Week 14 Visual Techniques

1. Guggenheim Museum, Bilbao, Spain

Image source

Techniques:

• Sharpness
• Randomness
• Juxtaposition 
• Depth
• Activeness
• Spontaneity
• Complexity 
• Asymmetry
• Boldness

2. Sofa by Charles and Ray Eames

Image source

Techniques:

• Symmetry
• Regularity
• Balance
• Economy
• Consistency
• Stasis

Both of these designs show a strong understanding of visual techniques, delivering a strong visual message. The Guggenheim presents a fresh and modern design language, it is very bold and consequentially unforgettable as well as polarizing. The architect Frank Gehry used asymmetrical forms in direct contrast with more conventional architectural design. Activeness in form makes the building feel alive and organic, full of passion and excitement. On the other side of the spectrum, this sofa designed by Charles and Ray Eames shows a drastically different design language that is very strong in it's own right. The visual message in this case follows the function of the piece. Economy is perhaps the strongest visual technique, every line has a distinct purpose and anything superfluous is left out. The repetition of rectangular forms centers the message, it is a calming form, in direct contrast to the excitement of the Guggenheim.

Week 13 Contrast

Lack of contrast leading to a poor design- Coda sedan

Front 3/4 view

Rear 3/4 view

The lack of defining contrast in the Coda Sedan causes the design, while not overly unpleasant, to ultimately fail. To put it simply, the design lacks visual sharpening, it is boring. Without any form of visual excitement, or any other cues to the electric drive train of the car, it simply fades into the background, and has not been noticed by buyers. While the design is more or less symmetrical and balanced, it falls into the category of weak design which is ambiguous. Any number of visual techniques could have been utilized to fix this, adding curves could have given it a warmer, more organic appearance, or in the other direction, with more angles and severe lines to appear more aggressive. In this case, occupying the middle ground did not work. 

Effective use of contrast- Kia GT concept

Front view

Rear view

The Kia GT concept comes off as visually successful because of the designer's use of contrast. Contrast in shape is used between the organic, coke bottle shape of the lower half of the car, specifically contrasting the hard edged character lines defining the sides, and the transition from the sides to the back of the car. Contrast in color is used to add definition to the metal band that runs along the roof, as well as details such as using two contrasting metals for the wheel design, adding more visual interest. Even the headlight and brake light designs utilize contrast in color, shape and tone. This all comes together to create a dynamic and visually interesting design, emphasizing the sporty nature of the car. 

Week 12 Movement/ Motion

Surreal Storage Cabinet – Vault by Dahna Laurens

This cabinet uses implied movement in order to draw the eye around the piece, making it interesting and unique from all different angles. The designer uses expectation in the cubic forms appearing as they might in an instant roll off the main form. This is also direction, as the forms appear to be moving in different directions. There is implied motion in the legs, as they grow thinner towards the bottom.  The use of diagonal lines throughout makes the viewer feel unsteady. The use of imbalance in the forms further emphasizes this effect. There is also contrast in textures between the wood and the metal forms, emphasizing the negative space under the main form. Complexity of form when combined with visual imbalance in this case, makes a very visually busy and interesting statement.

Staircase on the top floor of the San Francisco Main Library, designed by James Ingo and Cathy Simon

This is a picture I took of the staircase leading to the top floor of the Main Library. Diagonal lines are used almost to the point of excess, creating the feeling of motion. The center support structure starts smaller towards the bottom, and bigger and visually heavier towards the top, creating visual imbalance. The sweeping movement of the stairs draws the eye up or down the staircase, depending on perspective. There is contrast in shape and scale between the various different forms used to create the structure. The sweeping form at the top echoes the stairs below it, and is at once complex, and visually unstable, as the structure supporting it appears too small to be strong enough, as if it could fall down at any moment. The Gestalt Law of Continuation is also utilized, as many of the forms create gestures that are implied to go on beyond our field of sight.