Relating Forms In a Composition

A group of volumes may be characterized by dominant, subdominant, and

subordinate forms. The dominant volume is the largest, most interesting, and
dramatic. The subdominant should complement and improve the dominant
volume. The subordinate volume should make the entire grouping more three-
dimensional and complete the unity.
Dominant, subdominant, and subordinate proportions apply not just to the
volumes of the forms but to the movement of axes as well.

The form that is on top is most likely to appear dominant, and the most
interesting shape should usually be put in the dominant position. A grouping
should preserve the identity of each of the individual forms while creating a
larger, more dramatic composition than any of the single volumes alone. Keep in
mind that joints and negative volume are also a part of the design. A composition
should make a statement, and force the eye around the composition in a specific
way. No one view should be significantly more interesting than another.

Proportions
Volumes are characterized by inherent, comparative, and overall proportions.
Inherent proportion is made up of length, width, and thickness. Comparative
proportion is determined by comparing a form to another. Overall proportion is
the overall size of a grouping of forms.

Three-dimensionality and Unity

A grouping of forms should be three-dimensional and interesting from all
directions: diagonal axes help to create movement. Each form is to occupy its
own individual space, while working together with the others. The most important
consideration when creating a composition is the balance of the directional
forces. Look not only at the good view, but at the bad view and correct what is
not working. An ideal unity is reached when any minor change would upset the
perfect balance and tension.

Creating a Composition of Rectlinear Forms

In a grouping of three rectilinear volumes, shapes should be varied in character
as much as possible and contrast against each other.

Creating a Composition of Curvilinear Forms

Curvilinear forms include spheres, hemispheres, cones, cylinders, ovoids, ovoid
plinths, half voids, and round plinths. A curvilinear form should be pleasing in and
of itself, and then mass, proportion and character can be considered.

Balance within a Composition

Balance includes dependent, independent and precarious balance. Dependent
balance means that the axis of a volume, plane, or line needs the axis or axes of
another to feel structural. Independent balance means that a single line or
volume feels to be in the best position for itself, regardless of the other lines or
curves surrounding it. Precarious balance is the feeling that something is
balanced for the moment, holding its breath.

To make a design statement, try to find the most interesting tension between the
axes of volumes, between the surfaces of planes, and between accents of curves
in a grouping of curvilinear forms.

Fragments
An exercise in working with fragments of geometric solids (spheres,
hemispheres, cylinders, cones, ovoids, ovoid plinths, round plinths, rectilinear
solids), start with creating a beautiful geometric form, or forms that complement
each other. Concentrate equally on creating an interesting and beautiful form,
and working with the fragments. With straight cuts or curves, divide a solid into at
least three fragments. Usually it is not difficult to create two interesting fragments
but remedy the problem of creating a third fragment that does not appear to be a
leftover.

Create tension between the positive forms and fragments, and between the
positive and negative forms and fragments. The composition should create a
completely different form from the original, but be balanced and even more
beautiful than the original volume.