In two aspect forms of Design .. that is, naturally occurring through the Chaos Mathematics of Nature and the artificial through the functional and artistic abstractions of human beings .. when condensed down there are two primal geometric elements that repeat endlessly.
The Line and the Curve.
The conclusion of this assessment might appear somewhat simplistic but, there is no model of symmetry or asymmetry in either Chaotic Nature or Human Design I could not apply these base geometric forms too.
Take these forms and extend them into a third axis, the Three Dimensional Planes of movement, direction and volume .. Length, Width and Depth .. and think about any geometric foundation from The Golden Ratio in spiral and curvilinear patterns that the physics of matter uses to collate itself into an Information of Object .. or, put it another way, circles and spheres, spirals and parabolas are the ways Chaotic Formative Nature expresses itself in pure mathematical geometric terms.
Projecting a sphere to a plane
Then there is the intervention into a conceptual aesthetic premise of reality by human beings who do what Nature does not seem to want to do .. and that is design with straight lines .. or at least the perception of a pattern which appears to be a straight line to our eye and mind, but if put against the theoretic mathematical concept of infinity .. it’s actually a curve, again.
Spacetime is all about curves, it seems.
There is nothing quite as aesthetically dramatic as a mechanical straight edge in companionship with the curvy fuzzy logic of Nature when applied to what might be considered essential-extraneous Design such as architecture.
In all Art, there is an understanding of the Geometry of Design which allows a manipulation of materials to form ideas out of the emotional, mechanical, industrial, functional, socio-political, abstractions and extractions from dreams and the subconscious, the literal and realistic copying of Nature and object form, the study of light on object, the study of space, the study of colour .. and so on.
There is always a geometric context of some form even if it’s just the shape of the surface being drawn on .. or a human need to contextualise reality into a mathematically sensate form to provide a language in order to understand how the expressions of Chaos work .. how reality is put together and how we, by our need to deconstruct, can take it apart to understand the parts and the parts in turn as a whole.
Hilma af Klint, De tio största, nr 3, Ynglingaåldern, grupp IV, 1907 © Stiftelsen Hilma af Klints Verk. Photo: Albin Dahlström/Moderna Museet
We can take the elemental principals of Nature and appear to improve them .. such as the branch of a tree becomes an arrow or a brush which both transform into utilities which not only provide tools for functional expression but extend our ability to conceptualise into aesthetic reality and create Art not as a pleasurable side-effect of having lots of time on our hands because we are no longer tied to occupations only dealing with survival but as an essential, meaningful expression of something we discovered about ourselves .. something that defines us .. an aesthetic idea of who we are and why as Artist Human Being.