Figmirror With Trough Lamp

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  1. 90mirr0r frame NOTE TONAL BALANCE.

trasts in the values of veneers tend to destroy that unity so desirable in large forms. Then again, the skillful designer can introduce startling contrasts in large volumes and produce beauty as in Figure 96, Plate 12.

On the other hand, small objects readily comprehended at a glance may bear stronger and crisper contrasts of value without fear of breaking up the volume. The mirror frame of Figure 90, Plate 11, affords a splendid opportunity to balance values, with accents at top and corners. In Figure 89, a trough lamp at A illuminates the mirror and concentrates in one problem two distinct services.

Plate 12 continues with additional examples of veneering and various methods of surface enrichment. Figure 91 depends for its enrichment on veneering plus the upward thrust of the appendages or handles, small blocks of wood either enameled black or better still veneered, with their sides slightly recessed to give the fingers a necessary grip. The hangings in the rear of this figure illustrate the commonly used, horizontal motive.

The desk of Figure 92, Plate 12, has a close-grained wood pattern, with its vertical thrust supporting the vertical nature of the side members. The top is of plate glass with a gun-metal finish. Both Figures 91 and 92 mark a growing tendency towards side matching, which gives the effect of a series of parallel grains.


Vigorous and crisp enameled bands and gun-metal mirrors, illustrated by the coffee table of Figure 94, Plate 12, are typically modern in spirit, while the curved lines give a degree of softness and help to emphasize the horizontal theme of the table. The "smartness," if one may use this term, is a trait or style which has to be in the designer and is a part of his creative endowment. In Figure 94, the finish of wood is to be texturally smooth and the wood hard, to harmonize

Form Enbicmmentt surface enrichment. veneers and enamel.

Form Enbicmmentt surface enrichment. veneers and enamel.

  1. 97. detail of table bands and natural wood.
  2. 94-c gun metal. mirror top.
  3. 95. detail of table:

band motive .

fig. 97. detail of table bands and natural wood.

in textural feeling with the glass table top (oak and glass do not harmonize texturally), while the textures of the upholstery call for closely woven fabrics. Note the tonal balance of the top with the enamel bands.

The chair of Figure 96, Plate 12, with its veneered or enameled bands and tapestry seat, has a natural wood splat— a pattern appropriately repeated in the detail of the companion table of Figure 97.

Bands, easily capable as they are of monotony in proportions, should be so spaced as to give varied proportions between bands. Whenever subjected to wear, use veneering or solid wood rather than enamel. Figure 95 gives an interesting bit of leg construction, while Figure 97 indicates a leg continuing through the table top as described in the section on construction.

Asymmetrical Treatment of Veneers

Having presented a number of examples of matched veneers, one notices the fact that the surface matching of

veneering usually is symmetrical; for example, side-to-side matching, with equal areas of veneer to the left and right of point of contact. Little experimental work has been done with asymmetrical patterning, and much beauty may be expected from this arrangement.

Let us study Figure 98, a pattern of distinctly asymmetrical character. Experimentally, side-to-side matching has been applied; but, with this difference —unequal areas are seen on each side of the door matching, adding a touch of novelty, and adjusting the pattern of the veneer to that of the volume, thus establishing harmonious unity. Note, too, the counter thrusts in the vertical handles repeating the vertical uprights. Again, see the continuity of the textile bands in the couch, which pick up the lines of the end table, carrying on the thrusts and establishing unity between these closely associated articles.


The popularity of low furniture, with its functional qualities, with its ability to give apparent added space to the room, has justified its design and opens up a vast field for creative effort. Figure 99 is typical of this

pattern. The drawer can be pulled out from either side, thus making it available for its entire length, and eliminating the nuisance of locating something in the extreme end of a oneway drawer. A small snap catch centers the drawer in position.

If the designer feels that there is sufficient interest in his mass and space, solid wood is used, particularly if expense is to be considered. Figure 99 is an example of this type—a highly plastic design with penetration of light, giving the sense of space. A most interesting problem is the balancing of space and mass to supply this asymmetrical stand with stability and repose. Construction as an obvious part of the design is practically eliminated and long, horizontal pieces of wood carry the constructive thrust which must support the aesthetic thrust, illustrating plastic construction.

With the increasing interest in dual functioning of pieces of furniture, leading towards a full utilization of all possible uses connected with the problem, runs the increasingly growing emphasis upon invention: thus functioning can be regarded as not only including service but the satisfying results of beauty of design, which gives to the term "functioning" the broadest possible construction.

Thus in the low stand of Figure 100, it not only functions as a stand but its removable tray adds another service to the object, that of transportation, to its original job as a container. A loose glass plate in the bottom of the tray makes for quick cleaning. Asymmetrical in design, its design problems are quite similar to Figure 99—both should be equipped with silence buttons.

In both Figures 99 and 100, attention is directed to the short curves joining the vertical and the dominating horizontal thrusts. In place of the usual semicircles, these curves are elliptical, with the long axes of the ellipses running in sympathy with the major thrust. This treatment is superior in its dynamic qualities to the usual quarter circle; while

Development of Form - Enrichment by Penetration


Development of Form - Enrichment by Penetration


  1. ioi. bookstall enriched BY CALIENT AnD SUhlCta PLANES supporting of volume arno ma35-
  2. ioö. variation (
  3. ioi. bookstall enriched BY CALIENT AnD SUhlCta PLANES supporting of volume arno ma35-
  4. ioö. variation (
  5. 102. «3pace and MASS DIVISIONS op fig.
  6. 102. «3pace and MASS DIVISIONS op fig.

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