Structure and Form in Design (häftad)
Häftad (Paperback / softback)
Antal sidor
Berg Publishers
228 bw & 19 colour illus
254 x 203 x 25 mm
498 g
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Structure and Form in Design (häftad)

Structure and Form in Design

Critical Ideas for Creative Practice

Häftad Engelska, 2012-09-01
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This book provides a critical examination of structure and form in design, covering a range of topics of great value to students and practitioners engaged in any of the specialist decorative arts and design disciplines. The complexities of two-dimensional phenomena are explained and illustrated in detail, while various three-dimensional forms are also discussed. In the context of the decorative arts and design, structure is the underlying framework, and form the resultant, visible, two- or three-dimensional outcome of the creative process. Whether hidden or visually detectable in the final design, structure invariably determines whether or not a design is successful in terms of both its aesthetics and its practical performance. Hann successfully identifies various geometric concepts, and presents and discusses a number of simple guidelines to assist the creative endeavours of both accomplished and student practitioners, teachers and researchers.
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This book is a unique contribution to the theory of structural design in two and three dimensional form, and should be of interest to surface designers, architects, and interior designers. * Charlotte Jirousek, Cornell University *

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Övrig information

Michael Hann is Chair of Design Theory at the University of Leeds. He is Director of the University of Leeds International Textiles Archive. He is the author of seven design and textile books and has written extensively for numerous journals including the Journal of the Textile Institute and the Textiles Magazine.


Part One: Introduction Part Two: The Fundamentals and Their Role in Design Introduction; Point - a Sound of Silence; Line and What Follows; Planes, Shapes and Forms; Various Polygons; Grids and Guidelines; Use to the Creative Practitioner; Summary Part Three: Underneath It All Introduction; Various Useful Constructions; Static and Dynamic Rectangles; Root Rectangles; The Brunes Star; Compositional Rectangles; Grids from Dynamic Rectangles; Summary Part Four: Tiling the Plane Without Gap or Overlap Introduction; Regular and Semi-regular Tilings; Demi-regular Tilings; Aperiodic Tilings; Islamic Tilings and Their Construction; Tiling on a Curved Surface; Developing Original Tiling Designs; Summary Part Five: Symmetry, Patterns and Fractals Introduction; Symmetry Operations; Motifs, Figures or Repeating Units; Friezes, Strips or Borders; Lattices and all-over Patterns; Counter-change Designs; Fractals and Self-similarity - Another Type of Symmetry; Summary Part Six: The Stepping Stones of Fibonacci and the Harmony of a Line Divided Introduction; The Fibonacci Series; The Golden Section; The Golden Rectangle; The Golden Spiral Uses in Art, Design and Architecture - a Summary of the Debate; The Potential for the Creative Practitioner; Summary Part Seven: Polyhedra, Spheres and Domes Introduction; Spheres; Platonic Solids; Archimedean Solids; Radiolarians, Soccer Balls and Super Molecules; Polyhedra in Art and Design; Domes; Summary Part Eight: Structure and Form in Three Dimensions Introduction; Elements of Three-dimensional Form; Representations of Three-dimensional Form; Cubes, Prisms and Cylinders; Cones and Pyramids; Three-dimensional Lattices; Transformations; Summary Part Nine: Variations on a Theme: Modularity, Closest Packing and Partitioning Introduction; The Nature of Modularity; Modularity in the Fine and Decorative Arts; Modularity in Design and Architecture; Closest Packing; Efficient Partitioning; Towards a Theory of Emergence in the Decorative Arts and Design; Summary Part Ten: Structural Analysis in the Decorative Arts, Design and Architecture Introduction; Symmetry Analysis - Steps Towards a Consistent Method; Geometric Analysis in the Decorative Arts, Design and Architecture; Frequently Used Constructions and Measures; Questions Relating to Method and Data Collection; Steps Towards a Systematic Analytical Framework; Questions of Accuracy; Summary Part Eleven: A Designer's Framework Appendices References