The expansion of architectural and industrial design ideas and vocabularies which took place during the last century has created a diverse aesthetic reality within these two domains.
This pluralistic and diverse aesthetic reality has typically been created within different architectural and industrial design movements such as: Modernism, Postmodernism, Deconstructivism, Post-structuralism, Neoclassicism, New Expressionism, Supermodernism, etc.
[5] These sentiments are closely linked to a number of artistic values found in movements like Expressionism and the Avant-garde art.
[6][7] Thus, this design value is closely related to abstract forms and expression, personal creative liberty, elitism and being ahead of the rest of society.
The Spirit of the Times denotes the intellectual and cultural climate of a particular era,[8] which can be linked to an experience of a certain worldview, sense of taste, collective consciousness and unconsciousness.
In addition, it is linked to the notion that simple forms will free people from the everyday clutter, thus contribute to tranquillity and restfulness.
[16][17] Designs based on this value tend to be characterized by free-flowing curves, asymmetrical lines and expressive forms.
[5] Implicit in this design value is the notion that if these forms are used, the public will appreciate a structure's timeless beauty and understand immediately how to use a given building or product.
[21] Many architects and industrial designers have a strong motivation to serve the public good and the needs of the user population.
[27] This value is connected to a belief that user involvement leads to: This design value is based on the belief that the built environment can be manipulated to reduce crime levels,[30] which is attempted accomplished through three main strategies that are: This is based on an eagerness to help developing countries through architecture and design (i.e. a response to the needs of the poor and destitute within the Third World).
[citation needed] Concern for the environment is not new and can be found to a varying degree throughout history, and it is rooted in a number of perspectives including the aim of managing the ecosystems for sustained resource yields (sustainable development), and the idea that everything in nature has an intrinsic value (nature protection and preservation).
This value is based on a belief that a sustainable and/or environmentally friendly building design is beneficial to users, society and future generations.
[40] Key concepts within this design value are: energy conservation, resource management, recycling, cradle-to-cradle, toxic free materials etc.
[49] Within this design value there are three main strategies: This is based on a commitment to preserve the best of buildings and products for future generations.
[52] These are: This value is based on a belief that a simple life and its design, closely linked to nature, are superior to that of modernity.
The 'volunteer' value is founded in the belief that good architecture and design requires commitment beyond the prearranged time, accountant's budget, and normal hours.
A movement to base architectural design on scientific and mathematical understanding started with the early work of Christopher Alexander in the 1960s, Notes on the synthesis of form.
Other contributors joined in, especially in investigations of form on the urban scale, which resulted in important developments such as Bill Hillier's Space syntax and Michael Batty's work on Spatial analysis.
This entire body of work can be seen as balancing and often questioning design movements that rely primarily upon aesthetics and novelty.
Social and environmental issues are given a new explanation, drawing upon biological phenomena and the interactivity of groups and individuals with their built environment.
The new discipline of biophilia developed by E. O. Wilson plays a major role in explaining the human need for intimate contact with natural forms and living beings.
This insight into the connection between human beings and the biological environment provides a new understanding for the need for ecological design.
Applications and extensions of Wilson's original idea are now carried out by Stephen R. Kellert in the Biophilia hypothesis, and in by Nikos Salingaros and others in the book "Biophilic Design".