The Sensual Impulse
In the Classical era of the mid 5th century BC design functionality was thought to be of paramount importance, with designs being rationally developed and aesthetics being of secondary importance. This period in history, associated with ‘yin’, masculinity and aggression, was evident up until the 16th century AD .
The political stability in certain areas of Europe during the late Renaissance, presented an opportunity for artistic experimentation. Artists such as Michelangelo started to stretch boundaries and challenge societal expectations, bringing about a more feminine or expressive aesthetic, or ‘yang’.
This transition, from an intellectual and logical design precedence to more emotional and irrational priorities, was the start of a new artistic movement. A new, somewhat controversial aesthetic emerged, which combined organic forms found in nature ,with luxurious and expressive embellishment, creating art and design which is sensually alluring, sometimes referred to as the sensuous impulse. This embodiment of feminine curves and seductive creativity is evident in the Baroque, Rococo and Art Nouveau movements.
Throughout history aesthetic predominance has swung back and forth between being rational and masculine (Bauhaus, Neo-Classicism) and irrational and feminine (Baroque, Rococo, Art Nouveau).However despite a recent prevalence of more rational and masculine design, interest in sensual, feminine style is still evident. The piece of furniture pictured, a buffet and wine rack designed by Axis FormLAB, is a fusion of fluid, natural curves and modern, geometric minimalism. Designers today look to this sensuous impulse, finding inspiration in nature’s expressive, feminine beauty in order to fulfil the human subconscious desire for sensually pleasing design.
