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Formgestaltung des Unsichtbaren : eine gesellschaftsorientierte Designstrategie im Automobildesign als Fsktor für den Unternehmenserfolg
Záhlavie-meno Rossnagel, Klemens, 1960- (Autor) Údaje o názve Formgestaltung des Unsichtbaren : eine gesellschaftsorientierte Designstrategie im Automobildesign als Fsktor für den Unternehmenserfolg : written part of the dissertation / Autor Klemens Rossnagel ; Školiteľ (konzultant) Štefan Klein, Zdeno Kolesár ; Oponent Othmar Wickenheiser, Stefan Lengyel, Andrea Euringer-Bátorová Ďal.zodpovednosť Klein, Štefan, 1953- (Školiteľ) Kolesár, Zdeno, 1960- (Školiteľ) Wickenheiser, Othmar (Oponent) Lengyel, Stefan (Oponent) Euringer-Bátorová, Andrea, 1977- (Oponent) Vysoká škola výtvarných umení (Bratislava, Slovensko) (Inštitúcia udeľujúca vedeckú hodnosť/akademický titul) Nakladateľ Bratislava : Vysoká škola výtvarných umení, Katedra dizajnu, 2017 Fyz.popis 497 strán : il., čb., fareb. Ďalšie variantné názvy Formgestaltung des Unsichtbaren : eine gesellschaftsorientierte Designstrategie im Automobildesign als Fsktor für den Unternehmenserfolg : písomná časť dizertačnej práce Poznámky Pozn. Diagr.. Internetové zdroje Bibliogr. Bibliogr. odkazy Anotácia Automobiles are perceived with all our senses. As vision plays the primary role at that, this paper will focus on the visual aspects of automotive design. The form of an automobile however is only the perceptible result of a lengthy design process. To be presented here will be mainly the deliberations accompanying the industrial design process and those inherent to developing a form. This invisible part of design is made up by the perceptive performance of the recipient, who assigns meaning to the perceived, which, in turn, the designer is trying to anticipate. Success in automotive design by far exceeds the traditional productuser relationship. To ensure success in design, both, a company’s, and society’s interests have to be considered. Even though brand management’s requirements are defined precisely and claimed regularly during the design process, social and aesthetical matters often remain vague. If rules of intersubjectivity and social consensus, on which the aesthetic judgment is also based, are being applied, they can be aligned with market requirements. Brand and beauty as independent variables are mental constructs. Both parameters being based on social interaction have to be balanced for a successful design. Due to the dynamics of social processes these balance has to be refined permanently. Automotive designers are primarily in the service of automotive industry or under obligation of an automotive company. As this industry is depending on the consumer’s acceptance and, by this, as well as on the society’s acceptance, automotive design is consigned to a serving function toward society. Being a member of society and as members of the creative industries, designers carry responsibility towards society, towards individuals, and towards the discipline of design. The task of design strategy is to successfully balance these requirements. In doing so, an extended concept of strategy will be implemented. This concept exceeds the conventional idea of strategy, which identifies it with long-term planning as it stresses the aspect of strategy being the creation of options. Many aspects of automotive design relate to non-visible and abstract but emotional topics. The strong emotional appeal is meant to build up a customer’s desire to buy the product. The abstract topic Eroticism per se is invisible. Eroticism, nevertheless can be perceived and experienced by recipients with the use of semantic and symbolic references of specific forms. These references can exist in form of shapes, colours, textures, or details. The terminology used in automotive design illustrates the references: eyebrows, hip-swing, face lift, or even curves, being called sexy describe automotive forms by reference to attributes of the human body. A female identity is ascribed to the bella machina, the beautiful machine. From a male perspective this illustrates the strong link between the automobile and sexuality. In automotive design plenty of examples proof this link. The title “Lolita GT” refers to the novel “Lolita” by Vladimir Nabokov (1955), describing sexual phantasies of a man about a young woman. The US-automobile manufacturer Lola Cars, famous for its racing cars, also refers to this topic. Both Lola and Lolita derive from the short form of the Spanish female name Dolores. After researching the visual fundamentals, an automotive sculpture was built in the scale 1:4. The focus was on identifying stereotype design solutions in automotive design, resulting in strong associations to the human body. Next to the identification and reproduction of erotic elements an exaggeration was aimed for making these often subtle relations visible and understandable. The automotive sculpture ranges between the art and design, between sculpture and automobile. The border areas were consistently explored during the formation process to preserve the artistic freedom as well as the functional purposefulness. Primary objective of this artistic work is to address and to critically question these semantic and symbolic references and furthermore to make them visible by means of exaggeration. Only by understanding the sexual allusions and mechanisms designers and customers are able to make well-based decisions. This artistic work enables the discipline of automotive design to self-reflect its own formal-aesthetical practice and to extend the aesthetical innovative potential. Kľúč.slová transport dizajn * automobily-design * automobily-spoločenské aspekty MDT 7.05 Krajina Slovensko, Slovenská republika Jazyk dok. Nemčina Počet ex. 1, z toho voľných 0, prezenčne 1 Báza dát Ostatné dokumenty 
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