Developing Abstract Concepts Through Bas-reliefs in Interior Design (first year project)

In the field of interior design, the ability to translate abstract concepts into tangible forms is a fundamental skill. First-year students often face exercises that challenge their capacity to interpret, formalize, and present abstract ideas. One such exercise is the creation of bas-reliefs, an exploration of form, material, and meaning, where students are encouraged to express abstract terms in a physical format. The exercise begins with the assignment of two abstract terms (such as "embedded," "woven," "curved," "symmetrical," etc.), which students must explore individually. These terms are not just words but embody complex ideas that need to be reflected in the structure and design of the bas-reliefs. The challenge lies in developing a form that respects both the material constraints—Bristol or recycled paper—and the given framework, while still offering a creative and innovative interpretation of the assigned terms. The choice of Bristol paper as the main material invites a multitude of possibilities. 

Despite its simplicity, the paper can be manipulated in various ways: cut, folded, torn, perforated, crumpled, scratched, or even wet. This allows students to explore the textural and structural qualities of the material while keeping it white. This choice emphasizes the importance of form, depth, and shadow to convey meaning, as the absence of color focuses attention on the interplay between light and structure. Each student is required to produce two bas-reliefs, each dedicated to a specific term. The format for each bas-relief is defined: a Din A4 sheet serves as the background, with a passe-partout square (10 cm by 10 cm) cut from another Din A4 sheet. The passe-partout is then layered on top of the background, with a final depth of 2 cm. In this space, the student must "concretize" the assigned term within the 10 cm square, making full use of the given thickness, with the possibility of exceeding it by 1 cm if necessary. 

The position of the passe-partout is another key consideration. It can be placed at various depths within the relief, offering the student the opportunity to play with perspective and the relationship between what is visible and what is hidden. The exercise thus becomes not only about creating objects but also about exploring ideas of visibility, framing, and perception. The arrangement of elements inside and beyond the square must respond to the meaning of the term, allowing an exploration of how abstract concepts can be physically manifested in three dimensions. While the constraints provide a clear framework, they are also designed to encourage creative freedom. The rigidity of the dimensions and materials contrasts with the flexibility of interpretation, offering students the opportunity to push boundaries in subtle and indirect ways. For example, a term like "woven" might inspire the student to fold and interlace the paper into complex patterns, while "curved" could lead to the creation of flowing, undulating forms that transcend the limits of the square frame. 

This balance between structure and creativity is at the core of the exercise. It challenges students to think beyond literal interpretations and explore deeper, more innovative approaches to expressing meaning. The student is tasked not only with producing a visually interesting and structurally coherent piece but also with critically reflecting on the term itself—what it represents and how it can be reimagined through form. Technical skill is essential to this project. Precision in cutting, folding, and assembling the paper is crucial to ensuring that the final model is self-supporting and visually coherent. Each element of the bas-relief must be carefully considered in terms of placement, alignment, and relationship with the surrounding elements. Furthermore, the exercise encourages a reflection on craftsmanship and attention to detail. The student must pay attention to how the material behaves, exploring the possibilities of manipulation while maintaining the structural integrity of the work. This attention to detail not only enhances the visual impact of the piece but also reinforces the conceptual clarity of the representation. 

On the reverse side of each work, students are required to note their name and the term they are interpreting. This simple addition reinforces the personal engagement with the exercise, as each student's unique approach to the term becomes part of their design identity. This first-year interior design project offers students a valuable opportunity to develop both conceptual thinking and manual skills. By working within specific constraints and materials, they learn to translate abstract ideas into concrete forms, using subtle and innovative approaches to express meaning. The project represents an essential step in their education, encouraging them to think critically about form, material, and concept while honing their craftsmanship and creativity.