[DN1003] Project #1 – Rectilinear Volumes (Research & Process)

Good design is intelligence made visible.” — Le Corbusier

Elements of Design

    • Dot / Point
    • Line (1D)
    • Shape (2D)
    • Form / Volume (3D)
      • As long as it has form, breadth & volume, it can be
        • Negative / Subtracted Spaces
        • Enclosed / Open
        • Implied / Imagined / Incomplete

 

Inherent Proportion → proportions within a form (length – width – breadth ratio)

Comparative Proportion → proportions of one form in relation to another (tall & thin vs short & stout)

Overall Proportion → refers to the character / overall configuration of a group of forms

 

Rectilinear Volumes’ Rule of Thumb

Contrast (all 3 need to be showcased in a structure)

    • Dominant: the main and the biggest piece
    • Sub-Dominant: the lead / supporting piece
    • Subordinate: the complementing piece

Main Forms (all 3 need to be showcased in a structure)

    • Massive / Heavy (cuboid structure // never a cube due to the lack of a dominant axis)
    • Planar (flat/thin plane)
    • Extensional (long extended piece)

Axis

    • An imaginary line through the centre of the longest dimension of the form
    • It indicates the strongest movement in the form, giving the form its position in space
    • Take Note:
      1. axes of the volume static must be perpendicular to each other
      2. all axes must be in different directions (x, y & z axis as on an isometric paper)
      3. a design must be conceived from all positions and perspectives
      4. consider the inherent comparative and overall proportions (play with contrast and complements)

Joint Types

    1. Wedging → creating an indent in one piece to jam one into the other.
    2. Cradling → two pieces that support another on the top
    3. Piercing → all the way through (can be “faked” by using UHU Por glue or toothpicks)

** butt joints are not permitted because they result in the loss of rectilinear properties and a new un-rectilinear volume created)

 

“I think it’s really important to design things with a kind of personality.” — Marc Newson
EXERCISE 1

Sketch as many variations of rectilinear volumes that fall into
each of the following categories.

EXERCISE 2

Make 20 rectilinear volumes in blue foam in a wide variety of proportions,
shapes and sizes.
The edges should be clean.
90 degrees and all planes of the volumes should be perpendicular to one
another.

EXERCISE 3

Design & sketch 3 three-dimensional rectilinear compositions in your
sketchbook or paper.
*Indicate the axes in all the volumes.

Rules of the compositions:

    • Only 3 rectilinear volumes are allowed.
    • All the axes of the volumes must be perpendicular to each other.
    • All axes must be different in directions.
    • Display Dominant, sub-dominant and subordinate relationships.
    • Consider the inherent, comparative and overall proportions.
    • Play of contrast & complimentary, Interesting, dynamic, tensional
      qualities
    • Visual balance
    • Look interesting from all sides

Keeping in mind that each rectilinear volume had to have a recognisable dominant, sub-dominant and subordinate piece, I tried my best to ensure a proportional visual balance in the composition.

It was not mandatory to include all three, massive, planar and extensional pieces in the composition, but I did my best to work them in to make the volume more dimensionally interesting.

There were a few crop ups in the previous drafts as some compositions’ volumes were comparatively disproportionate to each other, but after scaling and some rearrangements, they became more theoretically proportionate.

 

Addressing my Rectilinear Volumes
1. Positive & Negative Feedback
2. Possible Solutions to Problems (if present)

“Duck”
During the group feedback session, Osh pulled out “Duck” with a few other rectilinear volumes and asked us what was characteristic of the group formed. The volumes identified were symmetrical in nature and not desirable for this rectilinear volume project. Furthermore, with the sub-dominant/extensional piece so protruding from the heavy piece like a butt joint, it was a piece that flouted many guidelines of creation.

“Moose”
This rectilinear volume was the one that had the least problems as dominant, sub-dominant and subordinate was very clearly visible. The only concern was that the extensional piece at the top was too centred on the heavy piece. This prototype was further developed later on to form my final work after flipping it to lie horizontally and propped by the subdominant and the subordinate piece.

“Polygon #2”
This rectilinear volume did not have too big of an issue with the composition but Osh felt that the subdominant and the subordinate could have bigger contrast which I agreed with. Despite the evidently larger volume, the subdominant/planar piece did not come across clearly as the subordinate/extensional piece due to its striking height.

 

My final work, Equipoise, can be found on the post titled “[DN1003] Project #1 – Rectilinear Volumes (Final)”.

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Vanessa Chiu

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