Industrial Style refers to an aesthetic trend in design that emphasizes sharp lines, abrupt connections and dynamic interactions of motion. It is derivative of the same forces that created the architectural movement Deconstructivism and the anime genre Mecha, and can be seen in such automobile design examples as the BMV z4 by Chris Bangle, the Ferrari Enzo, the Lamborghini Reventon, and Cadilac's Art and Science trend. Non-automotive examples include watch designs byFossil, Inc., the Batman film set by Anton Furst, and eyewear and other costuming from The Matrix.
The Industrial Style attempts to acknowledge and celebrate sometimes contradictory forces and functions. A collection of shapes is unified in a composition where each piece maintains its internal logic and the connections between them are pronounced. This differs from the more traditional view of design where all the parts are subjugated to the betterment of the whole. Industrial Style relies on the viewer to see the pieces as a beautiful team of complements working toward a common goal rather than any singular, resolved shape.
It should not be confused with industrial design which is the general applied art spanning many different styles. But the aesthetic is derived from Disruptive technology associated with industrial developments. Advances such as Stealth technology, Computer-aided design, Carbon fiber material science, and Light-emitting diode improvements can come together in a single design. The Audi R8 makes use of LEDs for head lights for arguably functional considerations, but they also offer the significant stylistic advantages for a high end sports of allowing a lower, sleeker, and more angular front end. Similarly, the Herman Miller leaf lamp by Yves Behar combines both technical and stylistic advantages of LED technology.
The Industrial Style also differs quite substantially from primitivisms in that it uses sophisticated refinements to imply the idea. It can have esoteric resolutions with no deeper meaning other than the visual game itself.
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