![]() Streamlining and functionalism represent two different schools in modernistic industrial design. One reason for the simple designs in functionalism was to lower the production costs of the items, making them affordable to the large European working class. Streamline style can be contrasted with functionalism, which was a leading design style in Europe at the same time. In tract development, elements of the style were sometimes used as a variation in postwar row housing in San Francisco's Sunset District. The Lydecker House in Los Angeles, built by Howard Lydecker, is an example of Streamline Moderne design in residential architecture. Īlthough Streamline Moderne houses are less common than streamline commercial buildings, residences do exist. They were frequently white or in subdued pastel colors. It had characteristics common with modern architecture, including a horizontal orientation, rounded corners, the use of glass brick walls or porthole windows, flat roofs, chrome-plated hardware, and horizontal grooves or lines in the walls. Streamline Moderne appeared most often in buildings related to transportation and movement, such as bus and train stations, airport terminals, roadside cafes, and port buildings. Streamline architecture emphasized curving forms, long horizontal lines, and sometimes nautical elements. One of the more popular elements in Art Deco architecture is Streamline Moderne, an international style of Art Deco architecture and design that emerged in the 1930s. Other examples of Art Deco architecture include the Lincoln Theater in Miami, Florida, the Palais de Chaillot in Paris, and the Robert Stanton Theater at King City High School in King City, California. Shockingly, many examples of Art Deco are still standing to this very day, especially in New York City buildings such as the Chrysler Building, the American Radiator Building, the General Electric Building, the Comcast Building, and the Empire State Building. Art Deco itself eventually evolved into the style known as Streamline Moderne. Art Deco actually took inspiration from various other previous aesthetics of the time: pre-modern art that could be seen in the Louvre at the time (among other art museums, Russian Constructivism, Italian Futurism, Orphism, Functionalism, Fauvism, Modernism, the recent unearthing of ancient Egyptian artifacts, and so much more). This is a vital, paradigm-shifting book for anyone engaged with socially engaged arts or social and health care practices on an academic or professional level.Art Deco as an aesthetic was a direct reaction to the previous standard: Art Nouveau (which was popular between 18), and eventually overtook the Beaux-Arts and neoclassical stylings that were popular in European and American architecture at the time. Then it argues for artful care and how an aesthetic orientation to care practices might challenge some of the inadequacies of contemporary care. It makes the case for careful art exploring the implications of care aesthetics for participatory or applied arts. Part 2 then tests this through practice, examining socially engaged arts and health and social care through its lens. Part 1 of the book outlines the approaches to aesthetics and to care theory that are necessary to make and defend the concept of care aesthetics. Theoretically and practically, the book outlines the implications of care aesthetics for the socially engaged arts field and health and social care, and for acts of aesthetic care in the everyday. What if the work of a nurse, physio, or homecare worker was designated an art, so that the qualities of the experiences they create became understood as aesthetic qualities? What if the interactions created by artists, directors, dancers, or workshop facilitators were understood as works of care? Care Aesthetics is the first full-length book to explore these questions and examine the work of carer artists and artist carers to make the case for the importance of valuing and supporting aesthetically caring relations across multiple aspects of our lives.
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