Layout

“ Every room in a house bears some natural relation to every other room, and even the objects in the same room or in adjoining rooms must assist each other, [16] whether their purpose be utility or decoration or a combination of both. Only by due attention to the mutual relations of the various elements that must enter into the composition, can the designer produce those pleasing space effects, those blendings of colour tones, those manifest relations between the various objects, useful or decorative, that give order, unity, and sympathetic feeling to a complete design. ”

“ LINE UNITY is that principle which appeals to the eye by the relation of lines in the design to the space decorated. Curved lines for curved forms and straight lines in the designs decorating straight lined forms will do much toward making all parts consistent. A line not too curved and with a blending of straight lines with the curved direction produces a line of character and strength for design rendering. ”

“ Structure should never be contradicted, and in the best buildings it is pleasantly exhibited and enforced: in this very porch the joints of every stone are visible, and you will find me in the Fifth Lecture insisting on this clearness of its anatomy as a merit; yet so independent is the mechanical structure of the true design, that when I begin my Lectures on Architecture, the first building I shall give you as a standard will be one in which the structure is wholly concealed. ”

“ To touch upon the subject as lightly as space will permit, we can probably do no better than to suggest the obvious type of mantel for one or two of the more common architectural styles, and recommend that in other styles the architect be allowed sufficient latitude in design and expense to distinguish this important feature of hall, living-room, dining-room or library with the characteristics of the style he has worked out for the house itself. ”

“ The sublime science of Astronomy also supports the conclusion. For the illustration from Art—a Temple. The three grand divisions are the foundation, body, and roof; the front of the edifice is in three parts—viz., columns, entablature, and pediment; [78] these being subdivided, and three parts again appear: 1st, a Column,—the shaft, capital, and abacus; 2d, the Entablature,—the architrave, frieze, and cornice; 3d, the Pediment,—the apex, and the two corners, forming a triangle. The triangle is, also, the facial characteristic of a square Pyramid, and its square base contains two triangles ”

“ Example 360.—This blotter has the character of an architectural panel, a motif that is adaptable to many forms of typography. The general gray effect of the Forum Title and the architectural border is satisfying, especially as the type group and border are separated by a liberal amount of blank space. The shape of the type group suggests a keystone. This is one of those blotters that the business man should find pleasure in using and looking at frequently. ”

“ Outline enrichment should add grace, lightness, and variety to the design.
Rule 5c. Outline enrichment, by its similarity, should give a sense of oneness or unity to the design, binding divergent members together.
Rule 5d. Parts of one design differing in function should differ in appearance but be co-ordinated with the entire design.
Rule 5e. In cylindrical forms outline curves with a vertical tendency should have their turning points or units of measurement in accordance with the horizontal divisions of Rules 2a and 2b. ”

“ The usual problem a designer in the flat has to solve is to fill harmoniously a given space or panel defined by a line—some simple geometric form—such as a square or a circle, a parallelogram, a diamond, a lunette. ”

“ We should also aim for the expression of contrasting elements of forms, such as curves with straight lines, sharp curves with others of less curvature, horizontal lines to counteract vertical tendencies, or mouldings and lines of varying widths arranged to fit in such positions that will give, or suggest, constructive strength; all of which are simply architectural principles, which, if applied to the design of common objects, would give them a definite claim to be considered as works of art. ”

“ The law governing extension of design over surface is again geometric, and our primal circle and square are again the factors and progenitors of the leading systems which have governed the design of diapers and wall patterns and hangings of all kinds. ”

“ We speak of the keeping of a room as we would of the keeping of a picture; for both the picture and the room are amenable to those undeviating principles which regulate all varieties of art; and very nearly the same laws by which we decide upon the higher merits of a painting, suffice for a decision upon the adjustment of a chamber. ”

“ There is one condition in a composition, that is laid down before you begin, and that is the shape of your panel or canvas. This is usually a rectangular form, and all the lines of your design will have to be considered in relation to this shape. Vertical and horizontal lines being parallel to the boundaries of rectangular pictures, are always right and immediately set up a relationship, as we have seen. ”

“ Where we are limited to decorating a wall by means of plain painting, stencils, or wall-paper, this idea of reposeful constructive lines and forms on the lower wall should still dominate upon the field. Subject to our repeating plan we may be freer both in line and form, using free scrolls, branch-work, fruit, and flower masses at pleasure, because the space is more extended, and we shall feel the necessity in a repeating pattern of spreading adequately over it ”

“ Two patterns may sometimes alternate, but in very large surfaces another distinct pattern should be introduced, at certain intervals, to relieve the monotony. Care must be taken to make the network and pattern of the proper scale for the building or room, and for the other decoration. ”

“ Such considerations naturally lead us to the question of the use of quantities in design—the ornamental proportions of ornament, or the contrasting distribution of form and line. For the mere repetition of ornamental forms over surfaces and objects without reference to proportion or structure is not decoration. The perception of appropriate quantities in design is really the decorative gauge or measure of effect.
In designing a bordered panel—or say a carpet—we [99] might decide to throw the weight of pattern, colour, or emphasis upon either the field or border. ”

“ Now in pictorial composition or anything of that nature, a design is complete in itself, the plain surface-panel canvas, or paper it covers, determines its proportions and definite limits and the only necessary technical considerations resolve themselves into the necessity of unity with itself and suitability to the process employed. ”

“ To define it more exactly,—a plan is a horizontal section supposed to be taken on the level of the floor through the solid parts of the fabric—walls, columns, &c., so as to show their various thicknesses and situations, the dimensions of the several spaces or rooms, the position of the doors by which they communicate with each other, and various particulars that cannot otherwise be explained. Studying buildings without plans is like studying geography without maps. ”

“ The ingenuity in designing such patterns as those below and opposite, which is very considerable, consists in so scheming them that every lead line shall fulfil alike a constructive and an artistic function; that is to say, that every line in the design shall be necessary to its artistic effect, that there shall be no lead line which is not an outline, no outline which is not a lead. ”

“ The typographer should learn that the arts are related, that the styles of home-furnishings and architecture influence the styles of typography. A few years ago mission furniture was introduced and along with it came architecture that called for exposed roof supports, squarely-cut moldings, coarse fabric wall coverings, subdued green and brown tapestries. ”

“ That relationship appears to me to consist chiefly in the control of constructive line and form, which all design, surface or otherwise, in association with any form of architecture is bound of necessity to acknowledge as a fundamental condition of fitness and harmony. Those essential properties of the expression of line, as they now seem, which give meaning and purpose to all design, appear to be derived straight from constructive necessities and the inseparable association of ideas with which they are connected ”

“ All the superb masterly things that have come to us had logical beginnings. It has remained for the thoughtless designer of our times to produce things of no use and no meaning. The old designers decorated the small objects of daily use as faithfully as they decorated the greater things, the wall spaces and ceilings and great pieces of furniture, and so this little wall basin which began in such a homely way soon became a beautiful thing. ”

“ According to the usual practice of our architects, a lad, after he has left school, where he has learned to read and write, arithmetic, a little geometry, and perhaps a very little drawing, together with some other things not applicable to architecture, is placed in an architect’s office, where his first employments are probably, to copy particulars of work, without understanding them, and to square dimensions from nine in the morning till seven or eight in the evening. ”

“ This diagram-form is made out by the director for virtually every set that shows an interior scene, and he frequently draws one also for exteriors, where a building, or even what appears in the picture to be a complete, permanent structure, is set up by the carpenters and mechanics out of doors. ”

“ Firstly, there is the shape of the panel itself. A well-known exercise for the Teacher's Certificate under the Department of Science and Art is to give a drawing of a plant adapted to design in a square and a circle. Now in the abstract one would be inclined to select for a circular fitting different forms from those one might select for a square filling, since I always consider that the shape of the space must influence the character of the filling in line and form. ”

“ The bases, of which many are to be seen lying about, and some in situ, display the most delicate tracery and carving imaginable, some being adorned with round bands of relief, and others divided into facets, making the base dodecagonal instead of round, each panel bearing a different and highly ornate design. ”

“ We learn, for instance, from architecture that we must not weaken the appearance of the constructive parts, such as the lines, or the mouldings, by any fretful ornamentation, but on the panels and plain spaces we may legitimately place our decoration, yet still restrained so far as not to interfere with the right uses of the object, and designed so as to harmonize,{7} and in some instances contrast, with the lines and contour. ”

“ Columns and entablatures in themselves do not, properly speaking, constitute an Order, although they serve as specimens of it. They must enter into and regulate the organization of a structure before they can become by composition what is, strictly speaking, an Order. ”

“ The architects first draw a plan and elevation of the building to be put into perspective. Having placed the plan at the required angle to the picture plane, they fix upon the point of sight, and the distance from which the drawing is to be viewed. They then draw a line SP at right angles to the picture plane VV·, which represents that distance so that P is the station-point. ”

“ How many of the objects in those rooms help at all to give a unifying and a harmonious effect, or are in themselves in any way beautiful—things, that is to say, which (if not of actual use) we love to set our eyes on, and feel what fineness of skill in handling, what clean human thought in design went to their production? ”

“ There is sensation in every inch of it, and an accommodation to every architectural necessity, with a determined variation in arrangement, which is exactly like the related proportions and provisions in the structure of organic form. ”

“ We study adaptation both of the several parts to subordinate uses, and of the whole to some general design. But we also keep in view some pattern, style, or order, according to which the whole is arranged, and the mutual relations of the parts are adjusted. The architect must adhere to some order of architecture, and to some style within that order. ”

“ Usually the line of section is broken in plan, and the section is then said to be on A B, C D, one half being on A B and the other half on C D. Separate sections to larger scales are required for the details of construction, such as joints of rafters, mouldings to windows, and other parts needing distinct representation. Elevations generally represent the whole of one side of the building, and every side that differs from the rest must have its own elevation. ”

“ The modern habit of regarding the walls of a room chiefly as a background to pictures, furniture, or people, and perhaps the smallness of the average room, has brought rather small, thickly dispersed, leafy patterns into vogue, retiring in colour for the most part. ”

“ FLOWERS and other forms as LINE-MOTIVES. The rectangular space may be subdivided, as was the square, by a simple line-motif,—flower, fruit, still life, animal or figure,—following some Principle of Composition. In chapter III, under Subordination, an exercise was suggested and illustrated; it could be taken up again at this point, with new subjects, for a study of Variation. As rectangular compositions will be found under Notan and Color, it is not necessary to consider them further here as pure line, except in the case of Landscape, to which a special chapter is given. ”