08 Asymmetry

The absence of symmetry.

While symmetry denotes regularity by mirroring or reflecting around a central axis, an asymmetrical design strategy is more informal, allowing elements to be arranged freely in space. Multiple objects, mismatched furnishings, and odd numbers of elements can work together to form a creative composition/design/arrangement.

This strategy does not necessarily mean that the room appears unbalanced. The lack of a formal organizing strategy has the benefit of diversifying the composition, and showing naturalness and ways of movement within a space. Lounges and living rooms, in particular, are great for these layouts as they encourage interactions at both the scale of the room and for more intimate moments. In work environments, asymmetrical designs offer spaces for informal meetings and places for focused work.

Asymmetry is often found in furniture, pattern, textile design, and art. In Japanese culture, there are several terms that embrace asymmetry in practice. Hacho means intentional unevenness or asymmetrical balance. Ma is the emptiness and space around an object, often found in art or music. Kabuku means to lean, or to be unusual or out of the ordinary. Ikenobo is the Buddhist practice of arranging standing flowers asymmetrically to represent natural forms.

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Charles and Ray Eames’s asymmetrical La Chaise lounge (1948; reissued in 1996 by Vitra) was designed for the Museum of Modern Art. Difficulties in production made it impossible to build until Vitra was able to fabricate it in 1996.

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Modular furniture, like Turnstone’s Campfire Lounge System, is easier to arrange in asymmetrical designs.

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In their revamp of Phillipe Starck’s iconic Paramount Hotel in New York, the Meyer Davis design retains some of the original’s sense of asymmetrical layout, but through placement of furniture and use of light.

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