our people have been continuously improved. As human society enters industrialization and urbanization, in order to meet the increasing needs of life, people have higher and higher requirements for the environmental quality of their lives. People spend nearly 90% of their time indoors. Therefore, the environmental quality of indoor spaces has become an issue that cannot be ignored. The interior space environment of the building is closely related to everyone’s life. However, when people decorate their rooms luxuriously and warmly, the subsequent interior decoration sequelae are also seriously affecting people’s health. The pollution caused by indoor decoration is serious, whether it is the use of decoration materials or improper indoor design that will cause indoor air pollution. Based on building materials and interior design, this paper systematically analyzes the pollutants in the fully decorated interior space and proposes that from the perspective of low-carbon economy, interior space design should be based on the ecological environment, and the focus of the design is on the rational use of nature. Resources and decoration methods should start from the application of natural colors and natural materials and organically combine green materials and green decoration designs to create a more comfortable, healthy, safe, and environmentally friendly indoor space environment.

This paper aims to incorporate artistic vocabulary from intangible cultural heritage into historical clothing designs, particularly beautiful pattern designs. It is based on a profound understanding of the concept of immaterial cultural heritage and the mastery of its traditional skills to meet the public’s needs in terms of clothing and flowers. Technology, culture, and intangible cultural legacies can all be passed down and incorporated into the design. It is using interactive evolutionary computing to investigate the intangible cultural heritage elements of designing novel decorative flower patterns for clothing. Due to the rapid advancement of digital technology, computers are now used more frequently in the design of patterns and clothing. The goal is to improve the production of artistic trends and decrease the use of manual and traditional methods. This study uses interactive genetic algorithms to examine the current state of intangible cultural heritage elements in building designs for decorative flower patterns for clothing. The application of genetic algorithms to the design of clothing with flowers as decorative patterns is the main focus of this paper. The genetic algorithm is described, followed by an analysis of its fundamental structure. Then, the characteristics of the clothing flower decorative pattern are determined, the genetic algorithm model is applied to the design of the decorative flower patterns for clothing, and the hierarchical structure of heredity, variation, and interaction is provided. Finally, the genetic algorithm is applied to the large-scale generation and mutation optimization of designing decorative flower patterns for clothing after analyzing its application in clothing flower decorative pattern technology. The idea presented in this paper can self-reproduce and optimize, resulting in the nonartificial generation and optimization of designing decorative flower patterns for clothing.

Formulation of the problem. Teaching the design of the environment, as well as practical achievements in this field of artistic creativity of teachers, students and graduates of Lviv National akademy of arts, have a thorough basis. Lviv school design of interiors has a long history, and the chair of design of the envi- ronment of Lviv National akademy of arts is the heir to the traditions and achievements of several gen- erations of Lviv artists. It is important to reveal the process of formation in Lviv artistic design educa- tion, the theoretical foundations of the artistic or- ganization of the subject environment surrounding a person, to identify and compare historical levels in the development of works, their technological and stylistic changes in time, investigate the relationship between different artistic techniques and options design at different stages. Analysis of recent research and publications. Important is the study of Alexander Noha on the theme of the Lviv design school. In his book 2001 “Ukrainian art-industrial ceramics in Galicia (1840- 1940)” is considered a period of birth and develop- ment of industrial design in Lviv [16]. Architecture and design of public spaces in the structure of historical residential building of Lviv on the verge of the XIX-XX centuries became the object of scientific research in articles and in the candidate’s thesis Olga Lysenko [12]. A number of works of design of the Lviv Art déco 1920-1930’s was analyzed by Anna Bantsekova in the catalog of the exhibition in 2001 “Art déco in Lviv” [5]. Marta Makovetska in article 2016 trailed trends in the decoration of premises (especially furniture) in the Ukrainian folk style in Lviv of interwar time [13]. The analysis of the source base revealed that to date no comprehensive study of the development of the Lviv school of subject-spatial environment de- sign has been carried out. This problem requires a multifaceted and synthetic approach. The purpose of the article: to consider the form- ing factors, the theoretical principles of the Lviv design of the environment and their practical im- plementation in 1872-1944, introduce new facts to scientific space, surnames of artists and their works. Study Results. For the first time there is a com- prehensive scientific study of the stylistic evolution of the Lviv design of the subject-spatial environment – from the neo-styles of historicism to secession (art nouveau), art déco and functionalism. The universal essence of the secession provided it gradually, but continuously growing coverage of various types of creativity and became one of the main formative fac- tors of a subject-spatial design in the capital of Gali- cia at the beginning of the twentieth century. If the art déco to some extent continued decorative trends of secession, then functionalism has shown the de- sire for a new approach to organizing the design space. The artists began to refuse abundant decor in favor of a clear constructive basis and restrained coloring, to emphasize the compositional-rhythmic construction of geometric volumes and planes. The article reveals the formative factors of the de- sign of the environment, illuminates the regularities of the emergence and establishment of artistic and design education and practical activities in this area of the creativity. The emergence of theoretical prin- ciples of artistic design in Lviv is shown, starting with articles and public speeches of Julian Zachariewicz. The history of Lviv design of the environment is sys- tematized, in many aspects the works of individual artists of different nationalities are analyzed, their previously unknown works, which are introduced into scientific circulation for the first time, are re- vealed. In particular, the creative work in the field of design of W. Sadłowski, A. Zachariewicz, I. Levynsky and his followers, T. Obmiński, M. Olszewski, T. Wró- bel, Z. Sperber is studied. Getting to know the achievements of leading European art centers, Lviv design school has main- tained its independence and originality. The pecu- liarity of its representatives was the complexity of the polyethnic structure, the multilayer of the top- ics and motives (the sources of which were diverse aspects of national life and the tradition of everyday life) and in the use of the treasury of regional cul- tural achievements. Thus, numerous exhibitions of Ukrainian manufacturers of the period 1919-1939 showed a high level of Ukrainian designer opinion and active searches for national identity on the basis of traditional folk material culture and in the direc- tion of the formal system of art déco. Conclusions. The analysis of creativity of artists of the Lviv school design of the environment showed Юрій Бірюльов 105 Львівська школа дизайну середовища 1919–1944 рр.: теоретичні засади та їх втілення its artistic integrity, revealed a large socio-cultural and artistic significance of objects of subject-spa- tial design of the period of 1872-1944.The historical change of styles in the design of public and residen- tial interiors of Lviv, the formative factors of design, the achievements of teachers and graduates of the Artistic and industrial school are considered. Until re- cently, the existing idea of the Lviv art of design was significantly supplemented, and new facts and works were introduced into scientific circulation.

With the gradual advancement of globalization, cultural values and traditional decorative practices as well as people’s lifestyles have changed through digital awareness. This has seriously affected the interior decoration industry and brought challenges to the local handicraft industry. Pakistan’s traditional handicraft is famous in the world, but the flow of imported machine-made products in Pakistan has led to a decline of Pakistan’s handicraft industry. This research investigated which factors are involved in home decoration and to see if these factors are advantageous for the handicraft industry or not. The use of handicraft decoration objects varies among people when they design their houses. Thus, study conducted a survey, which found several factors that Pakistani people emphasize in relation to home decoration. Currently, these factors do not benefit the handicraft industry as people pursue a modern lifestyle and they consider handicraft objects without innovation and design outdated. Interior decoration is seen as a major aspect of traditional Pakistani life and culture, with distinct cultural characteristics. Inspired by the latest way of thinking, an interior design first exists as a concept and is then realized through careful planning. It is meant to evoke a specific mood through the strategic use of color, space, and style. In Pakistan, home accessories are generally and strongly influenced by the current fashion in the end market, with many changes brought about by consumers’ purchasing patterns, designers’ and decorators’ styles, and economic conditions. Keeping up with constantly changing trends is the main challenge faced by the traditional handicraft industry sector. In many cases, craftspeople are disconnected from the end market, which is a challenge for them to be able to profit from their work.

The artifacts design and usage have been evolving since preliminary civilization period from to satisfy pure physical needs gradually to also meet psychological needs. As the evolution result, some artifacts are designed and produced not only with practical or decorative value, but also with purpose to demonstrate the consciousness of rank difference. This article, from social class consciousness perspective, with the analysis on decoration methods, clothing color and materials, demonstrates the explicit and implicit class ideological connotation in Chinese traditional dress. The dress color and pattern are strictly defined for and associated with social classes, where any violation is prohibited. As a conclusion, most artifacts especially Chinese traditional dresses which clearly represent all social classes are the intended product by ruling class.

This chapter investigates the role of production design in revamping the visual style of Indonesian cinema. The chapter contends that in the post-Suharto era, Indonesian filmmakers have leveraged production design to refurbish the looks of Indonesian films by further exploring two techniques of production design for interior and exterior shots: location shooting and location designing. Location shooting is the practice of shooting the film at an existing location rather than in the studio on a soundstage or backlot. Location designing is the practice, whereby an existing location is modified to meet the demand of the story whether through analogue means such as set decoration and set dressing or through computer-generated imaging methods. Combining these two techniques, contemporary Indonesian filmmakers not only go to existing locations and make use of these real places, but they also design these locations by decorating and dressing them or even building entirely new sets on site. This dual pursuit of location shooting and location designing has impacted the level of visual details that post-1998 Indonesian films put on display.

Our study for a new Anthropocene style is to re-evaluate the domestic space today, to rethink their decorative style to meet the new thermal regulations and to invent the architectural language of the interior in the era of the Anthropocene. The ambition is to offer a new style in the History of Decorative Arts after the Regency Style, Louis XV style, the Empire style or Louis Philippe Style among others, to invent the Anthropocene style of today. Using elegant, innovative, discounting art of interior design and decoration to meet the contemporary challenges in sustainable development, reduction of energy and greenhouse gas emissions. Redrawing the lines, patterns and geometry of walls, ceiling, floors, woodwork, moldings according to the optical behavior of the solar rays to multiply natural sunlight, to reduce conduction of excessive heat accumulated on the ceiling, to increase the coefficient of thermal insulation of walls and impede cold bridges. Rethinking the intelligence of materials to choose the material basing on specific physical behavior such as optical, thermal, acoustic absorption or reflection, porosity or proofing to water vapor, air, their factor of conductivity or diffusivity. Rethinking materials in terms of its colors, textures with physical value, choosing innovative and non-toxic materials as interior materials, to reflect infrared, absorb the other wavelengths, let them go elsewhere, while at the same time they reflect the shorter wavelengths of white light or absorb to enjoy even their heat.

Abstract By the early seventeenth century the violin was so well known, according to Praetorius, that nothing more needed to be said about it. With our advantage of hindsight, one further thing might be said about it now: at the beginning of the seventeenth century the capabilities of the violin and probably the bow were well in advance of the demands made upon them by composers and violinists, who needed to catch up with the musical and technical possibilities inherent in this remarkable instrument. Consequently only a few changes had to be made in the violin in the early seventeenth century; and it is noticeable that new changes in violin design vrerlargely decorative rather than functional (see below, p. ro8). Certain refinements took place in the bow, as will be described presently, to meet demands of players for new effects.

Abstract For some American Indians involved in Native American religions, life unfolds as a rich drama. This drama plays out in a world filled with spiritual forces and shaped by them. Everything can mean something. Little is separate from religious influence. Spiritually attuned Native American men and women seek multiple ways to express their religious visions. Their spirituality can affect how they cook, eat, dance, paint, tell stories, mold pottery, dye clothes, decorate their bodies, design their homes, organize their villages, court lovers, marry, bury, dress, speak, make love, cut their hair, and so on. Wisdom comes by paying attention to the living world, discerning the spiritual dimension within it, and debating its significance with others in a community.

Abstract In considering the images used on child sarcophagi the workshop is an obvious place to start: here customers’ demands met with the craftsmen’s supply. However little is known about their actual interaction, one can imagine what might have been at stake for each party: range of choice, the use of popular compositions and the devising of new ones, the qualities of the particular marble, and how to maximize customer appeal must have been questions of regular concern. In fact at the end of the day, issues like these may have been as influential as ideology in the creation of images on Roman sarcophagi; and this is even more likely for the decoration of children’s sarcophagi which required the workshop to be particularly responsive to a special need. Yet they rarely seem to get the attention which they deserve (possibly because they raise so many unanswered questions). To redress the balance this section has been placed at the start of my discussion. The first part of it looks at factors to do with design and production, the second considers evidence about the social status of people who bought or used these sarcophagi, and the last part looks at some cases where the sarcophagi can be considered in the context of their original setting.

The paper proposes a software application designed to design the product pants for people with lower limb amputations, for women and men, worn during rehabilitation or social integration. The application can be used both by small and medium-sized enterprises and as a teaching tool for the master's course "Functional and ergonomic design in textiles". The application has a structure with open architecture that allows completing, modifying it according to needs but also automating engineering activity. For the realization of the basic pattern, the data related to the carrier and the product are considered as initial data. The model construction is elaborated by taking into account the product sketch created by the designer which provides information about the types of changes, the location of the product, the contour of the constructive-decorative elements, etc. For the construction of the model, a library was created with functional-constructive elements, depending on the level of amputation of people and their needs. By selecting the necessary constructive-functional elements and combining with the basic construction, we obtain the model constructions of the trousers products for women and men, which have lower limb amputations. The application is designed to allow the subsequent completion of the database with various products for people with locomotor disabilities and the completion of the graphic library with functional-constructive and decorative elements, depending on the type of disability, doctors' recommendations and wishes. The examples presented can be used both to facilitate the work of builders in enterprises and workshops, and in educational institutions. All patterns can be easily changed as needed.

This study considers virtual space as a service implementation site with many people and many machines participating. Menu interfaces, interactive objects, and virtual people in virtual space are considered service access channels in this system. Based on the method of service design, this paper builds a virtual home decoration design platform that users can participate in.First, analyze the user needs in the home decoration service process, especially in the design and planning process. At the same time, according to the characteristics of virtual media, summarize the capabilities of service participants and compilation constraints. Secondly, by reconstructing the human-machine collaborative relationship of service contact elements, a service system with multiple virtual channels and full process coverage is designed to complete the function assignment of a virtual home decoration design platform. Finally, comb the information architecture according to the system's functional requirements. At the same time, a virtual interaction prototype is developed based on the Unity platform.This study verifies the consistency of service design and human-machine system design in concept, process, and method. At the same time, based on the user's perception of service in virtual space, a virtual service contact model is constructed, and a design strategy for a virtual service contact channel that meets human-factor requirements is presented.

Everyday objects are usually visually designed to imply that they belong to men or women. They are, thereby, tools for people to represent their gender identities. However, even though gendered design is a common topic in academic research, the representation of gender diversity remains relatively marginal. This study aims to organize people's life experiences with different gender identities to explore visual design strategies that change the original gender implication of everyday objects, thus representing gender diversity and promoting social inclusion of sexual minorities. To do so, a participatory design game workshop has been created and conducted. Three game characters with diverse gender identities were developed, and design materials that implied gender binary or diversity were provided, such as everyday objects and visual elements. During the workshop, six participants imagined themselves as admirers of the game characters and used the prepared materials to design gifts for them that fit their gender identities. The results of the workshop show that the gender implication of objects can be changed through reorganizing visual elements of color, shape, decoration, and cultural symbols. In addition, cisgender heterosexual participants preferred to represent diverse gender identities through innovative arrangements of gender-stereotypical visual elements, while participants that belong to sexual minorities preferred to adopt personalized design strategies to "de-genderize" everyday objects. This variation may be caused by the tendency of cisgender heterosexual people to confirm their gender identity through gender stereotypes, while sexual minority people escape the binary gender system through individualized representation. Therefore, the study concludes that design process representing gender diversity not only needs critique and innovation, but that de-genderdizing strategies cultivated by sexual minorities from their practices are also essential design resources.