Page 1

Athens Movement


Table of Contents p. 2 p. 4 p.5 p. 6 p.7 p. 8 p. 9

Table of Contents Design Thesis About the Designer (Taylor) About the Designer (Kristen) Current Design Trends Elements of Design Shape and Form • p. 10 Geometric Shape • p. 11 Natural/Organic Shape • p. 12 Abstract Shape • p. 13 Non-Representational Shape • p. 14 Static Shape • p. 15 Dynamic Shape • p. 16 Geometric Form • p. 17 Natural Form • p. 17a Natural Form (2nd example) • p. 18 Abstract Form • p. 19 Non-Objective Form p. 20 Lighting • p. 21 Natural Light • p. 22 Combustion Lighting • p. 23 Ambient Lighting • p. 24 Uplighters • p. 25 Task Lighting • p. 25a Task Lighting (2nd example) • p. 26 Track Lighting • p. 27 Floor Lamps • p. 28 Table Lamps • p. 29 Mood Lighting • p. 30 Art Lighting • p. 31 Colored Lighting • p. 32 Glare from natural light

• p. 33 • p. 34 • p. 34 a • p. 35 p. 36 Color • p. 37 • p. 38 • p. 39 • p. 40 • p. 41 • p. 42 • p. 43 • p. 44 • p. 45 p. 46 Line • p. 47 • p. 48 • p. 48a • p. 49 • p. 49 a • p. 50 • p. 51 • p. 51a p. 52 Texture • p. 53 • p. 54 • p. 55 • p. 56 • p. 57 • p. 58

Glare from general lighting Riser lighting Riser lighting (2nd example) Soffit lighting

Monochromatic color scheme Analogous color scheme Direct complimentary colors Split complimentary colors Triadic complimentary colors Double Complimentary colors Tetrad complimentary colors Alternate Complimentary colors Neutral color palette Straight horizontal Straight vertical Straight vertical (2nd example) Angular/Zig-Zag Angular/Zig-Zag (2nd example) Curved flowing Curved tightly Curved tightly (2nd example) Smooth Rough Surface quality – real Surface quality – implied Non-reflective texture Reflective texture


p. 59

Space • p. 60 • p. 61 • p. 62 • p. 63

p. 64

p. 87 Positive Space Negative Space Crowding Territoriality

Mass • p. 65 • p. 66 • p. 67

p. 68 p. 69

Actual Density Optical Density Massing Pattern Scale

• p. 70 • p. 71 p. 72

Human Scale Symbolic Scale Proportion

• p. 73 • p. 74 p. 75

In proportion with space Not in proportion with space Balance

• p. 76 • p. 77 • p. 78 • p. 79 • p. 80 • p. 81 p. 82

Visual Symmetry Structural Symmetry Visual Asymmetry Structural Asymmetry Visual Radial Structural Radial Rhythm

• p. 83 • p. 84 • p. 85 • p. 86

Repetition or Metric Gradation or Climactic Contrast Transition or Flowing

Emphasis • p. 88 • p. 89

p. 90

Focal point visual Focal point structural Harmony

• p. 91 • p. 92 • p. 93 • p. 94 • p. 95 • p. 96 • p. 97 • p. 98

Unity through line Unity through shape Unity through color Unity through repetition Variety through color Variety through materials Variety through furniture Variety through modern contrast to old p. 99 Space Planning and Furniture Arrangement • p. 100 Successful space function • p. 101 Unsuccessful space function • p. 102 Straight line groups • p. 103 L-shaped groupings • p. 104 U-shaped groupings • p. 105 Circular groupings • p. 106 Parallel groupings • p. 107 Solo groupings p. 108 Credits


T

his magazine will glorify the elements of design. It will allow our readers to explore the prevalent design movement invading the streets of Athens. This movement is comprised of authentic, historical designs coupled with the transition to today’s modern alternatives. To capitalize on this transition, our magazine will incorporate a muted-bright color scheme coupled with warm image formatting. The magazine will appeal to college-aged individuals who are interested in design aesthetics. We hope our readers will gain an appreciation for authentic tradition combined with an open excitement towards change. We believe that the spirit of Athens is a tapestry of the new and the old. It is a quirky expression of history and the future. It is never stagnant. It is alive. It is a movement.

~Taylor and Kristen


About the Designer Taylor Kemp I just transferred to UGA this semester from Gainesville State College. Design has always been an interest of mine and I have always wanted to develop a creative career. I often find design inspirations through history and literature. I feel like one of the most successful ways to design is by combining the old and the new. I’m a book nerd at heart and am always absorbed in a story. I have been fortunate enough to have an incredible set of friends and a great family. I have a love for art, writing, and photography and strive to creatively capture life on a daily basis. I’m pretty laid back. My idea of a perfect night is watching an action flick in my sweats with a group of friends. I love to draw and am currently working on cultivating my skills. I thrive on travel and visiting different places in the world. All in all, I’m discovering myself and my creative aspirations.


About the Designer

Kristen Leonard

My passions are sports, art, music, clothes, design and God. I played soccer at Young Harris College for two years before transferring to UGA. My friends and family make my world go around. I love to laugh, explore new places, experience new things, travel new places, and just have fun with my life. I will try almost anything once. I like to live a little on the edge; extreme sports such as scuba diving and snow boarding are passions of mine. I have experience in the wedding and event planning business and am considering that as a future career. But I have loved interior design from a young age. I have helped some friends design and decorate their rooms and am excited about furthering my education and hopefully entering the field upon graduation.


Elements of Design


Shape and Form


Art Deco is a geometric style of design typically featuring clean lines, mirrors, and glass. This theme originated around 1925 in opposition to the flowing and feminine style of the Art Nouveau movement.

Hotel Indigo, Athens Ga.

Geometric Shape The placement of geometric felt shapes on this wall is very unique and interesting. It makes the room feel modern and retro at the same time. These squares and rectangles add a very interesting detail to the space.

p. 10


Hampton St.

Abstract Shape

Abstract shape is two-dimensional art that depicts recognizable images in a distorted and unusual fashion. This piece is an abstract drawing made with pastels. It is an individually unique drawing created by the owner of this residential home. It almost resembles the profile silhouette of a woman’s face. If you look even closer you can see the reflection of two design students in the glass.

p. 12


Hampton St. Residence 2 This piece of artwork is an example of nonrepresentational shape. It does not resemble any particular object, it is simply for decoration. This colorful painting, which was painted by the owner, works well to create interest and spark conversation in a space.

Non-Representational

Shape

p. 13


These larger-thanlife statues are found in the entry way of Dawson Hall. They seem to be an abstraction of three figures, a family perhaps. These statues are considered static because they lack movement and appear to be standing still. The statues work well to add interest in this space and are appropriate, given that it is the Family and Consumer Science Building.

Dawson Hall

Static

Shape

p. 14


Form

Geometric

Building Name This light fixture is a geometric form, composed of many triangular forms creating an almost mine-like structure. This form creates visual interest in the entry of this administration building while providing necessary lighting.

p. 16


Forestry and Resources Building

Natural Form

Natural form is any threedimensional object that mimics organic elements. This outdoor table quite literally embodies organic characteristics. The table consists of a tree stump with roots and a concrete top. It is appropriately placed outside of the Forestry and Resources building. While it appears to be functional, we wonder when this table will ever be used.

p. 17


Form

Natural

This waterfall and plant piece is a great example of natural form. The running water works well with the greenery to create a calming and serene feel. The copper details create a more modern contrast the otherwise natural form.

University Hotel

p. 17a


Hampton St.

Abstract Form

Abstract form is three-dimensional art that distorts recognizable images in an interesting and aesthetic manner. This sculpture successfully depicts this element. It is one of the many hand-crafted pieces that adorn the home of this artist couple. This piece adds variation and timeless beauty to the living room. It is soft, sinuous, and almost mimics the curvature of the human body.

p. 18


Non-Objective Form This sculpture is not clearly depicting any discernable form, which makes it non-objective. We thought it could maybe be a lion, or a crouching person, but concluded that it is not representing any specific form. This sculpture successfully adds interest to the space and sparks conversation. It is unique, hand crafted, and a beautiful piece that compliments this home well.

Hampton St. Residence 2

p. 19


Lighting


Natural

Natural lighting utilizes windows to illuminate an interior space with natural, outdoor light. It is calming, sustainable, and arguably a necessary component in design. The Big Dawg CafĂŠ on campus is lined with floor-toceiling windows. This successful use of natural lighting enables students to relax and to enjoy their outdoor view.

Lighting

The Big Dawg CafĂŠ

p. 21


Lighting

Combustion

Dekle Dr. Residence 5 This fireplace is located in the master bedroom of this residence. It can be used to provide warmth or just to create a beautiful soft firelight glow. I think this wall inset fireplace is very unique and interesting and is a great design feature.

p. 22


Ambient lighting is an element that is often used in dining facilities. It can create an intimate setting for guests to enjoy. Individuals are not always aware that the lighting can influence their experience in a restaurant or other facility. This example of ambient lighting successfully conveys this concept. It creates a warm and inviting atmosphere that is in keeping with the overall theme of the café.

Big City Bread Café – Finley St.

Ambient Lighting

p. 23


Miller Learning Center

The uplighting in this space adds drama and draws the eye to the interesting curved lobby ceiling. The soft glow is pleasing to the eye and the lighting is very successful in this space.

Uplighters p. 24


Task Lighting Task lighting is any lighting that is used to aid individuals in tasks. This example of task lighting exists in a residential bathroom. It is used to provide sufficient light for tasks relating to hygiene and personal grooming. This lighting successfully provides the interior with the necessary lighting to perform these routines. The mirrored panel behind the bulbs doubles the lighting efficiency through reflection.

Finley St.

p. 25


Task Lighting

The lighting in this bathroom helps to illuminate the mirror in order to complete every day tasks such as washing hands, brushing teeth, putting on make-up, etc. This fixture is sleek and interesting and adds interest and much needed lighting to the space.

Residence 4

p. 25a


Abbey West Apartment Complex In 1761 at the coronation of King George III 3000 candles were strung together and connected with gun cotton threads. Those gathered below were showered with burning thread and hot wax. Many say that this how track lighting got its start.

Track

Lighting

The track lighting is this apartment complex is successfully used to light up several different areas in this room from a central, linear location. It especially provides this kitchen with sufficient lighting. This is essential for cooking and preparing meals.

p. 26


Floor lamp

Floor lamps are useful for vertically illuminating a space. They supply a room with the lighting necessary to perform everyday tasks. These lamps have the potential to serve a functional purpose coupled with aesthetic features. This lamp serves to light a small waiting area within an office building. While it successfully completes its function, we feel that it lacks interest and aesthetic appeal. The lamp looks dated and dull.

The Lustrat House p. 27


Table lamps are often used to illuminate an area for reading or writing. In this case, the lamp is found in the bathroom to evoke a cozy atmosphere. The lamp fosters an authentic appeal and complements the folk, country dĂŠcor of the home. It provides a soft glow that makes one feel the warmth of home.

Table lamp

Hampton Street

p. 28


Mood Lighting Mood lighting exists in interiors or exteriors that obtain lighting influential enough to alter the mood of not only the venue but of the individual. The mood of this classy restaurant might be classified as futuristic. The giant shell of a light fixture above the bar coupled with chrome table tops and star-like lamps capitalize this idea. We believe that this restaurant successfully conveys a refined, futuristic elegance.

p. 29


Art Lighting

Barrow Hall

The upperclassmen in the Furnishing and Interiors program successfully express their creativity through art lighting. They artistically implement color and shape to form an overall interesting work of art. Not only is this lighting functional, it is aesthetically pleasing and even entertaining to its beholders.

p. 30


Colored Lighting This example of colored lighting is a biblical depiction in stained glass. The design is effective for the church in many ways. The church is an alabaster giant. It is almost an overwhelming white skyscraper. This stained glass successfully adds beautiful color allowing the church not to appear so intimidating.

Beech Haven Baptist – Broad St. p. 31


Glare from Natural Light Glare from natural light occurs when outdoor light emits a reflection across an interior surface. This vending machine hall displays this element on the surface of its brick-tiled floor. While it does not necessarily add aesthetic appeal to the area, it successfully portrays the element of natural glare and functionally provides the space with additional light.

Park Hall

p. 32


Lighting

Transmetropolitan

Glare From

This Restaurant contains a multitude of interesting light fixtures. The ceiling material along with the glossy paint job casts a reflective glow around the restaurant. This glow proves to be an additional lighting feature rather than an irritating distraction.

p. 33


Chemistry Building

Riser

Riser lighting is utilized to illuminate steps in dark spaces. The riser lighting in the Chemistry Building is quite outdated. The vented appearance is uninteresting and casts a caged shadow on the cold, concrete steps. A warmer and more unique lighting would better suit this space.

Lighting

p. 34


Hotel Indigo

Riser Lighting

This use of riser lighting is considerably more recent than that of the chemistry building. The lighting is strategically placed beneath warm, wooden steps. This creates an effective glow within the building. The lighting is also functional and provides sufficient light for guests at the hotel.

p. 34a


The cabinet soffit lighting in this kitchen provides a well lit surface on which to work and cook. Without this extra lighting, the kitchen would appear dark and drab. The lighting brightens this space well, especially against the dark wood cabinetry.

Residence 3

Soffit

Lighting

p.35


Color


Monochromatic Color Scheme

Hampton St. Monochromatic color schemes exist in interiors that primarily utilize one color. This residential kitchen successfully displays this element. The walls and the cabinetry are a deeply saturated blue. This example of monochromatic color scheme makes a bold statement. It instantaneously communicates a vibrant message towards guests in this home. Although this kitchen fosters a breath of personality, we believe that this singular color scheme is too bold.

p. 37


Analogous Color Scheme

Big City Bread Cafe – Finley Street

This use of analogous color scheme utilizes reds, burnt oranges, and dark yellows. It successfully incorporates the color scheme into the warm mood of the café. The red and yellow color combination almost makes one want to eat pastries by a fire. This quirky café also fosters some contrasting pieces within the space. These pieces work well with the café theme, however, and blend well with the area.

p. 38


Colors

Complimentary

Hampton St. Residence 1 This resident’s living room is furnished in a complimentary color palette. The complimentary red and green are often avoided in decorating because they are considered appropriate colors only for Christmas time. However, the use of these colors serves well in completing this town and country space.

p. 39


Colors

Split Complementary

Split complementary colors are composed of one color and the two colors on either side of its direct complement. This shade of blue has the compliment of orange-yellow, making the split complements yellow and orange. This vibrant color scheme is great for this children’s room; it is sunny, bright, and happy. The orange stairs of the bunk bed are also a unique and interesting design element that suit this space well.

p. 40


Triadic Complementary

Colors

This bright color palette is evenly spaced around the color wheel. The blue and yellow walls work well to capture the attention of anyone who enters this space. This bold color scheme is complimented with a modern design concept that works well together. We love the bright colors of this space and the unique design elements used.

p. 41


Hampton St. A tetrad color scheme consists of two groups of complementary colors. Both of these color pairs are across from each other on the color wheel. The owners of this home utilize this element to brighten their kitchen cabinet. The red, green, blue, and yellow bowls are a lively asset to this country kitchen.

Tetrad Complementary Colors p. 43


Alternate Complementary

Colors

This young boy’s room is a great example of an alternate complementary color palette. The triad color scheme of blue, green, and orange is paired with the direct complement of blue: yellow. The green and yellow walls work well with small accents of blue and orange. This space is perfect for a child: bright, sunny and happy.

p. 44


Neutral Color Palette Southview Rd. Residence 8

This residential living room is a great example of a neutral color palette. The walls, furniture, and accessories are all shades of white, cream, and brown. While this color palette can sometimes be considered dull and boring, this space provides enough visual interest through the art work and accessories to make the room more lively and interesting.

p. 45


Line


Horizontal

Line

This is an effective use of horizontal lines within Hotel Indigo. The different shades of the wood-paneled slates allow the eye to travel to distance of the hallway. It creates the illusion of a lengthened space. It also gives the space a warm aesthetic.

Hotel Indigo One of the most famous horizontal designs is the Pentagon. It was originally constructed during WWII. Its record-time assimilation utilized large, horizontal office spaces. Unfortunately, its lack of fire breakers led to difficulty in fire suppression.

p. 47


Vertical

Line

The strong vertical lines of the columns in this space draw the eye up to the high ceilings. The vertical lights on the columns also emphasize the height and strength of this interior.

University of Georgia Health Center

p. 48


Line

Vertical

The use of vertical line in this outdoor space creates a caged exterior. While it successfully displays height and length, it appears constricting and tight. Having a design like this in an educational facility might make students feel like they are in jail.

Forestry and Resources Building p. 48a


Abbey West Apartment Complex Not only does the zig-zag line of the stairwell serve a functional purpose, it also lends visual interest to an open space. The use of diagonal lines express movement and energy.

Zig-Zag

Line p. 49


This use of zig-zag line is retro and slightly mediocre. It is functional as an awning, but lacks in potential visual appeal. While it adds minimal interest to the area, it provides the block-like building with a bit of an edge. The line is symmetrical and effective in the sense of balance.

Chemistry Building

Zig-Zag Line

p. 49a


Hotel Indigo, Athens Ga.

The curved line of this countertop reception area creates an extremely interesting and unique appearance. The upper curved extension re-emphasizes the curved theme in this space and draws the eye up to the high ceilings.

p. 50


Tightly Curved

Line

This use of tightly curved line adds a whimsical interest to the space. While the University Health Center is very blocklike in design, this curvy lamp reliefs some of that structured tension. It is a fun touch to an organized facility and the space successfully incorporates both design aesthetics.

University Health Center

p. 51


Tightly curved

Line

This example of tightly curved line wraps around the building as a trim of sorts. It is very sculptural and almost mimics Grecian or Roman architecture. The white stone of the brick capitalize this comparison. The depicted wave shapes almost mirror images from Homer’s “The Odyssey”. This design successfully communicates authenticity.

Conner Hall p. 51a


Texture


Smooth texture describes clean, frictionless surfaces. This marble countertop is an impeccable representation of this design element. The glossy countertop wraps around the perimeter of this kitchen in a gorgeous manner. We believe that the use of marble was a successful decision in the home of this fellow interior designer.

Smooth Texture

Building Name p. 50


Tanglewood Dr. Rough texture exists on any surface that is resistant and tough. Pieces with rough texture can be an asset to any interior or exterior. This residential exterior wall utilizes the rough texture of stone as a beautiful entry barrier. We believe this element is successfully implemented in the outdoor space.

Rough Texture

p. 51


Surface Quality Real Texture

Real, tactile texture defines any textured surface that feels the way it looks. The tiled backsplash that trims the perimeter of the kitchen is an example of this design element. The multi-colored rectangular tile appears smooth and bumpy. Upon feeling the surface, both sight and touch match in perception. We feel that the use of this tactile texture is an interesting asset to this interior.

Hampton St.

p. 55


Surface Quality Implied Texture

Dekle Dr. Residence 5 The glass of these cabinets has a drizzled-looking texture. However, the texture is only implied and the glass is actually smooth upon touch. This affect provides and interesting detail in this space that works well as a design element.

p. 56


The jagged texture of this building is dull and nonreflective. The metal material allows light to hit the wall and be absorbed without bouncing back off. This texture provides an interesting exterior for this building. If it were reflective, the light would be too much to look at while passing by. Although it is outdated, it contributes to the charm and character of Athens.

Non-Reflective

Texture

Building Name

p. 57


Texture

The countertop of this bar is a smooth, reflective marble slab. The food box and the menu are reflecting off of the counter. This smooth and sleek texture creates an upscale and classy atmosphere in which patrons can dine and socialize. This reflective counter is a great design element that adds interest and compliments the space well.

Hotel Indigo

Reflective

p. 58


Space


Positive Space This piano is an example of positive space. The body and the legs of the piano create the positive space while the negative, or empty, space is created under the body. The grand piano, located in the foyer of this home, emits a feeling of extravagance and grandiosity. It is a beautiful piece that adds interest and status to this residence.

Dekle Dr. Residence 6

p. 60


Biology Building

Negative Space

This use of negative space effectively adds interest to the outdoor area. The creative use of brickwork successfully conveys the concept of negative space. This design provides empty curved windows while acting as a dividing partition. It is also aesthetically pleasing to the eye.

p. 61


Hampton St.

Crowding that exists in interiors prohibits a space from functioning properly. This example of crowding is no exception. The walls and the angularity of the interior provide an interesting twist and an aesthetic appeal. It does, however, create tight corners of available space. While a bed might successfully fit in the space, it might make individuals feel confined.

Crowded Space

p. 62


Hampton St.

A space that contains territorial characteristics is an area that appears guarded or contained. This design element can exist indoors or outdoors. In this residential case, a gate trims the front yard in a territorial fashion. This red picket fence communicates the idea of boundaries and privacy. The home appears guarded and off limits. Needless to say, we feel as though this residential exterior successfully communicates a sense of personal territory.

Territoriality Space

p. 63


Mass


Density The furniture pieces in this living room all have actual density in that they are solid and foster noticeable mass. While the furniture pieces themselves are interesting and appealing, they are too large for this interior.

Dekle Dr. Residence 5

Actual

p. 65


Optical

Density

University Dr. Residence 10 The pictures and lamps on this wall demonstrate optical density by creating visual mass to look at. The scattered frames are aligned with the lamps to frame them in a unique pattern. This arrangement is very interesting and the addition of this density works well to enhance the space, which would otherwise be bare and boring.

p. 66


Pattern


Hampton St. Residence 9

Pattern

The pattern on this chair is a vivid and lively design. It is an interesting abstract shape of what seems to be a bird. It displays a tetrad color scheme of red, yellow, green, and blue. The medium size of this pattern is proportional to the chair and is pleasing to the eye; it’s not too big and not too small. The pattern appears to resemble a tribal or oriental object which works well with the rest of the house and its furnishings.

p. 68


Scale


Human Scale

Human scale exists when the size of pieces within an interior are complementary to the average human dimensions. When a space is in human scale, the area is comfortable and functional for human interaction. This residential living space meets the criteria for human scale. The sofa coupled with the tables all prove to provide a functional purpose for human use.

p. 70


Fine Arts Building

Symbolic

Symbolic scale exists when a design makes a dramatic statement about something greater than itself. Which is probably why we found this gigantic mirror in the Fine Arts building on campus. This ornamental monster stretches from floor to ceiling in a sensation of curled gold. To the average passerby, this showy piece clearly does not belong in this cranny of a hallway. We believe, however, that it acts as an theatrical invitation to that passerby. It represents the comedic boldness of the drama department.

Scale

p. 71


Proportion


Proportional Object

Tate Student Center This plant arrangement is massive. It is almost the size of a human being. The huge size of this pot makes it proportional to the enormous Tate Center lobby. It is not very often that a pot this big is used in an interior space, so this is a very interesting piece. Juxtaposed with this huge column, the plant fits right in and successfully creates visual interest.

p. 73


This small plant is out of place in this massive lobby. Since it is placed next to a huge column, the un-proportional difference between this object compared to this grand space is further emphasized. Although the plant is un-proportional within this space, it still works well to add visual interest and color contrast with the rest of the large objects found here.

Tate Student Center

Un-proportional Object

p. 74


Balance


Visual Symmetry Visual Symmetry exists in spaces that are visually balanced in furniture arrangement. This authentic residential home harbors incredible perceptual symmetry. The room feels orderly yet comfortable. The combination makes this example of visual symmetry a successful asset to this home.

p. 76


Structural Symmetry is balanced design through mirrored framework. This symmetry exists in both interior and exterior buildings. The front lobby of the Fine Arts Department successfully conveys this design element. Balance is clearly displayed through the parallel column placement, the twin doors beneath the half-circle windows, and the central lighting chandelier to anchor the grouping.

Structural Symmetry

Fine Arts Department p. 77


An interior that is structurally asymmetric is built in an irregularly balanced fashion and adds interest to the space. This residential foyer features a sweeping staircase to the left. Though there is no staircase to the right, the space remains balanced. The staircase bridges to the right side of the space allowing the sides to anchor.

Structural Asymmetric

Building Name

p. 77


Visual Asymmetry

Visual asymmetry exists within spaces that are irregularly balanced through perceptual placement of pieces within the interior. This modern example of visual asymmetry clearly depicts the element. While the room is not in a split-identical form, both sides of the space carry sustenance and weight. The fireplace anchors both asymmetrical sides in a central location. This element is successfully displayed within the interior.


Agora - Clayton St. Visual radial symmetry exists within pieces of circular balance. It adds variety and interest to any space. We found this unique chandelier in a shop called Agora. It immediately caught our eye with its petal-layered shade. This radial symmetry mimics the circularity of a flower. It successfully represents visually radial symmetry.

Visual Radial Symmetry

p. 80


Structural Radial Symmetry

Structural radial symmetry displays foundational, circular balance. This type of radial symmetry is architecturally implemented within the interior of the space. This example of structural radial symmetry provides an open circular window between the first two levels of the building. The element gives the interior an appealing twist. The radial balance simultaneously expresses interest and structure.

Park Hall

p. 81


Rhythm


Holmes/Hunter Academic Building

Repetition or metric rhythm describes design that repeats itself in measured form. The columns on this north campus building display this element. While the columns themselves are repeated, recurrences can also be seen in the stair flights. The imprinted design sculpted on the horizontal trim also exhibits metric repetition.

Repetition/Metric Rhythm

p. 83


Climactic Rhythm Climactic rhythm describes the continual increase of a design in emotional impact. This local church is an exemplary example of this design element. The block-like structure continues to tower into a skyscraping steeple. This steeple symbolizes what the church stands for. It mirrors the idea of reaching towards God. This is a successful use of climactic rhythm.

Beech Haven Baptist Church – Broad St.

p. 84


Transitional Rhythm

Building Name

This space demonstrates transitional rhythm by the use of the arch in several different spaces. The building transitions from the entry, to the lobby, to the office through a series of arched doorways and ends at an arched inset. The flow of this shape works well to direct traffic and connect all three spaces.

p. 85


Emphasis


Visual

Focal Point The massive wall-to-wall bookcases in this living room provide a nice focal point which is further accented by the beautiful stone fireplace. This wall is definitely front and center; the shelves add interest and drama to this space which is very appealing to the eye.

Residence 3

p. 88


Point Focal Structural

The Summit Apartment Complex Clubhouse

This space is arranged to focus on the massive brick fire place located in the center of the room. The furniture is strategically positioned to face the structure so its users can focus on the beauty and warmth when it is blazing. The double sided fire place is a very unique and interesting feature that creates a warm and cozy atmosphere.

p. 89


Harmony


Hampton St. Unity through line exists when a space fosters a harmonious variety of lines. This residential room is an exemplary example of this design element. The space itself is uniquely structured with diagonal angles and triangular walls. The bookshelves provide the interior with a multitude of horizontal and vertical lines. Together, the lines provide the room with a common linear theme. These lines slice the room in an interesting and appealing manner. This room lacks poor space planning, but it excels in interest and aesthetic twist.

Unity Through Line

p. 91


Hotel Indigo

Unity

The unifying theme of Hotel Indigo is curved line. The walls and countertops are curved, along with the seating arrangements. This circular, curved shapes provide visual interest and unifies all of the different areas of the bar, information desk, and seating area.

Through Shape

p. 92


A space that fosters variation through color is any space that harbors a harmonious sense of vibrancy. This bubbly living room is a testament to this element. While no definite color scheme is recognized, all of the colors in this space are deeply saturated and are highly chromatic. The room is unified by the common intensity existing among the colors of this bright space.

Variety Through Color

p. 95


A room that fosters variety through materials is any space displaying a plethora of separate pieces with different textures and surfaces. Though there is variation among the pieces, there is also harmony and unity in their combined character. This residential home is a testament to this element. This living space is dated, old, but wonderfully quirky. The coffee table is made from a authentic door, the fireplace is built out of granite, and the arm chair is studded leather. South African tapestries adorn the walls, antique brass lamps light every corner, ceramic vases and bowls speckle the shelves, and a faded carpet rug stretches across perimeter. While the pieces are all different, together they tell the same story of personal heritage.

Variety through Materials

p. 96


Variety Through This living room is furnished with a variety of different furniture pieces that work well to complement each other. A brown couch is accented with an orange side chair and a red bench seat. A brown leather recliner is complemented with a floor rug and a side table. All of these pieces are different but still unified with the chosen color palette.

Milledge St. Residence 6

Furniture

p. 97


Dekle Dr. Residence 7

This sitting room is composed of many modern objects that contrast the antique elements of this space. The coffee table and side tables are both antiques while the painting and the sofa are more modern pieces. The arm chair is also an antique that has been re-upholstered with a new fabric. This variety of modern in contrast to old creates visual interest and suits the space well. The unique combination of variety is a very charming and successful design. Not to mention, we absolutely love the breath of color that the painting provides the room with.

Modern in Contrast to Old

p. 98


Furniture Arrangement


Successful space function exists when an interior is spatially designed for a purpose. The Tate Student center is speckled with successful space groupings. Students practice a variety of activities in the student center. Some study, some chat, many prefer to surf the internet on their laptops. There are a plethora of separate furniture consorts arranged for these various tasks. There is also linear, sizeable walkways for students to use without disturbing the privacy of others.

Successful Space Function

Tate Student Center

p. 100


The furniture arrangement in this space is highly unfunctional. While the roof of the house provides an interesting angle, the space is cramped because of the placement of the furnishings. Most of the chairs are not even accessible. Removing the table against the wall and moving the chairs with the red cushions would provide much more room and a better function for this room.

Hampton St. Residence 2

Unsuccessful

Space Function

p. 101


Tate Student Center

Straight Line Grouping

These benches are arranged in a straight line to provide a place for students to sit, relax, study, or wait on friends. They are not facing each other in a parallel arrangement because they are not meant to serve the purpose of conversation. They are well-placed and achieve the desired result. However, they can be considered slightly uninteresting.

p. 102


The furniture arrangement is effectively placed within the space. There is plenty of room for individuals to travel across the area. It also creates a communication “corner� for the guests at the hotel. The color scheme used, however, is a little awkward for the space.

Hotel Indigo

L-shaped Furniture Arrangement

p. 103


The Summit Apartment Complex Clubhouse The U-Shaped Furniture arrangement in this space creates a warm and cozy feel to the room. The positioning focuses on the huge brick fireplace and is placed well for this space. It allows sufficient space for individuals to comfortably communicate with one another.

U-Shaped Furniture

Arrangement

p. 104


Circular Furniture

Arrangement

This is an effective use of space planning in the Health Center. Not only will each member in the space have sufficient room to talk with one another, the arrangement is conveniently located next to a large source of natural light. The massive window adjacent to the circular furniture arrangement provides the area with a calming light source.

University Health Center

p. 105


Building Name

Parallel

This waiting area is embellished with two small sofas, facing each other. This parallel furniture arrangement is not really serving this narrow space well. It is boring, unoriginal, and stuffy. The space is too small to have such large sofas; a longer row of side chairs would better suit this space.

Furniture Grouping

p. 106


Furniture grouping

Dekle Dr. Residence 5

Solo

This bedroom is accented by a solo furniture grouping of a chair and side table, which can be used for reading or relaxing. This grouping works well for the space, although the position of the chair is a little awkward. Sliding it back towards the wall more and closer to the table will enhance the visual appeal of this arrangement.

p. 107


Spaces We Love‌

Taylor & Kristen design elements magazine  

Athens Movement p. 59 ~Taylor and Kristen About the Designer About the Designer Design Elements of Shape and Form

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