1. The design process is most clearly described as a “method of
unearthing appropriate solutions to cultural needs.” Design can be separated in to categories:
expressive and utilitarian. An
expressive piece is made with the intention of communicating cultural,
personal, and aesthetic experiences. On
the other hand, a utilitarian design is expected to perform distinct physical
tasks. Developing a piece that meets
cultural needs is most often a combination of both utilitarian and expressive
design. The process of design can be clearly outlined in individual steps. The first three steps are as follows:
1.
Identify The Problem
2.
Generate Ideas
3.
Evaluation & Criticism
In step 1 it is crucial to recognize & define the
problem at hand. The designer must
determine if there is a problem, what it is, and if it requires a
solution. Step 2 allows creativity and
expression to come into play. It may
involve brainstorming, mental inventory, research, lateral thinking, sketching,
and note taking. In the 3rd
step the ideas produced during step 2 must be assessed with the problem’s
criteria and parameters in mind. Once
the most favorable solutions are defined, the drawings, models, or mockups can
be refined.
2. Three-dimensional form includes actual plane and
volume. Unlike two-dimensional design
that creates only the illusion of space, three-dimensional design must be
viable in a tangible environment. Also,
it is highly concerned with material and structure. Therefore, the designer
must take into account the physical laws that may restrict his/her work.
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"Plateau Lamp" by Ferreol Babin
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3. Space is an area of openness that is indispensible when
manipulating material into form. It
“activates and defines” form, while at the same time form “activates and
defines” space. If a three-dimensional
work lacks form or space it may be seen as a substandard design. In order to develop good design space must be
taken into consideration during the creative process.
4. Positive and negative space in 3-D form is one of four
principles that govern how a form occupies space. As a spatial principle it helps to determine
the relation of form to space.
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| "Ornamental Hands" by Jennifer Crupi, Sterling silver, acrylic, inkjet print on vellum, 15" x 8.5" x 5.5" Click here for more info on Jennifer Crupi's work |
5. Direction, like positive and negative space, is a spatial
principle. It is relative and measures
the angle of an element with in a space and in comparison to other elements in
a composition.
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| "Ban Pavilion" by Orprojects (for the 2012 Beijing Design Week, China) image (c) Jasper James and Orproject Click here for more info on the pavilion |
6. Scale is defined as the size of a form in comparison to the
space containing it, another form, or the human body. Usually the size of the average human being
is the primary determinate of scale. The
scale of a design can be classified in three different ways: object, human, and
monumental. Along with this, scale can
exist on distinct levels: miniature, environmental, and geographic.
7. Point of view relies on the viewers physical position in
space in relation the forms being viewed.
Frontal and full-round points of view are relied on heavily in design
and change according to the designer’s intent and the composition of the
piece. Frame of reference is a
“perpetual constraint.” For a three-dimensional
object that is site-specific (especially one created to be viewed in an
architectural space), walls, floors, and ceiling define a three-dimensional
frame in which to read the object.
However, most 3-D objects exist within a frame of reference that is not
clearly marked. Most frame of reference
is constructed by two elements: a vertical axis and a ground plane.
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