Monday, August 13, 2012

How Lines and Shapes Determine Character in Design?

Character in design is very important because it exposes the true purpose of the design visually. The façade tells everything whether the structure is institutional, commercial and residential.

Character is everywhere, not just about human beings, but in almost anything. In human beings, how one projects one’s self reveals his character.  Dignity is associated with teachers. Meekness and thick eyeglasses meanwhile personifies a geeky stance. Colorful attire and long hair are for the rock stars. People are typically typecast due to their character and preference. 

In design, character is the dominant element.  Just by looking at the structure, one can conclude that a building is institutional or a penal facility and whether it’s a home or office. Whoever thought that a car would look the way it is now. How bout a coffee maker or a lounge chair? Everything is made to show character.

Character in design dictates the direction of the structure. Designers are very solicitous when it comes to the character of a structure.  They are sensitive to criticisms and usually follow the norms set by the standards. This preference makes a lot of sense because who in his right mind would want a commercial buildings to look like a funeral parlor or vice versa. They do not want their designs associated with something else, like residences duplicating barns in character.  There are set characters for designing institutional buildings and specific sets for residences and other structures.

Lines promote character.  Line is a critical element in design. How it is employed can determine the true character of a building. Horizontal lines are typically associated with institutional buildings since these project restful indifference. Vertical lines, on the other hand, are indications of vibrancy, hope and struggles. Office buildings are meanwhile treated with lines reaching out to the summit. This is symbolizing hope and things that can happen.

Shapes as well determine the character design of all structures. It extends beyond what lines project.  A horizontal mass is typecast as institutional. This only suggests that the character must complement the work inside. High-rise buildings are for people always on the go; that is moving erstwhile from floor to floor even with the use of elevators. The oval, cylindrical or hemispherical shapes are typecast for gymnasiums and sports facilities.  Shape is created out of necessity rather than the designer’s whim. Since an oval is practical for this application to allow spectators equal opportunities to see the spectacle happening on the court.

Next time you look at a structure from a distance, the character will truly be cognizant and thus reveal the soul.     

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