T this point, the reader is familiar with the major design problems of contemporary furniture, with current and anticipated uses. As systematic planning along geometric lines is regarded with favor by many designers, a problem of this type is herein illustrated, based on the possibilities latent in the 1.618 rectangle of the Hambidge Series of rectangles.
The functional element of this problem is the demand for a low table, popular for its accessibility to chairs grouped around it and for its capacity for holding a number of articles varying in size. Then too, the stand is functional on three of its four sides with compartments or shelves entering the volume from three directions, leading to a more serviceable article.
Compare this stand with high, bulky pieces of furniture often found in small apartments where every inch of space counts, and you will find that low stands, by giving more overhead space, often relieve the room of a stuffy, filled-up feeling generated by too much mass and too little space.
Rhythm, the design principle entering into the spirit of this problem, is the feeling of aesthetic satisfaction, of pleasure experienced in seeing a number of objects or forms, arranged in such a manner as to cause our attention (rather than our eyes) to move smoothly, rhythmically over their pathway. The rhythmic lines of the dance drama, of draperies
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