A rotation is the act or process of turning around a center or axis in a uniform and precise pattern. Rotation often helps in the movement or rhythm of a design, allowing things to be changed in their position and viewed in different ways to gain better knowledge of the thing or space. As it turns, many times on an axis, it is uniform in its pattern of movement but may not follow the same visual prototype.
Movement in terms of design is the suggestion of motion in a work of art, either represented by gestures in figurative paintings and sculptures, or by the relationship of structural elements in a design or composition. The movement dictates the level of energy in a piece, and allows it to come alive or retain a sense of firm stiffness. Movement can also apply to the changes in the design cycle over time. Anne Massey demonstrates this as she speaks on the subject of the aesthetic movement. “The Aesthetic Movement lacked the moral concerns of the arts and Crafts movement. Its object was to create less ponderous and healthier ‘artistic’ interiors for the Victorian middle classes, whose tastes had now matured.” (Massey 26) Massey shows how the arts and crafts “movement” turned into more of a healthier “artistic” regime known as the Aesthetic Movement.
Reflection in terms of design is similar to movement in that it has a dual meaning. It could be a literal reflection, where something is reflected on an axis or origin and is flipped and displayed on the opposite side. As in Versailles, water is used excessively to make the region appear longer by reflecting its length and width through water. Reflection can also be representative of something. If a certain genre of design “reflects” a time era, then it is taking on the qualities and characteristics of that time period, relating to the social behaviors of the people. When Massey introduces the Arts and Crafts Movement, she shows how design reflects different aspects of the environmental and governmental influences. “This was a conservative style, inspired by French Classical architecture of the seventeenth and eighteenth centuries, and in interior decoration was marked by lavish use of carving, gilding, rich marble, and extravagant lighting, well suited to provide an atmosphere of grandeur for large hotels, department stores, opera houses, and the ostentatious houses of the wealthy…” (Massey 31) Massey shows how the French classical architecture influenced the interior decorating aspect of design. She also elaborates on how the “Paris Opera and the Beaux-arts style in general influenced interiors of Opera houses, department stores, hotels, municipal buildings, and private houses all over the world,” particularly in America. (Massey 31)
Source is much like reflection in that it stands as a resource and influence of the origins of designs. Many designs gain this influence from past examples in history or from pre-standing structures. “For the Grander type of interior the prevalent style was the Beaux-Arts, so called because of its source was in the teaching of the Ecole des Beaux-Arts in Paris.” (Massey 31) Source also considers the source of a material such as water, color, or light. In studio, we were considering the sources of natural light and building a structure to capture and manipulate that light from the source.
Illumination is taking an object or an aspect of design and highlighting it in a certain media such as color, light, shadows, etc. It celebrates the characteristic and allows it to shine through and be “illuminated” within the design. The resplendent quality of an object or design is important in the design when creating a hierarchy or an illustrious focal point.