Industrial Arts Design Part 4

[Sidenote: Nature and Need of Vertical s.p.a.ce Division]

The design of the primary ma.s.s has now been considered under Rules 1a and 1b, and its horizontal divisions under Rules 2a and 2b. The next logical step is the consideration of the nature of the lines that cross the primary ma.s.s in a vertical direction. In the original planning of the primary ma.s.s it was found that the horizontal bounding lines and the horizontal divisions were parallel to the base line of an object and that the base line was necessary to ensure stability. Vertical lines are necessary and equally important to give the needed vertical support to an object.

So accustomed is the eye to vertical lines in tree trunks, tall buildings, and thousands of other examples that the upward eye movement in viewing an object, having a predominance of vertical elements, seemingly adds to its height.

The designer thus has a most useful device with which to increase the apparent height of an object that, for structural or other reasons, must in reality not have great height. Chapter III drew attention to the influence of horizontal lines on a project. Vertical lines on an object are found to produce an a.n.a.logous effect vertically.

[Sidenote: Architectural Precedent for Vertical Divisions]

Gothic cathedral builders used the vertical line, repeated again and again in b.u.t.tresses, pinnacles, and spires to give great apparent height to a building and to make it a unified vertical ma.s.s of great beauty.

The modern church spire, together with the long, vertical interior columns, similarly affects our present day church edifices.

[Ill.u.s.tration: EXAMPLES OF VERTICAL s.p.a.cE DIVISIONS IN CLa.s.s 1 (WOOD).

THE DIVISIONS OF THIS CLa.s.s ARE GENERALLY BASED UPON THE STRUCTURAL REQUIREMENTS.

PLATE 12]

This idea of repeating the vertical bounding lines of the primary ma.s.s by cutting the ma.s.s into vertical s.p.a.ces is also useful in breaking up or destroying the monotony of large unbroken surfaces. Pilasters may cut the front of a building into interesting s.p.a.ces; piers may break up the regularity of a long fence; legs and panels may, each for the same purpose, cross a cabinet. While some of these may be structurally necessary and some not, they are all witnesses to the desire to produce beauty in design. As these examples are so numerous in the industrial arts, it is well to study in detail their proper adaptation to our needs.

[Sidenote: One Vertical s.p.a.ce Division]

Upon a.n.a.lyzing one vertical s.p.a.ce division, it will be found to be a primary ma.s.s, vertical in character and governed by Rule 1a. Figure 25, Plate 12, ill.u.s.trates one vertical division. The foot is an appendage to be considered in Chapter V.

[Sidenote: Two Vertical s.p.a.ce Divisions]

Rule 3a. _If the primary ma.s.s is divided into two vertical divisions, the divisions should be equal in area and similar in form._ Exception may be made in case of structural requirements. By imagining two adjacent doors of equal size, the design effect of two vertical divisions may be made clear. Plate 11 ill.u.s.trates a rectangle (_A_) divided in this manner, preliminary to the development of a problem.

Figure 27, Plate 12, represents the type of object to which the exception to the rule may be applied. In the design of this desk, the structure practically prohibits two equal vertical divisions, necessitating an unequal division in the section occupied by the drawers.

In Plate 12, Figure 26, the designer had his vertical s.p.a.cings dictated by service in the form of two doors. As service demands a tall vertical primary ma.s.s, it is but natural to design the doors to conform with the primary ma.s.s. This gives a monotonously long s.p.a.ce for the gla.s.s panels and suggests structural weakness. To relieve this the designer applied Rule 2a and crossed the vertical panels by horizontal subdivisions, relieving the monotony and still retaining the unity of the primary ma.s.s.

[Sidenote: Two Vertical Divisions in Wood]

In Figure 27 his problem was a variation of that presented in Figure 26.

Structural limitations called for unequal divisions of the vertical s.p.a.ce arrangement. The left portion of the desk becomes dominant as demanded by service. The drawer or brace is necessary in this design as it acts as a sort of link, binding the two vertical legs together. The omission of the drawer would destroy the unity of the ma.s.s.

[Ill.u.s.tration: EXAMPLES OF VERTICAL s.p.a.cE DIVISIONS IN CLa.s.s 2. CLAY AND CEMENT.

PLATE 13]

[Sidenote: Two Vertical Divisions in Clay]

As vertical s.p.a.ce divisions are princ.i.p.ally applicable to rectilinear or flat objects and moreover as it is in such forms only that they have structural value, they are not commonly met in cylindrical pottery ware.

Vertical divisions are, however, occasionally used in architectural tiles and other flat wall objects. As three divisions are much more commonly used in clay and cement, this material will now be left for later consideration in this chapter.

[Sidenote: Vertical Divisions in Metal]

Vertical s.p.a.cings in metal are quite similar to s.p.a.ce divisions in wood.

Wrought iron fences are, by reason of structural limitations composed of vertical and horizontal lines, varied by the introduction of piers and curved members. As they are typical of a certain branch of iron construction, two designs of the Anchor Post Iron Company have been introduced. Figure 32, Plate 14, represents two equal vertical divisions made so because of structural and aesthetic demands. The piers in this instance form a part of the general design of the entire gate and must be considered accordingly.

The vertical subdivision in Figure 32, Plate 14, has been repeated or echoed by the long vertical bars, alternating with the shorter ones and producing pleasing variety. The horizontal divisions are designed according to Rule 2b. In designing the newel lantern in Figure 34 the designer was required to form a vertical primary ma.s.s to conform with the similar ma.s.s of the post. This he determined to subdivide vertically in practically the same manner as the cabinet in Figure 26. Threatened with the same monotony he met the situation by subdividing the vertical sections into three horizontal divisions in accordance with Rule 2b. The structural supports, however, rising up in the center of this ma.s.s, destroy its unity. They would have carried out the lines of the structure of the newel post and continued the lines of the lantern better, if they had been attached to the corners rather than to the sides of the newel post.

[Sidenote: Three Vertical s.p.a.ce Divisions]

Rule 3b. _If the primary ma.s.s is divided into three vertical divisions, the center division should be the larger, with the remaining divisions of equal size._ A large building with a wing on either side will give an idea of this form of s.p.a.cing. The size of the main building holds the wings to it, thus preserving the unity of the structure, while equal divisions on either side give balance. Plate 11 (_B_) gives an example of a rectangle divided in this manner. This three-division motive is a very old one. In the middle ages painters and designers used three divisions or a triptych, as it is called, in their altar decorations. A painting of the Virgin was usually placed in the center division with a saint in each of the remaining panels to the right and left. Designers and mural decorators have been using the triptych ever since that period.

[Ill.u.s.tration: EXAMPLES OF TWO AND THREE VERTICAL SUBDIVISIONS IN CLa.s.s 3 (METAL).

PLATE 14]

[Sidenote: Three Vertical Divisions in Wood]

The desk in Figure 28, Plate 12, is a good example of the three-vertical s.p.a.ce rule. The drawer in the center forms the mid or dominant section and by its greater length holds the two smaller sections together. This design is better than Figure 27, which has a similar ma.s.s. The prominent vertical lines in Figure 27 counteract and destroy the effect of the long horizontal dominant lines of the table top, whereas in Figure 28, the vertical lines in the center of the design are so short that they do not interfere with the horizontal lines of the table top. Figure 28 supports the horizontal tendency of the primary ma.s.s while Figure 27 neutralizes or practically destroys its character.

[Sidenote: Three Vertical Divisions in Clay and Cement]

Figure 30, Plate 13, represents an overmantle by the Rookwood Potteries.

It is typical of a cla.s.s of overmantles which may be developed in tiles or in cement, forming an agreeable contrast with the brick of a large fireplace. The three divisions or triptych should be proportionately related to the opening of the fireplace and to the enclosing ma.s.s of brick or wood work. We will consider Figure 29 to show how this may be carried out.

Figure 29 bears a strong resemblance to Figure 12, Plate 9, and is an elaboration of a simple three-division theme of s.p.a.cing. The design seems to be complex until it is a.n.a.lyzed into two rules. The primary ma.s.s of the entire fireplace motive (including the surrounding panelling) has first been planned with strong and prominent horizontal lines. This was then divided vertically (_A_) to conform with Rule 3b, the three-division theme, giving the divisions for the bookcases and mantle. The horizontal divisions (_B_) were then constructed within the remaining s.p.a.ce, affecting the distance from the picture moulding to the mantle and from the mantle to the floor line, in accordance with Rule 2a. That left the s.p.a.ce of the width of the cement work (_C_) to be subdivided again by Rule 3b, while the top of the wainscoting panels re-echoed the previous horizontal divisions of Rule 2a. The fireplace opening merely carries out at _D_ the same proportionate relation that dominates all vertical divisions, Rule 3b, while the wainscoting follows the general horizontal divisions of Rule 2a. By this method we have variety in s.p.a.cing and unity through repet.i.tion of similar proportions.

[Ill.u.s.tration: THE EVOLUTION OF A DESIGN INVOLVING THE USE OF TWO HORIZONTAL AND THREE VERTICAL SUBDIVISIONS

PLATE 15]

The cement bench, Figure 31, has a three-division arrangement to break up the monotony of the long rail, and at the same time to repeat the characteristics of a horizontal primary ma.s.s.

[Sidenote: Three Vertical Divisions in Metal]

Figure 33, Plate 14, is a common example of three vertical divisions in metal suggested by the needs of service. Figures 35 and 36 are thin metal problems. The familiar pen tray is primarily a horizontal ma.s.s, so determined by its required service as a pen holder. The projecting handles form the outer divisions, and the s.p.a.cing motive, Rule 3b, has been repeated in the raised projection, decorating the handles. The book rack in Figure 36 is an example of the manner in which a nearly square ma.s.s, so designed for structural reasons, may, by Rules 3b and 2a, be broken into a fairly pleasing arrangement of divisions.

[Sidenote: More Than Three Divisions]

Rule 3c. _In elementary problems, if more than three vertical divisions are required, they should be so grouped as to a.n.a.lyze into Rules 3a and 3b, or be exactly similar._ The eye becomes confused by a mult.i.tude of vertical divisions and it is much better designing to keep them within the number stated in this chapter. There are instances, however, when this is impossible. Under such conditions the following treatment should be adopted:

Unless, as stated, a large number of vertical divisions may be grouped into two or three vertical divisions it is better to make all of the divisions of the same size. This does not fatigue the eye as much as would the introduction of a number of complex s.p.a.cings. This solution enables the amateur designer to deal with complex problems with an a.s.surance of securing a degree of unity.

INSTRUCTION SHEET

Plate 15 is practically self-explanatory and shows the order in which the various divisions, so far considered, are to be introduced into the design together with the grouping of details within those divisions. Figure D introduces the additional element termed the appendage to be considered in Chapter V.

SUMMARY OF DESIGN STEPS

(_a_) Construction of the rectangle representing the vertical or horizontal character of the primary ma.s.s with desirable proportions. Select the most prominent surface for this rectangle, preferably the front elevation.

(_b_) Subdivide this rectangle into two or three structural sections, horizontal and vertical in character. Make two or three trial freehand sketches on cross section paper for varied proportions and select the most pleasing in accordance with rules.