Geometry can feel like a given, a framework of rules and parameters that provides structure. At the same time, it can act as a reference and a counterpoint to more intuitive ways of working. Freeform develops differently. It is often shaped through making, where the movement of the body becomes part of the process. The interplay between geometry and freeform, and how they influence each other, remains an ongoing area of exploration.
Geometry and Freeform
Photojournal
%20Creating%20with%20Shapes%2C%20Usha%20Doshi.jpg?w=144&q=85&fit=max&auto=format)
%20Creating%20with%20Shapes%2C%20Usha%20Doshi.jpg?w=864&q=85&fit=max&auto=format)
(Fig 1)
Creating with Shapes, Usha Doshi
Cutting a circle from a piece of fabric is a starting point for producing three-dimensional effects from flat fabric.
%20Self%20Portrait%2C%20Nipa%20Doshi.jpg?w=864&q=85&fit=max&auto=format)
(Fig 2)
Self Portrait for A Room of My Own, Nipa Doshi, 2026
Preparatory drawing using pencil and Japanese watercolour on cartridge paper.
%20Untitled%20Forcefields%2C%20Nicole%20Wermers.jpg?w=864&q=85&fit=max&auto=format)
(Fig 3)
Untitled Forcefields, Nicole Wermers, 2007
Over six feet in height, a ring-shaped steel sculpture with metal adaptors that hint at the idea of a square.
%20Typeface%2C%20Nipa%20Doshi.jpg?w=864&q=85&fit=max&auto=format)
(Fig 4)
Typeface for A Room of My Own, Nipa Doshi, 2025
Acquired for the permanent collection of the National Gallery of Victoria, Melbourne, alongside A Room of My Own Shrine/Cabinet.
%20Lepal%20chair%20prototype.jpg?w=864&q=85&fit=max&auto=format)
(Fig 5)
Lepal chair prototype in wood and cardboard, Jonathan Levien, 2024
The rig geometry defines a framework through which surface and volume are explored with an emphasis on the horizontal and vertical axes.
%20Lever%20%234%2C%20Martin%20Puryear.jpg?w=864&q=85&fit=max&auto=format)
(Fig 6)
Lever #4, Martin Puryear, 1989
Painted red cedar, 96 × 81 × 43 in.
%20Kinari%20concept%20painting.jpg?w=864&q=85&fit=max&auto=format)
(Fig 7)
Kinari concept painting, Nipa Doshi, 2022
Japanese watercolour on brown painted card with embossing on gold transfer.
%20Circle%2C%20Sophie%20Taeuber-Arp.jpg?w=864&q=85&fit=max&auto=format)
(Fig 8)
Circle, Sophie Taeuber-Arp, 1936
Gouache and pencil on paper, 26.7 × 34.9 cm.
%20Tailleurs%20a%CC%80%20manche-he%CC%81lices%2C%20Pierre%20Cardin.jpg?w=864&q=85&fit=max&auto=format)
(Fig 9)
Tailleurs à manches-hélices (Tailored suits with propeller sleeves), Pierre Cardin, 1981
Photograph by Roland Bianchini.
%20Kabaret%20concept%20drawing%2C%20Nipa%20Doshi.jpg?w=864&q=85&fit=max&auto=format)
(Fig 10)
Kvadrat Kabarett concept drawing, Nipa Doshi, 2020
One of five characters designed to celebrate the synergy between Maya and Jaali, two Kvadrat textiles designed by Doshi Levien.
%20Broken%20Vase%2C%20Enzo%20Mari.jpg?w=864&q=85&fit=max&auto=format)
(Fig 11)
Broken Vase, Enzo Mari, 1994
By force of removal, the completed form of the vase is obtained through the blow of a mallet struck against the porcelain cylinder.
%20Earth%20to%20Sky%20table%20lamp%2C%20Doshi%20Levien.jpg?w=864&q=85&fit=max&auto=format)
(Fig 12)
Earth to Sky table lamp, Doshi Levien, 2019
Doshi Levien explore the tension between fluid lines and surfaces combined with geometric volume.
%20Cala%20chair%2C%20studio%20prototype.JPG?w=864&q=85&fit=max&auto=format)
(Fig 13)
Cala chair studio prototype, Jonathan Levien, 2016
A wood-fabricated rig provides a framework around which metal rod is hand-shaped to describe a curvaceous space.
%20Cala%20chair%2C%20Kettal%20factory%20prototype.jpg?w=864&q=85&fit=max&auto=format)
(Fig 14)
Cala chair factory prototype, 2016
A precise welded aluminium tubular frame at the Kettal factory, made according to Doshi Levien’s drawings.
%20Earth%20to%20Sky%20drawings%20and%20models.jpg?w=864&q=85&fit=max&auto=format)
(Fig 15)
Earth to Sky drawings and models, Doshi Levien, 2019
Geometric lines pierce amorphous shapes in these compositions made using painted leather, wire and card.
%20Earth%20to%20Sky%20production%20metal%20work%20jig.jpg?w=864&q=85&fit=max&auto=format)
(Fig 16)
Earth to Sky production metalwork jig, Doshi Levien, 2019
A metal grid structure provides a scaffold onto which the contoured surface of the lamp template can be fabricated and measured.
%20Concept%20drawing%20for%20A%20Room%20of%20My%20Own%20Cabinet.jpg?w=864&q=85&fit=max&auto=format)
(Fig 17)
Concept drawing for A Room of My Own Cabinet, Nipa Doshi, 2026
Squared paper allows Nipa Doshi to explore the proportions of the multifaceted cabinet that became A Room of My Own for NGV Melbourne.
%20Umbrella%20Handles%2C%20Doshi%20Levien.jpg?w=864&q=85&fit=max&auto=format)
(Fig 18)
Umbrella handles, Doshi Levien, 2016
Hand-sculpted models exploring different formal expressions for the umbrella handle.
%20Typeface%2C%20Nipa%20Doshi.jpg?w=864&q=85&fit=max&auto=format)
(Fig 19)
Typeface for A Room of My Own, Nipa Doshi, 2025
Nipa perceives each character of the alphabet as an object, like a finely crafted component found inside a piece of industrial machinery.
%20Black%20Form%20II%2C%20Ellsworth%20Kelly.jpg?w=864&q=85&fit=max&auto=format)
(Fig 20)
Black Form II, Ellsworth Kelly, 2012
Painted aluminium, 203.2 × 182.2 × 10.8 cm
%20Untitled%2C%20Kristin%20McKirdy%202006.jpg?w=864&q=85&fit=max&auto=format)
(Fig 21)
Untitled, Kristin McKirdy, 2006
A sculpture or vessel with the tension of negative geometric space intersecting with amorphous volume.
%20Chandlo%2C%20Doshi%20Levien.jpg?w=864&q=85&fit=max&auto=format)
(Fig 22)
Chandlo dressing table, Doshi Levien, 2012
An arrangement of mirrors, planes and surfaces conceived as an architectural composition to be viewed from all sides.
(Fig 1)
Creating with Shapes, Usha Doshi
Cutting a circle from a piece of fabric is a starting point for producing three-dimensional effects from flat fabric.
(Fig 2)
Self Portrait for A Room of My Own, Nipa Doshi, 2026
Preparatory drawing using pencil and Japanese watercolour on cartridge paper.
(Fig 3)
Untitled Forcefields, Nicole Wermers, 2007
Over six feet in height, a ring-shaped steel sculpture with metal adaptors that hint at the idea of a square.
(Fig 4)
Typeface for A Room of My Own, Nipa Doshi, 2025
Acquired for the permanent collection of the National Gallery of Victoria, Melbourne, alongside A Room of My Own Shrine/Cabinet.
(Fig 5)
Lepal chair prototype in wood and cardboard, Jonathan Levien, 2024
The rig geometry defines a framework through which surface and volume are explored with an emphasis on the horizontal and vertical axes.
(Fig 6)
Lever #4, Martin Puryear, 1989
Painted red cedar, 96 × 81 × 43 in.
(Fig 7)
Kinari concept painting, Nipa Doshi, 2022
Japanese watercolour on brown painted card with embossing on gold transfer.
(Fig 8)
Circle, Sophie Taeuber-Arp, 1936
Gouache and pencil on paper, 26.7 × 34.9 cm.
(Fig 9)
Tailleurs à manches-hélices (Tailored suits with propeller sleeves), Pierre Cardin, 1981
Photograph by Roland Bianchini.
(Fig 10)
Kvadrat Kabarett concept drawing, Nipa Doshi, 2020
One of five characters designed to celebrate the synergy between Maya and Jaali, two Kvadrat textiles designed by Doshi Levien.
(Fig 11)
Broken Vase, Enzo Mari, 1994
By force of removal, the completed form of the vase is obtained through the blow of a mallet struck against the porcelain cylinder.
(Fig 12)
Earth to Sky table lamp, Doshi Levien, 2019
Doshi Levien explore the tension between fluid lines and surfaces combined with geometric volume.
(Fig 13)
Cala chair studio prototype, Jonathan Levien, 2016
A wood-fabricated rig provides a framework around which metal rod is hand-shaped to describe a curvaceous space.
(Fig 14)
Cala chair factory prototype, 2016
A precise welded aluminium tubular frame at the Kettal factory, made according to Doshi Levien’s drawings.
(Fig 15)
Earth to Sky drawings and models, Doshi Levien, 2019
Geometric lines pierce amorphous shapes in these compositions made using painted leather, wire and card.
(Fig 16)
Earth to Sky production metalwork jig, Doshi Levien, 2019
A metal grid structure provides a scaffold onto which the contoured surface of the lamp template can be fabricated and measured.
(Fig 17)
Concept drawing for A Room of My Own Cabinet, Nipa Doshi, 2026
Squared paper allows Nipa Doshi to explore the proportions of the multifaceted cabinet that became A Room of My Own for NGV Melbourne.
(Fig 18)
Umbrella handles, Doshi Levien, 2016
Hand-sculpted models exploring different formal expressions for the umbrella handle.
(Fig 19)
Typeface for A Room of My Own, Nipa Doshi, 2025
Nipa perceives each character of the alphabet as an object, like a finely crafted component found inside a piece of industrial machinery.
(Fig 20)
Black Form II, Ellsworth Kelly, 2012
Painted aluminium, 203.2 × 182.2 × 10.8 cm
(Fig 21)
Untitled, Kristin McKirdy, 2006
A sculpture or vessel with the tension of negative geometric space intersecting with amorphous volume.
(Fig 22)
Chandlo dressing table, Doshi Levien, 2012
An arrangement of mirrors, planes and surfaces conceived as an architectural composition to be viewed from all sides.