CHAIRS -1 Floor Seating

Post 699 –by Gautam Shah

.

This is the FIRST of series, to form 5-6 articles on CHAIRS, (Furniture through Ages).

7 Gandhi_prayer_meeting_1946

The word Chair derives from the seat for the Bishop to read sermons. From Greek Kathedra καθέδρα (κατά-katá=down + ἕδρα-hédra=seat), to Latin Cathedra, Old French Chaiere-Chaire, Chaise to Chair, it has come to mean both, a sitting entity and a place to worship (the Cathedral). Chairs were few, and meant an office or authority (1300 C), or seat for a person presiding at meeting (1640s).

11 Bali prayers 6199856982_ef2a205b99_z

Villages in the central mountain areas of Palestine, serving as the seat of political and military power were called Kursy. An Arabic name meaning: seat or chair. This name may have come from Kursa meaning a seat in Hebrew (based on an Aramaic word). Kursi refers to a chair, in Persian and many Indian languages. Kursi refers to the ultimate knowledge of Allah. As the word Kursi in Arabic refers also to (knowledge and scholar).

15 Bridgman_north-african-encampment

Chairs are associated for commanding positions. The presiding person must not only express formality but remain consistent, and chairs just allowed that. Formal postures, though have been gained even without the aid of any device, by sitting on raised platforms or ground. The commanding position is more due to the authority invested with a person through assignment, resources or physical power. The posture for such a sitting position essentially arrests the frivolous movements of the body. The first blocks, stools or chairs were single person facilities and stiff elements.

5 A_brahmin_priest_reading_a_Hindu_text_near_Ganges_Varanasi

13 Scheherazade and the sultan by the Iranian painter Sani ol molk (1849-1856)

Commandeering sitting postures are upright, with straight back and legs. The hands are rested in the lap or on the armrests. Seating aids have been used to rest a limb, part of a body or of the whole body. The Postures with or without a seat, backrest, and other seating aids, however, have no bearing on the climate of the place. Postures have possibly untraceable lineage, but have cultural-religious bearing. Leaders and preachers use squatting, kneeling and crossed leg positions, and so have everyone. These positions use variety of aids to enter, continue or get out of the position. The aids include, hanging ropes and chains, taller armrests, footrests, seats, armpit stands and steps.

19 Widows'_Home,_Balodgahan,_India,_1949_(16806770279)

14 Group_of_Courtesans,_northern_India,_19th_century

The dress and the posture for seating have a curious relationship, but the dependencies are mysterious. To be on the floor to sit, one needs a loose dress, at least in the lower section of the body. The dress must be gracefully accommodated within the seat-zone. Preachers, to impress a gathering need to reinforce the spoken words with gestures. With floor seating the postural manipulation is limited. Head and hands are the chief tools for gesturing. To impress the back side (far-off) audiences gestures are enlarged, like the head is crowned with turbans, and hands covered in large sleeves.

8 The_Darbar_of_Raja_Bakhtawar_Singh_of_Alwar_(6124516683)

Sitting close to the floor as a leader or preacher implies being more in level with the audience, unless the seat is over a raised platform. Sitting at the edge of a raised platform or with some fore space, the nature sitting posture has far-reaching consequences. A person sitting on floor mats, is likely to adopt an manners that requires removing footwear before using the stage.

10 Kashmir-hindu-priests

16 cobbler

12 Interior_of_a_Tailor's_Workshop_by_Quiringh_van_Brekelenkam,_Montreal

Floor-seating cultures also develop other items of furniture for access at low level, like chests over almirah. Till Britishers began to command the upper class society, dining at floor level was common. In cities like Mumbai, many houses began to have two sets of dining facilities. The floor seating, rather sanctimonious, was part of the kitchen or close to it. Guests of other communities were never served food here. The Table-chair dining was part of the drawing room and reserved for ‘special guests’.

6 Jüdische_Hochzeit_in_Marokko-1024

Floor level seating units with or without hand and back support allows some freedom for fidgeting (freedom to shift the body in micro postural adjustments). The fidgeting relates to upper section of the body. The most common ways of sitting on the floor are bending the knees inward or backward. Indian and Mughal kings’ Durbar, and in mosques the formal courts of congregation, the normal etiquette for everyone was to keep the feet tucked under the knees or thighs, and not show them up. The nobles sat on rugs, whereas Kings sat on a raised and stepped Simhasan or throne, but using the same posture.

Knees tied for Sitting posture

One can also keep legs partly folded but standing (beach sitting), with or without support for the back. Legs are stretched flat, as parallel or by crossing them over each other. The floor seats allow several other leg positions, typically South Asian or Buddhist (legs bent backward, and foot palms bent or upright), Namazi Muslim (legs bent backward but projecting on one side), Jain prayer posture left leg bent backward and right leg bent vertical upward) Cross legged with knees and back encircled by a band like a Saurashtra Gujarat, Charan story teller or Lord Ayappa of South India. Feet tucked under the knees or thighs is known as tailor style. Similarly sitting with touching two feet-palms is called Indian Cobbler work position. The Japanese formal sitting positions are seiza and kiza.

9 Srilankan_Buddhists_worshiping_at_Dhamekh_stupa_Sarnath

18 The_tribes_and_castes_of_the_Central_Provinces_of_India_(1916)_(14577156599)

Sitting is supported by buttocks, legs and feet and reinforced by spine. By remaining in un-moving position continuously and monotonously for long hoursreduces the efficiency and increases chances of making mistakes’. Sitting, for a long period in a back bent down position stretches the spine. Such postures need frequent stress relief. Many do ‘stretch their back, while being in their seat. But, if task-work platform is low, deep or non-existent, the freedom to ‘stretch the back‘ may not be used. Another stress relief can be attempted by raising the knees (in seating position) off the ground. But, in formal gatherings, for a preacher or speaker such movements convey insincerity. For floor level seats the movement to standing up and sitting down are more stressful than continuing the sitting.

17 Gajan_Spectators_-_Panchananda_Mandir_Complex_-_Narna_-_Howrah_2014-04-14_0321

.

Advertisements

MY BLOGS > LINKS with #URBAN

Post 694 –by Gautam Shah

.

crowd-167074_640

These are few of My BLOGS search-listed as “URBAN”.

SMELLS and SPACES https://designacademics.wordpress.com/2019/05/06/smells-and-spaces/

URBAN SMELLS https://designacademics.wordpress.com/2019/05/13/urban-smells/

449 SPATIAL SMELL BRANDING https://designsynopsis.wordpress.com/2019/05/04/449-spatial-smell-branding/

448 URBAN LIFE in 17 C https://designsynopsis.wordpress.com/2019/05/03/448-urban-life-in-17-c/

125 URBAN CLIMATE https://designsynopsis.wordpress.com/2018/03/13/125-urban-climate/

The CORNER in City https://interiordesignassist.wordpress.com/2018/05/17/the-corner-in-city/

CORNERS and Neighbourhoods https://interiordesignassist.wordpress.com/2018/09/07/corners-and-neighbourhoods/

The CORNER -metaphor https://interiordesignassist.wordpress.com/2018/05/01/the-corner-metaphor/

pexels-photo-2187662

HOW do we SITE BUILDINGS https://interiordesignassist.wordpress.com/2015/10/06/how-do-we-site-buildings/

LOCATION of BUILDINGS https://interiordesignassist.wordpress.com/2015/06/30/location-of-buildings/

ROOFS 3 -Skyline and Silhouette https://interiordesignassist.wordpress.com/2015/02/06/roofs-3-skyline-and-silhouette/

VALUATION OF BUILDINGS https://interiordesignassist.wordpress.com/2015/01/04/valuation-of-buildings/

pexels-photo-2277887

Sloped Roofs https://interiordesignassist.wordpress.com/2014/05/02/sloped-roofs/

REFERENCING buildings -issues for design -15 https://interiordesignassist.wordpress.com/2017/07/09/referencing-buildings-issues-for-design-15/

REUSE of BUILDINGS https://interiordesignassist.wordpress.com/2017/03/27/reuse-of-buildings/

ENGINEERING PROJECT MANAGEMENT https://interiordesignassist.wordpress.com/2016/04/24/engineering-project-management/

GRADES of EXTERIOR and INTERIOR SPACES https://interiordesignassist.wordpress.com/2016/01/27/grades-of-exterior-and-interior-spaces/

640px-Mcleodganj_Townscape_(2484682131)

PLACE IDENTITY https://interiordesignassist.wordpress.com/2016/01/06/place-identity/

VALIDITY of BUILDINGS https://interiordesignassist.wordpress.com/2015/04/19/validity-of-buildings/

CORRIDORS and PASSAGES Transfer Systems in Buildings (Part – IV ) Vasari Corridor of Florence https://interiordesignassist.wordpress.com/2014/12/17/corridors-and-passages-transfer-systems-in-buildings-part-iv-vasari-corridor-of-florence/

EVOLUTION of PROJECTS https://interiordesignassist.wordpress.com/2014/10/01/evolution-of-projects/

IDENTITY in a SPACE https://interiordesignassist.wordpress.com/2014/08/20/identity-in-a-space/

Ambrogio_Lorenzetti_-_Effects_of_Good_Government_on_the_City_Life_(detail)_-_WGA13488

.

VANDALISM -Issues of Design 27

Post 692by Gautam Shah

.

640px-Graffiti_Kom_Ombo

Vandalism is willful destruction of property and culture. Property and culture are spacious words. Property includes buildings, structured public assets, art, artefacts etc. Culture covers political, religious, economic and social systems, and institutional arrangements. A property can subsume culture, so any danger to former is a threat to the later. Vandalism is as much a personal act and common act of individuals, as it is conduct emulated by individuals with some commonality, so group-based conduct.

6 464px-Rufus_est_caricature_villa_misteri_Pompeii

Vandalism is interpreted as criminal damage, misdemeanor mischievous behaviour, malicious or otherwise trespassing, breach of privacy, felony offense intentional indifference. Vandalism laws are designed to prohibit and discourage the such conduct.

architecture-3064150_1280

Vandalism is an attempt to change the existing set of things or order. It may not involve annihilation or removal of things. On occasions, the actions are directed to the owner, authority or God. And even if the search for them is solvable, but the vandals may have nothing to correspond except the intense desire to register their presence.

11 2581209678_2ed1e1b358_z

Destructive actions can be ascribed to anger or envy, or to spontaneous, opportunistic behaviour. The action may be for peer acceptance or bravado in gang cultures. The cause of disgruntlement with a person or society could be absence of a target. Private citizens commit vandalism by willfully damaging or ignoring the damage to the property of others or the common assets.

13 4040056876_9083c71667_z

Vandalism against the common values of the group or society may arise for not being included or invited. It may be that the opposed values are too prominent and so the target. Values enshrined in properties are challenged when changes for betterment or creative interventions are made without due permission or authorization are made. Values are compromised when subtle or explicit ideological ‘messages’ are conveyed through public expression or conveyance through social media. The vandalism may occur when values conveyed through a declaration may be subjectively interpreted as harmful or annoying.

13 408px-Harlem_riots_-_1964

In the world of internet and social medial vandalism takes the shape of ethical and revengeful hacking of domains and data there in. It may also include persistent and massive ‘trolling’ through hash-tags.

9 Burning of the Euromaidan headquarters in the Trade Unions Building.

Political vandalism is ideological ingress leading to protests, riots. So far it remains an expression it can be tackled through debate. But it can turn an expression of hatred and intimidation. Vandalism can be perceived as a legitimate act, and a social warning for course correction. So minor action may be ignored.

1 378877843_b6ef1b9ab0_z

2 The_Crooked_House_of_Sopot,_Poland_(3173810231)

4 32642433448_1f4615ae1c_z

In Design and other fields, plagiarism of concepts is equated with vandalism. Similarly altering, correcting, extending, renovation, removal of someone’s creation is always debatable, and borders to an act of vandalism. These include morphing, photo-shopped images, edited videos, etc. Other acts of design barbarism are ‘under or short’ designing a brief, overshooting budget, ignoring the stakeholders, generating non-performing solutions and infringing other professionals’ duties.

3 Lost place

12 Bad additions to building geograph-3841100-by-Peter-Barr

The name Vandals is connected to that of Vendel, a large East Germanic tribe or group of tribes initially from the name of a province in Uppland, Sweden. It is believed that Vandals migrated from here to establish kingdoms in Spain and then North Africa in the 5th C. Renaissance and early-modern writers characterized the Vandals as barbarians who sacked and looted Rome. This led to the use of the term vandalism to describe any senseless barbaric defacing of artwork. The etymology of vandal may be related to a Germanic verb wand -to wander.

640px-Genseric_sacking_rome_456

This is the 27th article (in continuation of old series -new beginning) on ISSUES of DESIGN

.

DISTANCE as an ELEMENT of DESIGN -Issues of Design 26

Post 689 –by Gautam Shah

.

11 544px-An_artist_measures_a_model_of_the_human_body_from_a_distance_Wellcome_V0009476

There are several ways ‘distance’ impacts a design. The physical distance is essentially scaled to human body measures and work capacities. The sensorial measure of the space is the reach in space. All these, help us to equate the suitability and adequacy of spaces for different purposes.

18 640px-Il_Palazzo_Reale_Milano

The distance, refers to a physical measure, a separation, and perception of proximity or remoteness from an extraneous location.

1 Measure Between

2 Separation

3 Perception

A physical space has filler elements like, people, objects and environmental affectations. These elements have their own sizes and also have medial spaces. The scale of the physical space, and the relationships between objects-objects, people-people and objects-people, are factored by the distance.

9 Piran19century

7 626px-Tartini_Square_from_above,_Piran,_May_2009

ONE      We measure the space in terms of distances, at realistic level, between ‘us’ and things (A to B). Inversely, we also measure the space for the perceived (likely) distance (B to A) between things and ‘us’. The objective (A to B) and subjective (B to A) assessments, together, provide a comprehensive experience of the space. The spatial experience is a maze of relationships and directions. But a constant reference is provided by the Environmental affectations that mark the time and movement. The environmental affectations cause many aberrations of perception of spatial distances and relationships, due to the mix up of the actual and perceived distances. We can exploit such changes to project or contract our presence in a space.

10 9662-050-BD0D8230

TWO    When the perceiver is a separator, if somewhere between the two ends, or objects. Distance comparisons ensue, to find out the disparities. The physical distance on either of the sides defines the nearness or remoteness of a thing in space. It helps to know which one is available, useful, required size, intensity, etc. Such distance assessment is often personal and comparative as it depends on reach capacity, need, experience and group behaviour dynamics.

3 8036094634_b8f54bc044_z

THREE    Observing anything in space from an external location, the distance is realized as the degree of clarity. The clarity is governed by physical distance from the location of observation. The same distance, however, gets occluded by the intervening activities (chaos, noise, echoes, bounce-back, reflections, disturbances and intermingling of effects) and the environment (fog, smoke, dust). But these also offer a referential spatial scale. The field of perception increases or decreases with the mediating distance.

1 winter-nature-season-trees-65911

Temporal distance refers to distance in time. Something that is temporally close is something that is near in time, whereas something that is temporally distant is far in time. Temporal distance to imagined future events modulates our evaluative representation of them. The greater the distance, the more likely the event is to be conceptualized in terms of a few abstract features. This is relevant in case of potential dangers or risks because this mechanism cognitively separates us from the reality of likely undesirable eventualities.

Psychologists from Walter Mischel to Nira Liberman and Yaacov Trope have labelled the psychological distance: that is, gaps between you and other people social distance, the present and the future temporal distance, your physical location and faraway places –spatial distance, or imagining something and experiencing it -experiential distance.

MINOLTA DIGITAL CAMERA

When psychological distance is large, we tend to think in more-abstract terms, focussing on the big picture, the desirability of certain options, and why we want them. In contrast, when psychological distance is small, our thinking is more concrete: We focus on the details, the feasibility of options, and how we will use them -Rebecca Hamilton https://hbr.org/2015/03/bridging-psychological-distance

12 TERMS for DISTANCES

Distancing is a prime mechanism of offense and defence when methods and means of survival are inadequate, or unavailable. The distance operates at real level, as realized by us, and also as we feel the opponent is perceiving it. Shortening the distance serves an offensive role and enhancing the reach, a defensive purpose. The spatial depth is affected by the separation through occlusion or camouflage. It helps in fuzzing the identity and recognition.

13 4008974887_e60f2a2b9c_z

Anything that lies in ‘front’ (of sensorial nodes -eyes, nose, ears) is always at a ‘shorter distance’, compared to askew encounters, which have ‘greater distance’ (straight, up or down level exchanges). Short distance leads to possible physical contact with intimacy and often breach of privacy. Long distanced contact offers wider space for other actions including time for escape.

14 41d480458ab16799aa1f

The distance, direction and angle of eye contact affect the intimacy and so privacy. Executives want broad and deep tables to ‘keep the distance’ with the visitors. At a meeting or on a dining table, the chief occupies end-position, and with that no one can take frontal confronting stand.

15 21378548110_bb1d7fca8a_z

Any position against a static and closer backdrop is more assuring, then a backdrop whose depth cannot be fathomed. And for the same reason activities on the backside (stage, podium, office table, information kiosk, reception tables) are not desirable. In a space, one looks for anchorage in the presence of people (even, if unknown), architectonic elements, objects and opaque surfaces. Fixed and familiar things in space, even if physically distanced are better as support. Similarly the location and direction of an exit (door or any other egress point), or a path to it, at whatever the distance, are preferred.

7831251790_d39bd1c43d_z

For an individual, a space segment that allows one to control the distance from others is a safe, predictable and reassuring territory. Here the occupants and objects have intense relevance to each other. In interpersonal relationships the distance delineates isolation, accessibility, domination, submission, agreement, dissension, insulation, engagement, etc.

16 640px-Minding_ones_own_business_(38097651011)

The distance and space, both form the notions of Intimacy and Privacy. One physically manipulates, or sensorially perceives the distance from other beings and objects. The sense of vision, hearing, smelling are dependent on the distance. but touch and taste.

17 25893976046_a99e2e33f4_z

Intimacy is also a biological need, as it relies on compatibility, sexual needs, glandular secretions, social acceptability, etc. It is an attitude, mental conditioning or mental posture. Intimacy could be one-way feeling that is without reciprocal response. Intimacy is not always a function of physical proximity. One can feel close to a person who is long dead -an illusory presence or through notional links (clothes, odours, recorded sounds, etc.).

5 pexels-photo-301930

Distance Etymology > Distaunce (13-14 C) =a dispute, controversy, civil strife, rebellion, disagreement, discord, strife. Destance (Old French) =discord, quarrel. Distantia (Latin) =a standing apart. Distantem (nominative distans) = standing apart, separate, distant. Distare =stand apart, from the root ‘sta’ =to stand, make or be firm. Modern Distance =remoteness of space, extent of space between two objects or places, an interval of time (originally distaunce of times).=remote part of a field of vision.

This is the 26th article (in continuation of old series -new beginning) on ISSUES of DESIGN

.

CASEMENT WINDOWS

Post 688 –by Gautam Shah

.

Bay Casement Boothbay Maine Ocean Harbor Window

Casement windows were the most common house-windows, before the sash windows were devised. The shutters of casement windows are hinged on the side, and open either inward and outward. Casement windows provide a full open aperture compared to double hung or sliding windows. The casement shutters could be solid, opaque panelled or glaze panelled. Glazing panes are fixed to the shutter by beading or putty compounds.

Window Wood Rustic

Casement shutters opening inward cause obstruction if there is insufficient parking space for the opened shutter. Inward opening shutters also interfere with window treatments such as curtains, blinds, etc.

The shutters, if of small width open with a handle cum locking device, and if of large width require a crank or lever to open. A wind stay, or a friction hinge is necessary to keep the shutter open in windy conditions, and an espagnolette is used for locking. A casement window is easy to operate with its long armed handle mechanism and so ideal for difficult to reach situations, such as places above cabinets or counter tops. Casement windows open out on nominal hinges or offset hinges that open the shutter little away from the side to allow cleaning, glazing fixing and painting of the exterior face. These are critical issues for casement windows that have protection bars, or are located on upper floors.

Curtain Mountains Window Architecture Outlook

Single casement windows are used on side lites as besides a door or fixed window. Average width of wooden casement windows is 400 to 500. Larger widths up to 600 are possible with friction hinges. Very tall casement windows require patent bolts at both the top and bottom ends to shut a window or keep it open in heavy winds.

4 window-1644844_1280

Double casement windows are of two types: one where two shutters meet over a mid member, and the other, where the two shutters meet over each other. The later is called a French window, it opens unobstructed in the centre.

6 Lustron_Three section Window

The casement shutter could be single, opening on left or right side. Casement windows with double shutters, open on left and right sides, or in the middle like the pages of a book. Multiple casement windows have even numbers of shutters divided into sets of two each, all shutters open on one side, or symmetry is created by opening half numbers of shutters on either side.

7 Casements

Casement windows typically are hinged at the sides, but if top hinged are called awning windows, and if bottom hinged are called hopper windows.

12 14589607127_12114b7e5d_z

Hopper Windows: A hopper window is a bottom hung a casement window that opens similarly to a draw bridge or a coal-pit receptor or hopper, typically opening to the outside. Hopper windows are used as cellar or subterranean opening.

Hopper Light: Hopper Ventilator: These have inward-opening shutter hinged at the bottom, usually forming the upper section of a door or window.

8 Wien_Hofburg_Reichkanzleitrakt_2009_PF_ed_20091007_001

Awning Window: An awning window is a casement window that is hung horizontally, hinged on top, so that it swings outward like an awning or a weather shed. Awnings are transom lites, used in upper sections of doors and windows as a ventilator.

9 French Windows 6853387755_6000dff2c0_o

French Window: A French window is really a type of door with a small threshold. It is also called a French door. Two casement sashes hinged on the sides to open in the middle. The shutters nearly extend to the floor and also serve as a door to a porch, garden, verandah, gallery or terrace. It is double shuttered, and both of which for the full height of the shutters, have single or multiple panes of glass. It may have a secondary set of solid or louvered shutters opening to the interior or exterior side.

11 window-89030_1280

Folding Casement: Casement windows hinged together so they may fold into a confined space, such as within the wall thickness. Small width shutters also makes it easier to close without stretching out too much. Folding casements are often auxiliary shutters, such as storm shutters or Venetian shutters on the outer face or fly-mesh shutters on the inner face.

10 windows_shutters_architecture_broken_wood_old-698964.jpg!d

All types of eaves and window casement shutters, projecting out, were banned to prevent spread of fire along the wall, after the great fire in London in 1707. And these forced adoption of Sash windows (opening upward or downward).

13 geograph-2825199-by-Mike-Kirby

.

DESIGN, MOTIF, PATTERN -Part 1 -Issues of Design 25

Post 686 –by Gautam Shah

.motifs are strokes

Motifs are self-sustaining elements. Motifs can be linear outlines, solid filled-in planes, solid objects, or fractals. A motif may look like a familiar object, but need not be a representation or symbol. In other words, a motif may not have any abstract conveyance, yet may carry an associated or interpretive meaning. Motifs may have similarities, which are ‘here’ or in some remembrances. Motif recognition is a matter of perception, and so a personal affair. But there usually are many concurrences, and so some commonality is perceived.

2 motifs

crowds-2028554_640

A Motif, as a self sustaining element, is nominally oblivious of the happenings in the surroundings. But motifs have the potential to be part of a pattern, a larger whole. Such a fate is evident, because a motif while retaining its ‘fundamental trope’ subsists through several of the avatars. The changes occur through scaling, orientation, colours, or even some degree of form distortions.

3 motif may seem familiar without being a symbolicimage or a representation

Metal Iron Railings Wrought Iron Ornament

Motifs are impressionistic configurations, captured from the surroundings. The impression is expressed for posterity or communication by in-forming it over a medium or moulding it with materials. In both the cases, the form-shaping motif is affected by the formative materials, specific tools, techniques and the body posture. The motif as the ‘stroke’ matures through several conversions. The process of maturation endows new meanings to the motif. The ‘stroking’ can become extraordinarily florid to turn into a style.

haeckel_ammonitida

Stylized Motifs have their own vocabulary of placement, associated linkages, scaling and permissible reformations. Such governance remains tied to the materials, craft-processes, associated persons (extended family, cast, creed, locality), and the period. The motifs begin to govern the pattern. The stylized motifs and patterns thereof, have a deep lineage. The stylized motifs, however, change when new materials and tools arrive to reform the techniques. New ‘strokes’ of motif creation offer different set of patterns. The changes first occur in the scale, line formation (thickness and consistency), the fill-in colours and textures, and shape twisting. The original and the differentiated motifs, both form a distinguished motif culture.

adinkra_motifs_rattray_1927

green man images

The motif culture can be so overwhelming that other crafts begin to accommodate it. An evolved motif in Embroidery or fabric weaving, may enter diverse fields of jewellery, metal crafts, painting, pottery, interior decoration, architectonic elements etc. A motif in new environment (society, materials, crafts or tools) develops with new forms of ‘strokes’ of motif creation. These occur on sheer strength of the Graphical value. New patterns generated for the graphical value can reflect some links with the original civilization. The trace of the original flavour remains, where the motifs are adopted as a replacement of products, sensorial variation and for political, cultural or social incentive. But where the motif is accepted purely as technological input, a brutal severance from the original connection occurs.

complex pattern out of several motifs chikkamagalur amruthapura kirthimukha india wikipedia image by

Primary motif is a stroke of straight or single curvature. The stroke has two ends, and are the potential connections of first order. Other likely nodes are the tangential or the crossings. Multi-stroke motifs have closed ended or open-ended shapes. Motifs have potential nodes of connections and togetherness. Motifs with geometric strokes such as lines (vertical, horizontal, inclined) or curvilinear seem familiar. In comparison Stylized motifs are re-engineered forms of real objects. A motif cannot be abstracted unless it carries a meaning, as a symbolic representation. The symbolic representation is about ‘abstract or non-tangible concepts’ such as movement, vibrant, static, serenity etc. There is a tendency to find meaningful object in seemingly chaotic situation. In case of motif, the recognition of geometry (form), proximity (relationships), style or an abstract objective, all help in finding motive for it.

pexels-photo-1473735.jpeg

The phenomenon of finding meaningful patterns in meaningless noise is called patternicity , and conversely, not perceiving patterns that are present in the visual stimulus is called apatternicity.

group-296570_640

A motif coexists with other motifs, and is perceived if within a field of perception. Basic togetherness is of proximity. Other coexistence occur through the incidences of similarity, scaled identity, mirroring images, reverse positioning (upside down), direction, hierarchical order and density of placement define the nearness. Motifs overlap, partially converge, or merely touch at the edge. Such connections ensues pattern making relationships.

umbrellas-2780390_640

A motif establishes several sets of relationships to form a pattern: mutual distancing (density), position from the field edges, and confirmation of the operative environmental forces (gravity, magnetic field, air, temperature stresses). The density is defined by size, scale and form of the motifs. A pattern is recognized through following characteristics: Congruity (rotations, translations, reflections), Similarity (scale, orientation), and Isotonicity (similar interpretive or metaphoric meaning). A motif need not be central to a pattern, but rather recurrent element.

11 complex image goya painting the third of may

A motif, its pattern, whatever we visually perceive, is subjective, situational and circumstantial experience. The visual perception is formed by degree of familiarity, need, environmental conditions, foreground-background contrast, the visual frame, context, etc.

fractal-298461_640

In literary narrative, a word or an expression, when used frequently and in synonymical manner, creates a pattern. But since such choices are of the author, it becomes a personal statement, a pattern. An author habitually uses these as an allusion. The motif or pattern, both allegorically indicate a thought, idea or concept. The symbolism behind the motif persists in the cultural setting but for a time. Beyond this the motif however remains simply a crafted stroke.

500px-heptominoes

In oral expressions, speech or music, the Vowels, Consonants, Octave or Sur (Indian) etc. as motif are placed together form a unique note or pattern. And the same conducted with different time interludes, become varied set of speech or music pattern. To this set of variations, the speaker adds phonetic variations, whereas the musician adds own mannerism of playing or singing. The music instrument and the space add peculiar reverberations. The motif and pattern of the sounds change with the ‘playing’ and broadcasting tools, both favouring certain frequency range and tonal (bass-treble) quality.

screenshot_2018-12-26 fgmpaperiiyr2 pdf

‘A form constant is one of several geometric patterns which are recurrently observed during hallucinations and altered states of consciousness Klüver noticed that mescaline produced recurring geometric patterns in different users. He called these patterns ‘form constants’ and categorized four types: lattices (including honeycombs, checkerboards, and triangles), cobwebs, tunnels, and spirals’. (-Wikipedia).

butterfly-1139043_640

form_constant

Motifs have a form, often with intelligible process of creation. But we try to interpret and reformat it through logic of mathematics. Man made motifs as repeatable strokes are simple but the ones ‘experienced’ in nature are often inexplicable. Natural motif forms do not exactly replicate. Some believe these can be ‘learnt’ through fractals (fractals are mathematical patterns that are scale invariant). The motif-forms at simple level are like spirals, circles, waves, meanders, crystals, snowflakes, bubbles etc. But complexity arises with sequenced repetition, axial rotation, mirroring or reflection. The motif, as single element may not offer much but as placed in various patterns it gains meaning.

26069173147_91846d8774_z

This is the 25th article (in continuation of old series -new beginning) on ISSUES of DESIGN

.

EXTERNAL or INTERNAL ‘REVEALS’ of OPENINGS

Post 685 –by Gautam Shah

.

6 French door in thin wall httpspixnio.como

Walls are chiefly load bearing entities. The thickness is the third dimension to the nominal planner structure. The third dimension has a functional depth, and architectural character. The Architectural expression of the wall-depth modulates the facade and gives a massing flavour. The functional depth frames the view, and regulates the illumination in the interior space.

2 Squared edge openings in Thick walls 32723717541_b24cbfb0ca_z

Openings in thicker walls have external or internal ‘reveals’ surrounding the frame. The bottom section forms the ledge of the sill. Openings placed on the outer face create deep an inner side or intrados (originally intrados meant, the inner curve of an arch or vault). Similarly openings placed on the inner edge form exterior side or extrados (originally extrados meant, the outer curve of an arch or vault).

15 Siuntio._In_the_halls_of_the_manor._-_panoramio_(1)

The deep interior sides, ifsquare-edged (at a right angle to plane of the window), made the perceived size of the opening smaller, then it actually is. This type of setting on interior sides, was not a major issue, where the room spaces were comparatively narrow, and so reflection from opposite walls was available. The narrow spaces were due to the technological restrictions and for functional requirements, such as in long halls and church buildings. In squared buildings the illumination was balanced from windows in the drum perimeter of the dome.

3 Abbaye_de_Silvacane_-_galerie_nord_06

The deep exterior sides, if square-edged (at a right angle to plane of the window), made the perceived size of the opening smaller, a desired arrangement to enhance the wall area and de-emphasize the presence of gaps of openings. It reduced the ingress of winds and snow-rainwater. To emphasize the presence of gaps, portals were added as the opening’s treatments.

9 Squared edge window_shadow_open_window_window_sill_wood-89674.jpg!d

The square’ edged openings have high contrasting brightness. Such windows require counter illumination to reduce the glare. To distribute the light better in the interior space, inner sides (-intrados with the window fixed on the outer edge) and an outer side (-extrados with the window fixed on the inner edge) were splayed by chamferring. The angled side surface was further carved, fluted with ornate borders or architraves.

1 3 M thick walls and chamferred internal edges of Guard room at Burg Meersburg on Lake Constance in southern Germany Wikipedia Image by Tobyc75

4 Canterbury_Cathedral_11

5 Norwich Cathedral 5987419099_94fe78d27d_z

Inner vertical sides, window heads and the sill, all were sloped to enlarge the reflective surface area. The chamferred sides on the outer face allowed more light by increasing the sky component, and allowed wider view of the outside.

20 Murals need evenly distributed illuminated wall Basilica di Sant Apollinare in Classe Wikipedia Image by Flying Russian

The effects of square and the chamferred sides of openings were well known to the mural artists (working with different mediums such as tempera, mosaic and frescoes painting), who accordingly composed the stories, shading in the scene, perspective angle, colour’s  hue and tone of artwork.

18 Dunstaffnage_chapel windows

14 Romanesque_church. panoramio Wikipedia Image by More pics than views…

In Romanesque and early Gothic architecture the windows were fixed on inner face, creating a plain and undisturbed interior surface. But by the time this was perfected, the Gothic walls were completely diminished, and windows were as wide as the gap between two columns.

Stained Glass in Windows

19 Basilica_di_aquileia,_interno,_navata_centrale_02_controfacciata

13 Exterior flush windows deep set on interior side Santa_Maria_in_Cosmedin-templom_belso

Side walls of Gothic buildings became thinner due to the arrangement of flying buttresses and use of load-bearing columns. But the same advantage was not available in case of un-buttressed Front wall. The entrance doors of Gothic churches were flush-set on the inner face, and that allowed better view across and fuller distribution of light. But the doors set deep in the thick walls, needed chamferring with serrated sides.

21 Chartres Cathedral serrated door portal .flickr.comphotos69184488 N061189397807

In Baroque architecture the depth of opening was concealed with the projected facade elements like columns, pilasters, cornices, or pediments. In Italian Renaissance the facade had an applique lattice like a pattern that united several openings. In post medieval period, windows began to protrude out of the buildings, over into the narrow street. Bay and oriel windows, Mashrabiya openings in the middle East, and Zarokhas in India transgressed out, mainly to gain sideways view and air. The multi sided mass of the projection became a personal statement.

8 Deep set openings Hindola_Mahal,_Mandu,_India

In post medieval period, window projections created serious fire hazards and issues of encroachment of public lands. Both of these were corrected through improved fire laws and defined easement rights. Fire laws required windows to be within the wall (without any projections like ledges or hanging shutters). Later the Window tax curtailed the number of openings in a building.

22 Openings

Gothic architecture had already shown how to divide large openings with traceries of mullions and muntins. Large windows in thin walls require framing and masking, but small depth did not allow formation of integrated architectonic elements, or scooping out for niche creation. Architectural add-on elements such as half columns, extrados, porticoes, etc. were additives placed to frame and highlight the opening.

24 Gothic window surfave articulated by Mullions, muntins in tracery 5987964570_01c2171afd_z

The surface of the window was strongly stated by articulated divisions, contrasts between glazed and other surfaces like rusticated masonry. Windows were also placed in inward or sunken bays. The mid-wall between the windows was treated as very shallow niche or bordered frame for murals, paintings or placing a fireplace or library cabinet. Building’s facades of thin walls were also undulated by outward bay windows, ledges and other projections.

10 Protected Opening Tim 1965 1601_I_Street_NW_-_Washington_DC_-_window_detail

Thick walls accommodate the shutters of doors and windows within the gap. But shallow window gaps offer no shading. Some form of external shading system is required. Such shading systems have been used for creating architectural facade system, as in Chandigarh Secretariat building.

16 Chandigarh_Secretariat

Glass curtain walls are thin body construction, often without any projections for solar protection. This now sought through the glass technology, and the ventilation through separate HVAC system. Thin walls save floor space, and so are economic in spite of the compulsory recourse to other compensatory facilities. The nominal architectural play of depth and shadows for 3rd dimensional visual depth is not available with openings in very thin walls. This is now recreated by volumetric play of the building mass, or by variegated surface finishes. For such surface modulation, other means include visual reflectance and glows (illumination from within).

Modern Windows Exterior Building Architecture

23 Industrial Age Window 6064685431_fd7d7b189c_z

The vividness of stained glass windows or the colourful lanterns of Gothic eras are now recreated through see through LED glass. At another level the touch screen provides the same fare. The mix of the two will become part of architectural and interior face of buildings.

26 Virtual Window 15370207660_617f953a34_z

.