3 Anche la moda, come ogni altra espressione umana, è oggetto di interpretazioni, controversie, teorie, riflessioni! La moda fa gioire ma fa anche… litigare e discutere! Designer, esperti di marketing, responsabili delle vendite, responsabili dell'ufficio stampa, ecc., sono tutti nel frequente obbligo di chiarire a sé e agli altri il senso particolare (o generale) della loro attività. In ciò, dalla progettazione alla commercializzazione, nelle questioni più semplici così come in quelle più complesse, essi si trovano spesso ad impiegare termini e argomenti dei quali non è sempre facile comprendere i limiti e, soprattutto, le potenzialità. Per queste ragioni il corso di estetica applicata, offerto a tutte le classi dei master, ha come scopo quello di orientare nell'universo delle innumerevoli parole che costituiscono l'anima della moda come espressione della creatività umana, insegnando l'uso almeno dei suoi termini principali ma anche qualche cosa di….
4 …ma anche qualche cosa di più profondo, come già oggi inizieremo a vedere… scopo del corso è infatti soprattutto imparare a capire e interpretare tutto ciò che è e fa qualità…
5 Quali argomenti tratteranno i 14 incontri previsti?
6 Consigli praticiCome si seguono queste lezioni (parole, libri, personaggi)Come si stendono degli appuntiCome si fa un indice di argomentiCome si raccoglie un dossierCome si crea un dizionario delle (proprie e altrui) idee
7 1) Cosa è la qualità 1 2) Come si impara a pensare 1 3) Cosa è la bellezza 1 4) Estetiche extraeuropee 1 5) Estetiche extraeuropee 2 6) Teorie della sensorialità 1 7) Teorie del colore 1 8) Cosa significa comunicare 1 9) Cosa significa comunicare 2 10) Cosa significa raccontare 1 11) Come si impara a "leggere" un oggetto 1 12) Come si impara a "leggere" un oggetto 2 13) Cosa significa progettare 1 14) Teorie della moda 1
10 Christopher Alexander Christopher Alexander was born in Vienna, Austria, and raised in Oxford and Chichester, England. He graduated from Cambridge University, where he studied Mathematics and Architecture. He then obtained a Ph. D. in Architecture at Harvard University. For his Ph. D. Thesis, later published as the book Notes on the Synthesis of Form, he was awarded the first Gold Medal for Research by the American Institute of Architects. Since 1963 he has been Professor of Architecture at the University of California at Berkeley, and Director of the Institute for Environmental Structure. In 1980, Professor Alexander was elected member of the Swedish Royal Academy; and in 1996 he was elected fellow of the American Academy of Arts and Sciences. Christopher Alexander is a Trustee of the Prince of Wales's Institute of Architecture.
12 curriculum vitae geboren 1936, österreichischer Auswanderer studierte in Cambridge Mathematik, dann in Harvard Architektur seit 1963 in Berkeley als Professor für Architektur an der University of California; gründete dort das Center for Environmental Structure (CES)
13 Selected writings Scritti principali di Christopher Alexander Notes on the synthesis of form, Cambridge 1963 The timeless way of building, New York 1979 A pattern language : towns, buildings, construction, New York, 1977 The Oregon experiment, New York, 1975
15 Robert M. PirsigBorn in 1928 (Minneapolis) Pirsig is the author of Zen and the Art of Motorcycle Maintenance and Lila, an Inquiry into Morals, the former being the best ever selling philosophy book. He was trained in philosophy and journalism at the Universities of Minnesota and Benares. Prior to his novels, he was a technical writer and teacher. Pirsig is presently living quietly in New Hampshire, USA with his wife Wendy and daughter Nell. He admits to being a bit of a recluse and won't even answer the phone. He explains his behaviour thus: "The Buddhist monk has a precept against indulging in idle conversation, and I think the basis of that precept is what motivates me." (letter from Robert Pirsig to Bodvar Skutvik, August 17th, 1997)
17 Selected writings Scritti principali di Robert M. Pirsig Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values, 1974Lila: An Inquiry Into Morals, 1981
18 Pirsig sulla qualità“What the Metaphysics of Quality would do is take this separate category, Quality, and show how it contains within itself both subjects and objects. The Metaphysics of Quality would show how things become enormously more coherent--fabulously more coherent--when you start with an assumption that Quality is the primary empirical reality of the world.......but showing that, of course, was a very big job…”( Lila )
19 Alexander sulla qualità Timeless continues this theme, opening with phenomenologically toned essays on ``the quality without a name'', the possession of which is the ultimate goal of any design product. It is impossible to briefly summarize this. Alexander presents a number of partial synonyms: freedom, life, wholeness, comfortability, and harmony. But no single term or example fully conveys meaning or captures the force of Alexander's writings on the reader, especially surrounding the human impact of design, the feelings and aesthetics of designers and users, the need for commitment by developers to obtain and preserve wholeness, and its basis in the objective equilibrium of form. Alexander has been working for the past twelve years on a follow-up book, The Nature of Order, devoted solely to this topic
20 Eurythmics The miracle of love How many sorrows Do you try to hide In a world of illusions That's covering your mind ? I'll show you something good Oh I'll show you something good. When you open you mind You'll discover the sign That there's something You're longing to find... The miracle of love Will take away your pain When the miracle of love Comes your way again. Cruel is the night That covers up your fears. Tender is the one That wipes away your tears. There must be a bitter breeze To make you sting so viciously- They say the greatest coward Can hurt the most ferociously. But I'll show you something good Oh I'll show you something good. If you open your heart You can make a new start When your crumbling world falls apart.
23 UNKNOWN MASTER, German The Garden of Eden c. 1410. Tempera on wood, 26 UNKNOWN MASTER, German The Garden of Eden c Tempera on wood, 26.3 X 33.4 cm Städelsches Kunstinstitut, Frankfurt
24 In the legendary world of a multicoloured garden surrounded by a wall the Virgin, the Child Jesus, three holy women and three holy men have met. This enclosed garden (hortus conclusus) is the symbol of the Virgin's purity, with its peaceful mood, its protected area, its fruits and flowers, but the serpentine intertwinement of the two trunks of the trees on the left also reminds us of the Garden of Eden, the scene of the happy life of the first human couple. Even more does the picture intend to evoke the ancient, original harmony of the universe, of divine, human, animal and vegetable worlds, where sin and evil were present only in a latent, harmless form. The Satan-monkey is squatting helplessly at St Michael's feet, while St George's dragon, not at all awe-inspiring, seems to be basking in the sun, turning his belly upwards. The patron who commissioned the picture may have seen his own ornamental garden in the flowers, herbs, birds, butterflies and dragonflies, all represented with scientific exactness. However, this true-to-life interpretation, in a manner characteristic of the International Gothic style, is restricted only to certain minor motifs. The garden, the table, the fountain and the musical instrument are depicted from a different angle and are seen from above and thus they are not included in the plane of the picture; the figures are airily light and the forms do not cast shadows. Like patterns on a carpet the details are rather close to one another and are represented in a two-dimensional way. The forms of the world of humans, of the vegetation and of objects are harmoniously fitted to one another. The crowns are golden garlands of flowers, the left arm of St Cecilia holds a psaltery and the outlines of her instrument form a single vigorous arch of mirrored symmetry, and the parallel lines of grasses appear to be growing from the strings of the psaltery.