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The question of whether design is art has been asked for generations. Many of the answers can be found in the study of visual communication from its earliest forms to the present day. We know from historical sources that the beginnings of visual communication are in fact images. In the beginning, images carried communication until the creation of the alphabet where written language became the primary carrier of the transmission of ideas. It can be said that the signs used for the written language are the earliest forms of design. What we know as art and the earliest forms of design have long functioned separately. Art is a form of beauty and we see design in written forms. With the occurrence of the first illuminated books in the Middle Ages, images and text merged into a single entity for conveying ideas. Much later in the time of the industrial revolution the written word and the image were used together for a single purpose and that is marketing, while the main tool is design. Design is gaining momentum and is becoming part of everyday human life. At the same time, art as a strong medium of conveying ideas separates itself from its previous primary goal of being beautiful and gives itself a new goal to convey a strong message. With the development of modern and postmodern movements, the classical understanding of art is changing. Throughout this period, design keeps pace with art and they develop together. Throughout this development, both art and design share many similarities, so it is natural to ask whether design is art. [ABSTRACT FROM AUTHOR]

In 1927, Edward Weston, one of the most innovative and influential photographers of the 20th century, created a personal series of six pictures of Rudolph M. Schindler's Lovell House in Newport Beach. Drawing upon archival evidence, this essay aims to complete the first studies that have contributed to establishing his authorship after decades of editorial oversight and historiographic disregard. Likewise, with the purpose of interpreting Weston's intentions regarding this iconic California home, which was his only foray into the field of architectural photography, this paper provides a comparative analysis of the elements, techniques and environmental conditions common to all six pictures. [ABSTRACT FROM AUTHOR]