Primary Elements (part 4)

Shapes are two-dimensional, forms are three-dimensional. Cubes, pyramids, cones, and spheres possess depth and therefore volume. Any structure or building has volume, but so do their interiors. Anything that has four or more connecting planes that create a form has volume. This can also be literal or implied in the way planes and lines are used to create the form in question. Perceived volume can be as effectual as actual volume in a space, and depends on the intended use or desired atmosphere.

Image credit: Kleinman, Susan. "Mid-Country Modern." Metropolitan Home. April 2006. 105. (Overlay mine.)

Volume in interiors is not limited to the areas of your floorplan, but also includes sections or zones within those areas, or even structures or furniture used within zones. Here scale and proportion are just as important as actual use; while a large conversation space in a living room may be desired, it could crowd out your equally-desired zones and uses if your created volume is bigger than intended. Considering furniture size and placement is one way to solve this problem.

Volumes can push out or enclose, and clever usage goes a long way to creating an effective and beautiful design.

Primary Elements (part 3)

Three or more lines that converge to form a two-dimensional shape is called a plane. Like lines, planes can be literal or implied, defining spaces or creating an area of interest. They are most often found in a square or rectangular shape (as in walls or corridors), but can be any other shape, regular or irregular, so long as it is flat and possesses no perceived depth.

Image credit: Bernstein, Fred A. "The Good Earth." Metropolitan Home. March 2009. 75. (Overlay mine.)

How you treat planes within a space will greatly affect your perception of the space. This frequently means walls, but can include screen dividers, furniture, or sculptural elements in a space. Emphasis or de-emphasis of a plane can perceptually open up or close off; this can be achieved through wall color, mirrors and pictures, glass or movable wall screens (such as in a Japanese teahouse), or simply via height. A breakfast counter coming off the end of a kitchen counter can provide a barrier between the kitchen and a living room while still visually perceiving both areas.

Primary Elements (part 2)

A line is essentially a series of points. In algebra, if you have two points you can draw a line. A line can be defined, with a starting point and ending point, or it can be infinite (in algebraic terms), heading off in one or two directions without end. In the latter case, it is also directional, pointing up, down, left, right, or in a diagonal. An implied line may not be solid, but still lead you (physically or visually) in a linear fashion toward a location.

Image credit: Kleinman, Susan. "Mid-Country Modern." Metropolitan Home. April 2006. 98. (Overlay mine.)

Line orientation can also have a psychological effect. Vertical lines lend height and can imply strength, definition, grandeur, or intimidation. Horizontals can lower perceptions of height; they echo or recall ground lines, which also imply stability, but can get static or boring. Diagonals are dynamic, implying movement and lending energy to a space. The number, frequency, and repetition of lines can do many things, from defining a space to changing your perception of a space; many verticals, for example, could be invigorating but could also create anxiety, chopping up the perception of space or making the user feel hemmed in. Deliberate application of line is always called for.

Primary Elements (part 1)

Every creative art has its fundamental building blocks. Writing has alphabets and grammar -- spelling and knowing how to parse a sentence gives rise to forms of communication, information, or entertainment. Visual arts, whether two-dimensional (drawing) or three-dimensional (sculptures, models, jewelry, etc.), have their own primary elements, each building on the other in increasing complexity: point, line, plane, and volume.

All things begin with a point, whether you're writing a letter or doodling in a notebook. It is a beginning and sometimes and end unto itself: a point can be a focal point, where your attention is drawn (whether it is because of color, shape of an object, its placement, etc.), or a point of departure that marks a transformation or transition (such as a parti diagram). A point can either be found in isolation, such as for emphasis, or located within a line, such as an orienting position on a floorplan or instruction manual.

Image credit: Bernstein, Fred. "The Good Earth." Metropolitan Home. March 2009. 66. (Overlay analysis mine.)