The sensuous impulse in design refers to the sinuous “s curve” which was used in designs to excite and engage the emotion of the user. The flowing and expressive curves were a break away from the structural lines and geometric shapes seen in the Classical era.
Both lines and curving forms can be seen repetitively throughout history as we flicker back and forth between the two styles; from the Parthenon to the Rococo era, through to Frank Lloyd Wright’s signature sweeping lines to the sensuous curves in the designs by Zaha Hadid.
Sensuous impulse peaked in the Rococo and Art Nouveau era which embodied expressive forms inspired by nature but in doing so the designs were somewhat dysfunctional and expensive, such as the ‘Candelabra’ (Juste-Aurele Meissonier, 1734), a stark contrast from the Classical era. Around the time of the industrial era, sensuous curves were applied in a more functional manner as designers considered the ergonomics of the designs, such as ’La Chaise’ (Charles & Ray Eames, 1948). In the history of design, the curve was used mostly with the idea of form over function, but as we emerge into the new era, the range of materials is far wider and research is more extensive, the form can be as equally as in the ‘Heatwave Radiator’ (Joris Laarman, 2003).
Both lines and curving forms can be seen repetitively throughout history as we flicker back and forth between the two styles; from the Parthenon to the Rococo era, through to Frank Lloyd Wright’s signature sweeping lines to the sensuous curves in the designs by Zaha Hadid.
Sensuous impulse peaked in the Rococo and Art Nouveau era which embodied expressive forms inspired by nature but in doing so the designs were somewhat dysfunctional and expensive, such as the ‘Candelabra’ (Juste-Aurele Meissonier, 1734), a stark contrast from the Classical era. Around the time of the industrial era, sensuous curves were applied in a more functional manner as designers considered the ergonomics of the designs, such as ’La Chaise’ (Charles & Ray Eames, 1948). In the history of design, the curve was used mostly with the idea of form over function, but as we emerge into the new era, the range of materials is far wider and research is more extensive, the form can be as equally as in the ‘Heatwave Radiator’ (Joris Laarman, 2003).
Once again, the catholic church is leading us in this revolution of new design. This Catholic Church of the Transfiguration, designed by DOS Architects, really embodies the contemporary interpretation of the sensuous impulse.
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