Figure 11

International Baccalaureate
Visual Arts Extended Essay
November 2010

The Aesthetics of Function

To what extent can aesthetics be considered to have functional
properties?

School: St. Peters Lutheran College

Supervisor: Julie Seidel

Candidate Name: Pei-Han Sabrina Wong

Candidate Number: 003063-040
Word Count: 3620
ABSTRACT

1
Squeeeeze. 11 May 2004. DeviantArt. N.p., n.d. Web. 2 Apr. 2010.
<http://lorrainemd.deviantart.com/art/Squeeeeze-7198396>.

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The aim of this investigation was to explore the functional power of

aesthetics through the studying of a specific industrial product. After
brainstorming many ideas, a research question has been formulated
to study the question: To what extent can aesthetics be considered
to have functional properties?

The topic conspicuously holds elements and principles of the visual

arts and the main focus of this investigation is the functionality and
aesthetics of citrus squeezers. The exploration of this concept has
enabled me to analyse three specific citrus squeezers, ranging from
an A-list to supermarket quality product. This includes Philippe
Stark’s Juicy Salif (Alessi), Halskov/Dalsgaard’s CHARM (IKEA) and an
unbranded citrus squeezer from a market place. It must be taken
into consideration that the analysis of the citrus squeezer within this
investigation is about design and marketing and not necessarily
what is traditionally thought of as fine art.

My investigation includes: personal interpretation of the chosen

citrus squeezers; interviews with professional individuals; public
surveys in four different suburbs; and research via archives, books
and art encyclopaedias. The Industrial Revolution, notions of ‘form
and function’ and theories by artists including Marcel Duchamp
underpins and reinforce the idea that the citrus squeezer is truly
able to transcend coexist and transcend the boundaries of
functionality and evoke emotional senses. Therefore, through the
wide-ranging argument within my investigation, I was able to
conclude that the designing of aesthetically-based item is beyond
doubt capable to have functional properties.

Word Count: 240

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TABLE OF CONTENTS

i ............................................................ The Aesthetics of Function

ii ........................................................................................ Abstract

iii ........................................................................ Table of Contents

1 .................................................................................. Introduction

2 ........................................................................................ Emotion

3 ........................................................ Analysis of Citrus Squeezers

9 ........................................................................... Industrialisation

10 ..................................................................... Form and Function

11 ........................................................................................ Survey

16 ........................................................................ Marcel Duchamp

18 ................................................................................. Conclusion

21 ................................................................................. References

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INTRODUCTION

My admiration for design and art has always led me to ponder the

debate design ‘is design art?’ I always believed that visual arts is a

personal experience, that is to be appreciated, whereas, design is

not only about appreciation but also about functionality and

ergonomics. As our community is now surrounded by a myriad of

commercialised merchandise - our perceptions of these products,

design and art is varied, it has made me question – what is art and

what is design? Inquiring about this, I decided to explore the

question, to what extent can aesthetics be considered to have

functional properties?

The generic definition of art is ‘the effort to form a substantial

arrangement of colours, textures and other forms that affects one’s

sense of beauty’2. Hence, a question we can ask is whether it is truly

possible that an item can go beyond the boundaries of acceptable

functionality and evoke emotional senses as a result of a successful

design. When discussing aesthetics, one must understand that there

is no solid definition for this word. It can be concluded from a

philosophical viewpoint that an aesthetic is ‘a kind of representation

that is purposeful in itself and though without an end, nevertheless

promotes the cultivation of the mental powers for sociable

2
"Art." The American Heritage Dictionary of the English Language.
4th ed. Boston: Houghton Mifflin
Harcourt, 2000. Print.

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communication’3. This interpretation poses another thought,

whether a serious aesthetic approach can coexist with function as

the goal of a specific product.

It can therefore be postulated that when a simple item evokes

emotional senses and also coexist with its functional purposes that

the design of the practical object is an establishment of aesthetics.

The establishment of aesthetics and design of a function coexisting

simply demonstrates that they can be compatible and do not have

distinct differences. This effectively challenges multiple

preconceived and standard conventions concerning the divide

between design and art.

The preconceived notions concerning the divide between design and

art are based on the distinct separations of function and form. The

acceptable idea of what is functional involves a key notion that

practicality is found within the design. On the other hand, form is

often viewed aesthetically and alternatively considers the visual

values inherent in its structure - it is conspicuous that both concepts

represent different viewpoints. In addition, the assumption is made

that both design for function and design for aesthetics are two

different concepts. This essay postulates that contemporary society

has the ability to perceive a simple functional object as an item that

3
Wood, Allen W. "Art and Genius." Kant. Malden: Blackwell Publishing
Ltd., 2005. 165. Print.
Kant, Immanuel. "44: Of Beautiful Art." Critique of the Power of
Judgement. Ed. Paul Guyer. Trans. Paul Guyer and Eric Matthews. 1790.
N.p.: Cambridge, 2000. N.pag. Print.

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holds some creative thought, and therefore can be considered to

have both functional and aesthetic properties.

EMOTION

Referring to the generic definition of as art mentioned in the

introduction of this paper, art is the effort to use elements and

principles to evoke an individual’s emotional senses. Design

concerns the development of visual structures to further develop

the innovative humanisation technologies and the fundamental

factor of economic and cultural exchange4. Products do elicit

emotional responses from consumers, intentional or non-intentional,

good or bad; emotion in design is said to be a proven fact5.

Moreover, pleasure can be derived aesthetically from the

appearance of a product through its form6. The intention from a

designer’s perspective is to employ artistic values to solve a client’s

problem and also create a sense of pleasure to the user – a selling

point within the consumer’s market7.

ANALYSIS OF CITRUS SQUEEZERS

4
"Definition of Design." The International Council of Societies of
Industrial Design. N.p., 2009. Web. 14 Jan. 2010.
<http://www.icsid.org/about/about/articles31.htm>.
5
Popovic, Vesna. Chamorro-Koc, Marianella. Wrigley, Cara. Visceral
Hedonic Rhetoric: Designing for the Visceral. MS thesis. Queensland
University of Technology, 2008. Brisbane: n.p., 2008. PDF file.
6
Green, William S., and Patrick W. Jordan. "Product Appearance and
Consumer Pleasure." Pleasure with
Products: Beyond Usability. London: CRC, 2002. N. pag. Print.
7
Wrigley, Cara. E-mail interview. 12 Nov. 2009.

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To explore whether designing for a common domestic appliance can

be considered an establishment of art, three different citrus

squeezers will be studied with the addition of interviews and

surveys. Citrus squeezers are chosen for this investigation because

it is considered to be one of the most common household appliances

within a kitchen. Moreover, the use of citrus squeezers meets the

requirements of an indispensable utensil within the realm of kitchen

appliances – accessibility to effectiveness and ergonomics. These

three citrus squeezers will range from products listed as

economically-oriented and aesthetically-oriented.

Figure 28

Above, an iconic citrus squeezer that is designed for the general

market place and sits on many kitchen bench tops, revealing

8
Kitchen Craft Citrus Fruit Squeezer. 1 Mar. 2004. Amazon. N.p.,
n.d. Web. 24 Jan. 2010. <http://www.amazon.co.uk/Kitchen-Craft-
Plastic-Citrus squeezer/dp/B0001IWVVC>.

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consideration for the prime elements of its function. The rigid

surface of the dome provides a large surface area for the

consumer’s ease in extracting the juice. In addition, the dome is

situated in the middle so when the juice is squeezed out of the fruit

it is conveniently caught in the bowl. It has a filter that separates

the seeds and pulp from the juice, as it travels to the lipped bowl

below. Using plastic as the key material allows the squeezer to

withstand the pressure exerted and to prevent the acidity of the

juice causing corrosion. Moreover, it is dishwasher-safe, providing

ease of cleaning. With the addition of the hanger which doubles as a

grip to be hung upon, this manufactured article provides an

effective and efficient piece of kitchenware. The dome of this citrus

squeezer reflects the shape of a cut citrus fruit – the circularity

reflecting the form of dissected citrus. The similarity between the

citrus squeezer and the citrus fruit illustrates a visual cue in regards

to appearance. Overall, this product can be considered functional,

practical and replaceable. It is easily replaceable because of its

inexpensive price and the concern for potential sales or commercial

turnover is evident where consumers can effortlessly afford to

purchase another, if required.

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Figure 39

Halskov/Dalsgaard’s CHARM lemon-squeezer (IKEA), shown above, is

another iconic citrus squeezer but in a different form. It is a simple,

one piece article with a non-slip, absorbing handle, and a non-stick

coating applied. It is also dishwasher-safe which makes the

squeezer much simpler to wash. Less force is required when using

this product due to its pointed, cone-shaped projection, illustrating

an ergonomically pleasing citrus squeezer. The design of the handle

associates the buyer with a distinctive, alluring feel and colour that

reinforces the marketing intent. This is found in the entire CHARM

series. Furthermore, the choice of colour is bold and definitely more

attractive than the typical colour choices among kitchen wares. This

9
CHARM lemon-squeezer. N.d. IKEA. N.p., n.d. Web. 24 Jan. 2010.
<http://www.ikea.com/au/en/catalog/products/30083249>.

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plastic structure is easy to maintain, store and use. One of IKEA’s

objectives is to ‘create a better everyday life for the many’10 through

‘affordable solutions and a wide range of well designed, functional

home products’11. Therefore, the production of an ergonomic

CHARM citrus squeezer reveals and effectively exceeds IKEA’s main

objectives. In addition, the colour and form references in the CHARM

series entice the consumer to purchase the entire set.

Subsequently, not only does the sleek form and bold colour result in

a heightened aesthetic appeal and evoke emotional senses but they

also effectively demonstrate the use of visual elements as a

marketing function.

10
"The IKEA Concept: Intro." Inter IKEA System B.V. N.p., 2009. Web.
2 Apr. 2010.
<http://franchisor.ikea.com/showContent.asp?swfId=concept1>.

11
"The IKEA Concept: Concept." Inter IKEA System B.V. N.p., 2009.
Web. 2 Apr. 2010.
<http://franchisor.ikea.com/showContent.asp?swfId=concept2>.

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Figure 412

Figure 4 shows Stark’s Juicy Salif which reveals a dramatic

interpretation and application of the principles and elements of art

and design. The space between the three gangling legs provides a

space for a cup to be placed underneath to collect the citrus juice

when squeezed. The upside-down tear drop is round at the top, thus

more pressure must be exerted to obtain citrus juices. Furthermore,

12
Juicy Salif. N.d. Alessi. N.p., n.d. Web. 24 Jan. 2010.
<http://www.alessi.com/en/3/1055/ kitchen-accessories/juicy-
salif-citrus squeezer>.

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 Pei-Han Sabrina Wong: 9
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the joints between the main body and legs, as well as, the deep

ridges within the main body collect the fluids; therefore, less juice is

dripped into the cup and overall it could be considered to be less

effective. The use of aluminium (or gold/black for the limited edition)

is contemporary in comparison with the typical steel kitchen

equipment and challenges ideas about what mainstream design is.

Stark’s Juicy Salif has a height of approximately 30 centimetres;

therefore it is not easily accommodated to fit in a standard

conventional cupboard. In addition, when this product is purchased,

the packaging is wrapped as a gift as opposed to a standard

cardboard box, reinforcing and illustrating its purpose as a

decorative item. The unconventional design is considered to be a

‘social lubricant’13 as it draws attention to its use of form and space.

Moreover, unlike other citrus squeezers, Juicy Salif is used as an

object of desire and indication of social status within the kitchen.

Comparing the threes types of citrus squeezers, it is evident that

they have different target audiences. ‘The object of this invention

[lemon-squeezer] is to obtain a simple, economical and durable

implement whereby citrus fruits may be squeezed for domestic

purposes with minimal power and with far greater efficiency than

ordinary squeezers in general use’14. Referring to this statement and

13
P. Lloyd, and Snelders D. "What Was Philippe Starck Thinking of?"
Design Studies 24.3 (2003): 251. Print.

14
Chichester, Lewis S. Lemon-Squeezer. Patent 28,967. 3 July 1860.
United States Patent and Trademark Office. N.p., n.d. Web. 30 Jan.
2010. <http://patimg2.uspto.gov/ .piw?

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the study of the three citrus squeezers, it is evident that Juicy Salif’s

purpose is to obtain a durable implement whereby conventional

thoughts and opinions can be expressed and or challenged. This

product fully illustrates that within the context of necessity it is

possible to have more than one solution. Consequently, Stark’s

objective for his Juicy Salif is mainly its aesthetic value, and

secondly its functionality. Observing Halskov/Dalsgaard’s citrus

squeezer, simplicity and modern sleek design are its essential

marketing factors; drawing parallels to the initial objective which is

to provide a well designed and functional product. Similarly, the

non-branded citrus squeezer provides an economical and durable

implement with greater functionality, however unlike CHARM; it

does not exude innovation and is simply just another generic

product on the shelves. Clearly, Juicy Salif suggests a greater

importance of symbolic and aesthetic function, whilst the non-

branded citrus squeezer focuses on practical function and has thus

inadvertently became a revived symbol of retro culture and can be

considered to be aesthetically pleasing in the perspective of retro

culture. This culture, a symbolic intention, differs from the others

due to the current popularity of retro products that society deems to

be trendy in the current decade. The sudden popularity of this

docid=00028967&SectionNum=3&IDKey=E938F2E7086C&HomeUrl=http://patft.u
spto.gov/netacgi/ nph-Parser?Sect2=PTO1%2526Sect2=HITOFF
%2526p=1%2526u=%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html
%2526r=1%2526f=G%2526l=50%2526d=PALL%2526S1=0028967.PN.
%2526OS=PN/28967%2526RS=PN/28967>.

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sculptural culture is mainly due to the demonstration of the typical

design in the mid 1900s, the era of functionalism.

INDUSTRIALISATION

The industrial revolution has shaped the economic market through

the forces of mass production and mass consumption. Machine-

based manufacturing in the 18th century has resulted in the

transition from commissioned products into mass-produced objects;

creating unsolicited economically-oriented and replaceable

merchandise. This revolution resulted in commercialised designs

being more practical, economical and replaceable – with fewer

industries having the intention of focusing on aesthetic appreciation

of a product. Moreover, the industrial revolution has reduced

demand for the availability of custom-made products; therefore, the

presence of an exclusive work is immensely appreciated. Progress in

ergonomics and improved technology (allowing for greater mass

production) along with reduced production cost has resulted in mass

produced items that are functional designs which satisfy the

majority of the human population. The industrialisation of our

market has created products similar to the non-branded citrus

squeezer - as it is mass-produced and economically-oriented. This

merchandise is popular within our society to the extent that people

subsequently tend to perceive a necessity as a dispensable object,

nothing more or less. Consequently, this has placed competition in

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the market place, as items previously thought of as necessities are

increasingly easy to replace.

FORM AND FUNCTION

Product functionality has always been a key factor within the

creative industries, with utilitarian values and purposes being the

key concerns. The edict ‘Form Follows Function’, invented by an

American architect Louis Sullivan in the 1920s was established by

the Modernist movement. This slogan for modern design clearly

suggests a division between the impacts on the senses and its

utilitarian function. On the other hand, Frank Lloyd Wright believes

that ‘Form Follows Function’ was misunderstood and too simplistic,

enlarging the concept by saying form and function should be joined

together as one instead15. Therefore, one can say that the non-

branded citrus squeezer represents Sullivan’s edict, whereas, Juicy

Salif, illustrates Wright’s philosophy. This conclusion can be justified

because the non-branded citrus squeezer focuses on practicality;

whereas, Juicy Salif priorities on the appearance of its product. From

a different perspective, a product’s function and its purpose centres

on its appearance. With this in mind, what appears to be form can

alternatively be considered as function, and what is thought as

function can be viewed as aesthetic16. Consequently, all three citrus

15
Carter, Amanda. "Biography." Frank Lloyd Wright. Frank Lloyd Wright
Foundation , n.d. Web. 2 Apr. 2010.
<http://www.cmgww.com/historic/flw/bio.html>.
16
Scott, Andrew. E-mail interview. 16 Nov. 2009.

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squeezers may have three different motives and purposes despite

the common function of squeezing fruit.

SURVEY

The survey included the citrus squeezers introduced earlier in this

paper: Philippe Stark’s Juicy Salif, Halskov/Dalsgaard’s CHARM citrus

squeezer, and a non-branded citrus squeezer that can be purchased

in a supermarket for less than AUS$5 - all three products are

labelled as A, B, C in the survey.

In the survey, the citrus squeezers were tested in four different

suburbs in Eastern Australia to investigate the possibility that

different population bases interacted with the object in different

ways. The four areas include urban, suburban, more educationally

advanced and less educationally advanced areas – to investigate if

the different socio-economic impacts on different products. Areas

that are more educationally advanced are those where a higher

percentage of university degrees are recorded and theoretically,

higher levels of employment. The less educationally advanced areas

are the opposite. The Myer store in Brisbane’s central business

district represents the urban section; Queens Street in Sydney

represents the more educationally advanced region. Garden City in

Brisbane’s suburban division is visited, and Woolooga Road;

Gympie, a farming area represents the less educationally advanced

vicinity. The following table clearly demonstrates this notion:

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Urban Brisbane’s Central Business

District (CBD)
Suburban Brisbane’s Garden City
More Educationally Developed Sydney’s Queen Street
Less Educationally Developed Brisbane’s Woolooga Road

(Gympie)

Moreover, this experiment was split into three sections: photograph,

product, and price with the commercial photographic image, actual

products and prices on display respectively. Each area has 10

samples, in an attempt to keep the qualitative data controlled.

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SECTION ONE:
Which product does the physical appearance appeal to you?

Which product would you buy to use?

SECTION TWO:
Does the product you chose in section one still appeal to you; if not,
which one does now?

Would you still buy the product you chose in section one; if not
which one would you buy now?

SECTION THREE:
Does the price change your mind to which product you would buy; if
so, which one you would buy now?

Figure 4

Figure 5

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Figure 6
Sydney’s Queen
Street Photo Product Price
more educationally
advanced
Juicy Salif 7 7 5
CHARM 3 3 5
No Brand 0 0 0

Brisbane’s CBD
urban Photo Product Price
Juicy Salif 7 6 4
CHARM 3 4 6
No Brand 0 0 0

Brisbane’s Gympie
less educationally Photo Product Price
advanced
Juicy Salif 5 5 1
CHARM 4 5 4
No Brand 1 0 5

Brisbane’s Garden City

suburban Photo Product Price
Juicy Salif 4 5 3
CHARM 5 5 3
No Brand 1 0 4

Figure 6, shows the qualitative data collected from the conducted

survey, seen in Figure 5. The investigation was split into three parts

(first, photo; second, product and finally, price) to examine the

squeezer’s aesthetic appearance, function and market success,

respectively. Considering the individual citrus squeezers, it is

evident that they are all produced for the same function – to extract

juice from a citrus fruit.

The photo of the non-branded squeezer only interests 2 out of 40

people within the different locations. Unmistakably, areas that are

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more urbanised and educationally advanced showed no interest in

the appearance of this product – effectively that this manufactured

product doesn’t resonate with the viewer as an object of desire or

interest. Moving to the next stage – product – it received no interest,

suggesting the actual object does not appeal to the consumers due

to the ineffectual form or function. When it comes to the price, 9

respondents chose this item for consumption, therefore the cheaper

price tag with a possibility for great value for money is the approach

for selling this product.

Many people appreciated the form and function of Juicy Salif. This is

in the area of Photo and Product in all four locations. In other words,

appreciation for form can be found anywhere; urban or rural. As

soon as the price was mentioned, an average of two respondents

changed their opinion in each location and went for the cheaper

products. It is postulated that the Juicy Salif, although it intrigues

many consumers, it is not viewed as an effective and economical

citrus squeezer in comparison to the cheaper, just as usable, non-

branded citrus squeezer. As many people appreciate the form of

Stark’s Juicy Salif; it can be said that the appearance of Juicy Salif is

the purpose of its invention, thus its function, and is viewed through

its aesthetic value.

Approximately 4 people chose Halskov/Dalsgaard’s CHARM citrus

squeezer under the functionality category, the results are relatively

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similar to those from Juicy Salif. Conversely, when the prices of all

citrus squeezers are revealed, approximately half of the total 40

surveyors valued and chose CHARM at the end. This illustrates that

CHARM is able to provide an influential amount of aesthetic value in

comparison to Juicy Salif and the non-branded citrus squeezer.

Additionally, it carries out its economical function where citrus can

be squeezed with ease for a reasonable price. Juicy Salif being the

most aesthetically appreciated citrus squeezer, and the non-

branded product to be the most economically appreciated utensil –

demonstrates the different intentions within the market and

therefore it’s different function. However, it can be observed from

the data collected that at the end of the survey, many people

decided to choose CHARM for aesthetic appreciation, function and

cost. This makes it successful in the eyes of designer, marketer and

consumer. Moreover, this can be reflected through IKEA’s mission

statement where they ‘aim to offer a variation of household

products of good design and function at low prices to serve more

people living in a higher standard of living’17.

MARCEL DUCHAMP

17
"The IKEA Concept: Concept." Inter IKEA System B.V. N.p., 2009.
Web. 2 Apr. 2010.
<http://franchisor.ikea.com/showContent.asp?swfId=concept2>.

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Marcel Duchamp (1887-1968), a famous French/American artist

known for his Dada and Surrealism movements challenged the

conventional opinion about art and its artistic approaches.

Figure 518

His famous Fountain made in 1917 (as seen in Figure 5), introduced

and explored in a radical manner how an everyday object can be

contextualised to become artistic concept. Duchamp successfully

raised the question whether anything, in particular functional

appliances or objects, can be considered art. Consequently, items

displayed within an art gallery can be viewed not so differently from

those in one’s household when it concerns surface appearance.

However, as beauty is in the eye of the beholder the debate of art,

beauty and aesthetics is widened due to technology, development

and globalisation.

18
Stieglitz, Alfred. Fountain. 1917. Marcel Duchamp. Wikipedia. Web.
9 May 2010.
<http://en.wikipedia.org/wiki/Fountain_%28Duchamp%29#cite_note-0>.

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Duchamp and many other artists challenged the conventional

notions of art and objects which can be effectively applied to the

three citrus squeezers used for this investigation. Juicy Salif, the well

known citrus squeezer designed by Philippe Stark (Alessi), believes

that this visceral design’s function is not to simply squeeze juice out

of fruits, but to start conversations19. Observably, Stark’s intention is

similar to Duchamp’s work – capturing pieces from our daily

lifestyle, and placing them within a new context. Juicy Salif truly

indicates the notion where a functional product is able to reveal an

aesthetical and creative side. The non-branded citrus squeezer that

can be easily bought in a supermarket demonstrates the antithesis

of Juicy Salif, effectively illustrating the concept that there is room

for a product that reflects pure function. CHARM citrus squeezer

designed by Halskov/Dalsgaard (IKEA), indicates there is a middle

ground of both non-branded and A-list works. This suggests a

conservative rod to aesthetic balanced against price.

CONCLUSION

Observing the three citrus squeezers examined within this essay, it

is evident that the context, demographic type of the population and

target groups affect the evidence concerning the research question

of ‘to what extent can aesthetics be considered to have functional

qualities’ as well as considering if form follows function or the other

19
Norman, Donald Arthur. Emotional Design. New York: Basic Books,
2005. 114. Print.

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way around. In addition, it can be suggested that aesthetics equate

to a specific aspect of functionality because it contributes to the

selling of products in the market place. It has been established that

the nature of aesthetic and function are not the same and are

measured in different values, thus, aesthetics and functionality are

not parallel. Rather, both concepts intersect and overlap each other

and one cannot exist without the other. I propose this because, as

art affects one’s sense of beauty and challenges thoughts in a

creative framework with the addition that design is developing and

changing our lifestyles, it seems that both concepts can not exist

together. Depending on how the object affects one’s emotions, and

the reactions that demonstrate the ability to change one’s lifestyle,

then ultimately, design and art coexists. It can not be said that

design is equivalent or interchangeable with art; it can merely be

considered that design is a sub set of the generalised idealisation of

art.

Before this investigation began, the assumptions were that the

design of function and of aesthetics were two different concepts,

clearly defined and separate. Through the extensive research

collected for the purpose of this essay, I found that there is a grey

section between these two concepts and that the design of

aesthetics can be functional as well. Through the development of

technology and the era of industrialisation and urbanisation, the

idea of function has been challenged and extended. Function, in a

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contemporary context such as advertising, design marketing and

consumerism, providing a new definition for our community. At this

current moment, function has more than one definition, allowing our

society to consider the coexistence of both function and form.

Regarding the definition of art; if art is to affect, our perspectives,

then there is a need for somebody to appreciate it in the first place

and what affects an audience is its function. Without one to

appreciate and experience a specific artwork, to an extent, the

artwork itself ceases to exist. Subsequently, the role of an audience

is of the utmost importance within the realm of aesthetics. With this

in mind, as the audience is a necessity in aesthetics, the same must

apply to function as well. Integrating the conducted survey within

this context, where a large audience has been surveyed, only Stark

and Halskov/Dalsgaard’s citrus squeezers received positive

feedback on the aesthetic appearance and therefore can be

considered functional. This illustrates that design may have the

opportunity to employ aesthetic dimensions to increase the value of

a utensil in the economic market; implying that the designing of

function is mainly a device to increase market value. This further

highlights that the aesthetic appearance is to be considered as a

function within the economic market. As the designing of a function

is able to increase the market value, according to the conducted

survey, it demonstrates that it can affect the consumers’ thoughts

for consumption. Evidently, the designing of a function is able to

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affect one’s senses and challenges their thoughts in expenditure. As

mentioned beforehand, art is something that is able to affect one’s

emotions and sensually excite the audience, thus, items are truly

able to transcend their boundaries of functionality and evoke

emotional senses, as well as coexist with each other.

As a result, the designing of an aesthetically-based item is beyond

doubt largely capable of having functional properties.

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REFERENCES

Primary Sources:

Andrew Scott; Subject Area Co-ordinator: Industrial Design, School

of Design, Queensland University of Technology

Cara Wrigley; Postgraduate Researcher, School of Design, Faculty of

Built Environment and Engineering, Queensland University of
Technology

Citrus Fruit Squeezer, Coles Supermarket

CHARM Lemon Squeezer, C Halskov/H Dalsgaard, IKEA

Juicy Salif, Philippe Stark, Alessi

Figure 4: Conducted Survey

Figure 5: Conducted Survey’s Results

Secondary Sources:

"Art." The American Heritage Dictionary of the English Language.

4th ed. Boston: Houghton Mifflin Harcourt, 2000. Print.

Chichester, Lewis S. Lemon-Squeezer. Patent 28,967. 3 July 1860.

United States Patent and Trademark Office. N.p., n.d. Web. 30 Jan.
2010. <http://patimg2.uspto.gov/ .piw?
docid=00028967&SectionNum=3&IDKey=E938F2E7086C&HomeUrl
=http://patft.uspto.gov/netacgi/ nph-Parser?
Sect2=PTO1%2526Sect2=HITOFF%2526p=1%2526u=
%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html
%2526r=1%2526f=G%2526l=50%2526d=PALL
%2526S1=0028967.PN.%2526OS=PN/28967%2526RS=PN/28967>.

Carter, Amanda. "Biography." Frank Lloyd Wright. Frank Lloyd

Wright Foundation , n.d. Web. 2 Apr. 2010.
<http://www.cmgww.com/historic/flw/bio.html>.

"Definition of Design." The International Council of Societies of

Industrial Design. N.p., 2009. Web. 14 Jan. 2010.
<http://www.icsid.org/about/about/articles31.htm>.

Green, William S., and Patrick W. Jordan. "Product Appearance and

Consumer Pleasure." Pleasure with Products: Beyond Usability.
London: CRC, 2002. N. pag. Print.

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"The IKEA Concept: Concept." Inter IKEA System B.V. N.p., 2009.
Web. 2 Apr. 2010.
<http://franchisor.ikea.com/showContent.asp?swfId=concept2>.

"The IKEA Concept: Intro." Inter IKEA System B.V. N.p., 2009. Web. 2
Apr. 2010.
<http://franchisor.ikea.com/showContent.asp?swfId=concept1>.

Norman, Donald Arthur. Emotional Design. New York: Basic Books,

2005. 114. Print.

Popovic, Vesna. Chamorro-Koc Marianella, Wrigley, Cara. Visceral

Hedonic Rhetoric: Designing for the Visceral. MS thesis. Queensland
University of Technology, 2008. Brisbane: n.p., 2008. PDF file.

Snelders D, and P. Lloyd. "What Was Philippe Starck Thinking of?"

Design Studies 24.3 (2003): 251. Print.

Wood, Allen W. "Art and Genius." Kant. Malden: Blackwell Publishing

Ltd., 2005. 165. Print.

Images:

Figure 1: Squeeeeze. 11 May 2004. DeviantArt. N.p., n.d. Web. 2

Apr. 2010.
<http://lorrainemd.deviantart.com/art/Squeeeeze-7198396>.

Figure 2: Kitchen Craft Citrus Fruit Squeezer. 1 Mar. 2004. Amazon.

N.p., n.d. Web. 24 Jan. 2010.
<http://www.amazon.co.uk/Kitchen-Craft-Plastic-Citrus
squeezer/dp/B0001IWVVC>.

Figure 3: CHARM lemon-squeezer. N.d. IKEA. N.p., n.d. Web. 24 Jan.

2010. <http://www.ikea.com/au/en/catalog/
products/30083249>.

Figure 4: Juicy Salif. N.d. Alessi. N.p., n.d. Web. 24 Jan. 2010.
<http://www.alessi.com/en/3/1055/ kitchen-accessories/juicy-
salif-citrus squeezer>.

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