Geometry of Design: Studies in Proportion and Composition Paperback – Oct 1 2001
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About the Author
Kimberly Elam is chairperson of the Graphic and Interactive Communication Department at the Ringling School of Art and Design in Sarasota, Florida.
Inside This Book(Learn More)
Within the context of the man-made environment and the natural world there is a documented human cognitive preference for golden section proportions throughout recorded history. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Top Customer Reviews
In her pithy (101 page) essay, GEOMETRY OF DESIGN: STUDIES IN PROPORTION AND COMPOSITION, Kimberly Elam admirably succeeds in illuminating fundamental concepts underlying successful modern design. Through the elegance of Elam's arguments, readers are painlessly introduced to a set of mathematically-based compositional elements developed in classical antiquity and reflected in acknowledged masterpieces of later design. From the Parthenon and Notre Dame de Paris to Mies van der Rohe's Chapel at the Illinois Institute of Technology, and from Leonardo's "Man Inscribed in a Circle" and a chambered nautilus to Le Courbusier's "Chaise Lounge", selected works succumb to Elam's acute analysis of successful proportioning and composition. Her exploration of these fundamentals, including the dynamic rectangles exemplified by the Golden Section and the European DIN Root 2 system (so different from the sectioning system used in American design), is aided by the excellent vellum overlay diagrams.
So much of our response to art and design is intuitive, and we categorize as outstanding those works from which we derive intense aesthetic pleasure. The efficiency, the very orderliness which form their basis is a revelation. Elam's book is a classic and very readable summation of the foundation of successful design.
A great book!!!
So why did I give it only a 2.
Because the beauty and logic of the book are only demonstrated in very simplistic designs which already would have geometric thinking built in....cars, building, furniture, commercial posters, fish, shells, etc. Symetrical snowflakes.
These objects would be driven to good design because of utilitarian functioning which is required by their physical nature. One example is A coffee maker, A car, A building . Kim is on to something great with this book,but I think she should have tackled more creative and complex objects and compositions where utilitarian value is secondary. She walks down the usual Leonardo and Greek path but the analysis is only of primarily singular objects. She does a great job but most of the objects are isolated objects or poster graphics which are already contrived on a pure geometric basis.
The great value of this book would be in the context of the evolution of design, proportion, and compostion with some of an Art aesthetic bent.
Analysis of complete compostions would be of value, some Durer engravings, some Raphael, some Petro da Cortona, some Poussin, some Raphael, Baroque, Neoclassical, Rococo, Cubist, Van Gogh, Rembrandt, etc. The books concept is great but the interaction of objects in paintings, or multi-group sculptures within the spirit of the books intent would have been a nice addition. The analysis objects are mostly trivial cases. The analysis methods are wonderful but I mean .........a chair by itself!!!
Great design problems are worked out by the interaction of objects, not just singular static objects.Read more ›
Judging from the title, I thought this book would be wordy and academic. Or on the opposite end, written by ... a protractor, a compass and little else. I couldn't be more wrong. What I found is, after a section describing how certain geometric relationships exist in nature, and what their mathematical properties are, page after page of designs analyzed.
First the design is reproduced for you to see, unadorned. Then the author shows you the same picture, but with red grids, circles, diagonals, stars, etc. covering it to show you the precise geometric relationship, of say, the Clestory Window in the Cathedral at Notre Dame to the building as a whole. Or how the Eames Chair conforms to the geometry of the Golden Section. Breif text accompanies each picture.
The text "The typography of the poster forms a triangle which serves to anchor it to the format and enhance visual interest" is found next to a small reproduction of the poster with a red triangle drawn on it. Some pages even have translucent overlays so you can see the picture with a grid, or circles, or both - "an overlay comparison... reveals that the... proportions in both drawings... are almost identical."
This book gives you the tools to evaluate design.Read more ›
Most recent customer reviews
So I am given this book by a colleague and told that it's a great book to teach proportion in art from. Read morePublished on Nov. 17 2002 by Elizabeth R
This is a good book for someone who has never delved into the subject. I find that it follows the same track as others in making the golden proportioning system fit about anything... Read morePublished on Sept. 17 2002 by Chet Ross
I have been looking for a book Like this for so long. It is easy to follow and well written.
I would urge anyone with a desire to grasp the concepts of proportion in design to... Read more
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