RYUKYUAN LACQUERWARE

Post 704  –by Gautam Shah

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This article is compiled from several Internet resources and my own lecture notes on Surface Finishes.

1 Footed Tray with Figures in a Landscape and Symbols of Seven Immortals LACMA

2 Footed Tray

Ryukyuan lacquerware (Ryukyu no Shikki) is the chief craft product of the Ryukyu Islands (Okinawa Prefecture of Japan). Shikki incidentally, stands for lacquerware. Ryukyuan lacquerware represents a unique form and style distinct from the neighbouring places. These have three distinguishing features: the brilliant red colour of the background, gold patterns and use of inlay of mother of pearl. Many items and techniques of making the lacquerware of Ryukyuan, elsewhere in Japan and China are common. ‘Ryukyuan lacquers, yet, are neither purely Chinese nor purely Japanese’. The craft of making or decorating with lacquer is common in many Asian countries.

3 Red lacquer tray with gold engraving Song Dynasty

The art of Lacquerware came to Japan with Buddhism in mid 6th C from China through Korea. When Okinawa was the Ryukyu Kingdom, the lacquer items also came through trade with China during 14th and 15th C. Ryukyuan artisans over the years while exploiting, both the local and imported materials, matured the lacquerware into an ethnic craft by using Ryukyuan motifs.

21 Bowl with cover from Okinawa, 18th C Mother of Pearl Inlay work Wikipedia Image by Hiart Honolulu u_Museum_of_Art

20 Mother of Pearl

4 Lacquer case

Ryukyu, lacquerware have over the years seen several political upheavals, forcing imposition of new styles, but yet the most popular red lacquerware has survived such vagaries. During the 17th and 18th C, following the invasion of Okinawa by Satsuma the Chinese style black lacquerware production was made mandatory. It resulted in mixing up of Ryukyuan and Chinese styles lacquerware in single pieces.

5 Red Lacquer Cabinet with Butterflies

In Ryukyu, lacquerware like cups and bowls were used for offerings in religion rituals, whereas items such as necklaces and decorative utilitarian articles were offered for political gratification. The descendants of Ryukyu samurai and royalty used the lacquerware in formal places in order to forge a connection between people and the Gods. The royal Sho family of the former Ryukyu Kingdom have a set of lacquerware luncheon-basket, leg bowl and wine cups, cherished as the national cultural asset.

6 Chest with Peonies motifs LACMA

Ryukyu lacquerware, over the ages, have seen several modifications. These were, in earlier periods due to the change in patronage by the rulers and also inclusion of new patterns, materials and techniques in the repertoire. In modern times these have been mainly markets driven changes. ‘Chinkin’, the gold inlayed items had traditional vermilion and additional green lacquer. ‘Raden’ the flaked seashells inlayed articles were produced in red lacquer. In later periods Raden pieces were produced with green turban or marine snail shell over black lacquer. From 18th C other techniques were used, such as Hakue (foil lacquering) and Tsuikin (red lacquerware with raised designs). After the annexation of the Ryukyu Kingdom in 1879, Ryukyu lacquerware began to be produced by private workshops and companies.

7 Cosmetic box Kamakura period 13th C plover design in Maki-e Lacquer Tokyo National Museum

4x5 original

Hakue consists of painting a design in lacquer with a makizutsu or a kebo brush and then applying gold leaf or gold-silver powder while the lacquer is half dry. Modern method uses gold, silver, copper, brass, lead, aluminum, platinum, and pewter, as well as their alloys. The Maki-e method was initially used to decorate arms like swords, but adopted over lacquered surfaces.

8 Sutra Box Buddhist with Gold Ming Dynasty

Chinkin (Qiangjin in Chinese) technique is submerging or sinking gold as leaf or powder into carved cinnabar red-lacquered surfaces. This required very fine knife engraving work onto a polished surface. Ryukyu craft-persons preferred a variation of relief building the designs with lacquer putty, called Tsuikin, over the original Chinese method of lacquer (tsuishu) carving. Tsuikin, post 18th C is more common method. Thin sheets of Lacquer mixed with pigments are rolled out. From these various motifs are cut and applied to the craft-item. Due to its easy process, the Tsuikin is very popular process. Hananuri uses the contrast between vermilion and black lacquer. Raden uses seashell flake for inlay work. Mitsudae is a method oil painting (with lead-based pigments) motifs like flowers, birds and skies with white, pink and other bright pastel colours or coloured lacquers (iro-urushie).

10 Modern Vietnam Banana leaf motif in Gold leaf on a red background 1953

In the Heian period (794-1185), when in Japanese history Buddhism, Taoism and other Chinese influences were at their peak, sacred vessels and other articles used by temples of various faiths were of Maki-e style lacquerware. Similarly aristocrats, samurai families, merchants and artisan classes were using Maki-e style items as status symbol and proud possessions.

11 Dish (Pan)With Dragon amid Clouds LACMA

The lacquerware have evolved with many decorating techniques.

Lacquer as a raw material (resinous exudate or secretion of insects flourishing on certain trees), is not local. The material was brought to Okinawa through trade. Exclusive officers were appointed to supervise the production of lacquerware in the Ryukyu Kingdom.

12 Chest with Cartouche Figures on Donkeys in a Landscape Magnolias Plum Blossoms Peonies Birds and Butterflies LACMA

Local woods of Okinawa, such as Deigo coral tree, Sendan or bead tree, Egokoki, Gajumaru, with uniform grains are used.

13 Seal Box with Lotus scrolls & Eight buddhist symbols Red lacquerincised with Gold Qiangjin style

■ Okinawa islands are part of the northern limit of Black sea current which offers the hardest turban shells. Use of wafer-shin shell, prepared by boiling the shell in water for about a week and then pulverizing it (mijingai-nuri) is a local technique. The mix of pulverized shell and lacquer, after applications are rubbed to make a smooth surface (roiro-togidashi).

19 Korean Box, Lacquer inlaid with mother-of-pearl and tortoise shell

15 Gold Lacquer work Tray Japan 19 C

Ryukyu, lacquerware motifs include papaya, plantain, palm trees, hibiscus chrysanthemums, peonies, and other representations of islands’ coastal zone flora. Similarly local and exotic birds and animals, such as long-tailed hens, wagtails (genus Motacilla), chicken, swallows, wagtails, sparrows, mandarin ducks, peacocks and peonies, and a fictional phoenix is found here. Designs that combine and depict flowers and birds are called kachō-zu. Many non local motifs were included to serve the export markets.

Digital Capture

17 Channapatna India Lacquer coated toys

Lacquer coating is common in many parts of the world. Thin lacquer coatings or as applied in multiple layers, nominally do not crack or peel off the surface. Lacquers with additives like wax or oil as plasticizing agents can be applied on many surfaces.

16 Sake Bowls with Lacquer motifs

Shellacs finishes, were the first true clear coatings. Sankheda (Gujarat India) furniture and Chinese lacquer items are examples of shellac coatings. Shellac is a very effective coating material even in very thin viscosity, as a result its penetration and filling capacity is excellent. It is eminently recoatable so a very level and glossy surface is possible. Modern synthetic version NC (nitro-cellulose) lacquer provides a very clear and superior film compared to a shellac and maleic modified resins. Lacquers are modified with alkyds, other synthetic resins and plasticizer so as to control adhesion, softness, toughness and malleability. At fixed levels of viscosities it is possible to formulate lacquers with variable solid contents by varying the degree of molecular linkages. This property renders lacquer as the most versatile coating material for wood, metal, metal foil, leather, fabrics, fibers, plastics, stones, metals, glass, masonry, paper, ceramics, grasses (cane, bamboo), human hair and skin.

Lacquerware from across the world

Links to My other articles

446 COROMANDEL LACQUER

https://designsynopsis.wordpress.com/2019/05/01/446-coromandel-lacquer/

UNDERSTANDING LACQUERS

https://interiordesignassist.wordpress.com/2015/08/16/understanding-lacquers/

LACQUERS or NC LACQUERS

https://interiordesignassist.wordpress.com/2014/04/27/lacquers-or-nc-lacquers/

SHELLAC COATINGS and FRENCH POLISHES

https://interiordesignassist.wordpress.com/2014/04/26/shellac-coatings-and-french-polishes/

LIST of BLOGS on LACQUERS, PAINTS and THINNERS

https://interiordesignassist.wordpress.com/2015/08/17/list-of-blogs-on-lacquers-paints-and-thinners/

 

 

 

ART and DESIGN COMPOSITIONS

Post 703 –by Gautam Shah

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8 BMW Welt, Munich, Germany Wikipedia Image by Maximilian Dörrbecker (Chumwa)

In art and design, we deal with forms, as holistic or composed entities. The holistic entities also turn compositions, when these are expressed through contexts like media (frame or the extent), setting (site, environment, landscape, illumination), or referenced (orientation, location, sensorial exposition). The pursuit of creativity is at several stages, in realizing the holistic form or graduating to a state of holism after the composition. The assimilation of several elements into a ‘formal’ composition creates a ‘striking’ arrangement, ‘balanced’ placements and an ‘organization’ with synergy and potency of new possibilities.

10 sage-4331425_640

For holistic forms, the creator, if the scale permits, can roll the entity to have an all-around experience, but the moment it is rested or delivered it gains a setting. For holistic forms that are too large, the roll around occurs over a ground, and that becomes its defacto rest. Holistic forms like sculptures or art installations have no functional livability, but as a static structure must rest and get set. Dynamic entities like balloons, space capsules or stations are rotated axially and sometimes three dimensionally to create a ‘dynamic equilibrium’.

9 Experience Music Project, Seattle,WA,USA Gehry Wikipedia Image by EMP-SFM

For composed entities it is necessary to have a bearing. Primarily it is the ‘ground’ where these sit, tie up or rest. And where such provisions do not exist, the bottom of the composition (closer to the omnipresent gravity) becomes one. Elements of the composition at the lower half of the field are closer to the ground and so perceived to be more static. The stability is also enhanced by elements of composition with mass wider in the lower parts. Inclusion of lighter elements such as air, water, sky, flowers, develops a sense of ethereal floatation. Surreal art has not escaped the gravity.

13A Michelangelo ART Ethereal floatation The Creation of Adam

13 Jeremy geddes defying the Gravity

Holistic or composed entities of art and design can remain personal, if are fleeting expressions. But most other expressions, to reach a wider community, must persist. Grounding is the first step towards the persistence. Grounding is related to the force de majeure, the gravity. Grounding creates a balance. Its lack unnerves our sense of regularity, but its oddity excites us. The balance is about distribution of mass around the vertical and across the perceptible zone. Vertical is the post struggle phase of gaining the equilibrium.

11 When Horses Gallop by Andres Barrioquinto

The height of the vertical is always referenced to the horizontal of the ground. The depth of perception stretches the ground in perspective, and proportionately reduces the vertical.

quantum-869533_640

Some form of equipoise is sought for compositions. The balance with equipoise forms symmetry. For equipoised balance the elements around vertical must remain with it, bearing the same effect of gravity, but their repositioning can cause un-equipoise. The symmetry around the vertical, however, is affected by the position of the vertical in the field of perception.

Delhi, Lotus Temple

7 Holistic form Matrimandir Temple of The Mother Auroville Pondichery India

Symmetry is more apparent in visual fields as two eyes can focus to a single object. Two ears need some attenuation to perceive the balance. For the sensation of touch balanced localization is difficult to achieve. Smell and taste buds have singular identity, but spatially too close for distinctive perception of balance.

15 Paul Klee

The zone of perception varies in extent and over time, mainly due to changes in contextual conditions and environment.

6 46702528731_15c7cc5a6c_c

The holistic entities are of many types, copycats, metaphoric or abstract. Copycats duplicate the original in altered scale, sensory (colour, texture) effects and purposes. The metaphoric expressions could be literal models or images of human or other beings (in natural or grotesque form). The abstract presentations remain obscure for their imagery or meaning.

5 Escultura de Frank Gehry El Peix, fish sculpture located in front of the Port Olímpic, in Barcelona, Catalonia, Spain 1992

The composed creations, unlike the holistic ones have many elements, some are mutually related, due to the purpose, proximity, similarity, counter balancing, scale, massing, etc. These constituents individually or in combinations evoke the past experiences. The past experiences are subjective and fluid. A composition remains a frame in a time slot of a happening.

14 VR offers a way out of the inhibitions for Surrealist Art Movement relativity-escher

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The CORNER WORK PLACES

Post 701 –by Gautam Shah

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This is the 5 th article of series: ‘CORNERS’.

Earlier articles were > 672 The CORNER -metaphor / 673 The CORNER in City / 678 CORNERS and Neighbourhoods / 696 CORNERS and Public Spaces.

1 The work place in the corner Wood engraver

A work-nook was the historical culture of work space. The private work area was mainly used for reading and writing, and only occasionally for interaction with others. Work desks were wall abutting storage cabinets with a foldout work surface. The work zone was located in the corner of a large room. In Northern Europe, the desks were placed on a slightly raised platform. The platform and the corner position both helped to keep it protected from cold draughts, in unheated rooms. The corner was the least participating space and so secluded one. In ancient walls load-bearing structures, the corner did not allow any opening. In later periods, when window glasses were clear to provide decent view, the work nooks were placed beside the openings.

2 Newman's desk facing a wall in the Birmingham Oratory Wikipedia Image by Lastenglishking

For personal, reading and writing, a work place in the form of a bureau desk was fairly a functional entity. A visitor, though had to stand or sit on the side. And for a professional like a lawyer or public servant, the interactions with a group of visitors were awkward. And yet the bureau desks remained the only form of work-tables for more than 600 years, till about mid of 20th C.

3 room-1925065_640

The bureau desk, by itself, was fairly compact and a functional entity. It could be placed almost anywhere in a room or shifted around. It did not require any other adjunct pieces of furniture except a seat. Its most important character was its single person’s utility. It was not a participatory entity. The sitting person faced the wall and so lacked the authority.

4 5f63be4fc2e40189129f2695258d7d0a

5 William Carey Used Desk - Carey Museum - Serampore College - Hooghly

There were other work-tables or platforms in the built spaces. Kitchens had food preparation work-tables or platforms close to cooking fires. These platforms served as dining tables and sleeping beds for servants. But people seating around a table, equally participating in discussions, was more democratic. Such a participatory set-up was inconceivable for the boss who wished to be different from others.

7 ART by Pieter Brueghel the Younger The Village Lawyer Office --There no place for the visitor

Historically, the democratic nature of the kitchen table and the non-participatory bureau desk, both coexisted. The kitchen table mainly used for food preparation and dining had marked positions for house members. At the head side of the table -a chair with handles, was the master’s or president’s chair. The bureau desk, primarily a work-unit, later found a place in the dining pantry areas for storing china and cutlery. This was later placed in bedrooms as a multi-utility storage system.

8 Ancient kitchens had a multipurpose work table

6 table-wood-vintage-mansion-house-floor-782102-pxhere.com

The bureau desks moved from homes to commercial establishments, as the boss’s place. The bureau desk was a wall abutting unit, and so it was easy to source the services like electricity, telephones etc. It was placed on the inner side of the office room, perhaps, the boss did not like anyone to be on his backside. Such bureau desks were boss’s privilege. The commercial establishments had ill-defined positions for others like assistants, secretaries or visitors.

11 Antique Office Photograph 1920s

9 Antique Office Photographs, ca. 1920s (30)

Forty years ago, a corner office, with two side corner windows was most sought after position by any executive. In the interior side it had furthest location. This was easy to provide in buildings with small foot print, advantageous multi face sites and fewer executives per floor. But in dense urban localities, due to high costs, the executive offices were smaller and large in numbers. Architects were forced to find ways to add more corners to the buildings.

12 The work position equals to status in the setup 2899334278_9ac1ee5808_z

In early businesses there was a strong hierarchy of work positions based on social connections and seniority of age. One could enter an organization and continue to be promoted till one died. There was no retirement edge. In the meanwhile, an employee is consistently on the move, from a larger desk, position near a window, exclusive telephone connection, a partitioned cubicle to a personal cabin. The moves were not always well marked or visible.

13 Staff in office perceive heirarchy 34583518715_2df4f6e20c_z

Multitasking lol

A corner is like a cone of a megaphone, one can express loudly and compel others to listen, like happened in an amphi theatre. The wider end can bring in noise, like the wine glass for eavesdropping. A corner work place, simultaneously works both ways, so it is not a desirable place to occupy.

16 Work desks ee39cbf2778841b69455615c13b3dcb4

15 Lower staff moved away 13545193213639

One would not want to be cornered, at least willingly, but in the commercial setup, top executives seek it. A corner office was a sought after place. It had prestige and had windows on two exterior walls. Most office work spaces have one window or none at all. Corner offices were called C-suites. Corner offices were furthest on the floor and one had to cross several planned and unintentional hurdles to reach it. To avoid such a situation, the C-suites were stretched right up to the reception area, taking up quarter or more space of the floor. This spread matched the prestige associated with the space, but thetoilers of the office avoided visiting it, unless promoted to it’.

17 Corneroffice

10 bureau desks in old offices 170216oldoffice

Cubicles or cabins were interim destinations for the executives on way to the corner-offices. The cubicles or cabins always occupied the peripheral edge, for the window view. When buildings had small footprints or narrow widths, the peripheral preference did not disturb the daytime illumination. But with large space commercial buildings, the low level staff was denied daytime illumination and outside views. The cubicles or cabins were opaque barricaded, for the perceived threat of sound leakage. The corner office had least interior edge exposure and so offered more privacy. The physical isolation had however, no relevance when with telephone one could connect to anyone. The glass partitions dissolved the edge.

18 Corner Offices architecture-1031283_640

19 architecture of creating corners 1269967 httpspxhere -comenphoto1269967

Buildings once substantially depended on natural light and thermal management (heating, cooling, ventilation). The offices had two distinct spatial divisions. The best sections were on the outer periphery occupied by people engaged in core business, whereas the inner areas were of compromised environment and housed the staff engaged in data management and communication.

21 office-room-classroom-design-commercial-business-people-553428-pxhere.com

The conditions began to change in the corporate world, post WW-II. The Senior positions were filled, not through promotion within, but negotiated migrations of talent. Earlier promotion was accompanied by designated spatial status like cabin or cubicle, but now the demand was freedom to work anywhere and any time, even beyond the spatial boundaries of the ‘work-place’.

27 Working from Home 2478049891_5104b4d028_z

The capacity to work at home, has intensified the urge for social contact with the colleagues. Physical encounters are required, and for this a variety of spaces are required. The need for variety is fulfilled by hired spaces, often away from the town. Little business is talked here, but social assurance is available.

27 Informal office Coworking Space in Hanoi.jpg

The changed work-culture attitudes have forced new configurations for interior space planning and forms of architecture. Millennials want no Hierarchy but Holocracy. Holocracy is a decentralized management system with a flatter power structure, where everyone is a leader. It distributes authority and decision-making throughout the organization.

20 3344142642_c4d3bfa042_b

New offices have corner spaces but used for meeting or relaxation (coffee rooms). The work environment is where people work from any table in the office. At home or coffee shop. Designing open office work-spaces is very different. New offices (not to be confused with open plan office layout) are much smaller, and efficient in space-use than the old offices.

23 Gulf_Worldwide_Sales_&_Marketing_Team

26 1940 census workers transferring data to punch cards and yet volumes were hu 7024456499_6054e068ab_z

Offices or Work places have seen revolutionary changes in Form and Functions, because Technological and consequent Social changes demand it. During the last century, the changes have substantially related to the data management modalities. Once upon time, public offices had to allot 40-50% space for storage systems, and substantial proportion of staff was used for fetching, filing, classifying, copying, printing, storing, arranging, retrieving, distributing the data within the office, and dispatching it beyond the office. The data management now relies on remote access and virtual storage systems. The communication was once physical, and required lots of passage spaces, staff, messengers and personal contact.

Corner Desk

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CHARLES RENNIE MACKINTOSH

Post 700 –by Gautam Shah

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01 Chairs By Mackintosh

Charles Rennie Mackintosh (1868-1928) was a Scottish architect, designer, textile designer, product designer, graphics artist and water-colourist. He lived most of his life in the city of Glasgow. At young age he was afflicted with rheumatic fever, this resulted in a droop on one side of his face. Because of these disabilities, young Charles was encouraged to spend time in the countryside. And love for the countryside and flora was to enliven creativity through his life.

1 Tea Room Room_de_Luxe

9 TEA ROOM

Mackintosh was a reclusive child who had difficulties in understanding the emotions of others. He used his sketchbooks as a way to withdraw from the world, manage his own outbursts of rage. Mackintosh in his later years became an avid painter of flowers. Macintosh art work of nature in pencil and watercolour was exquisite and botanically accurate. Later in life, disillusioned with several un-built architectural designs, Mackintosh devoted himself as a watercolour artist. With Margaret, his wife, they painted many landscapes and flower studies.

1 a Charles_Rennie_Mackintosh_-_Cactus_Flower

1 b Fetges CR Macintosh 1927

1 c weathercade Charles Rennie Mackintosh Willow Wood

‘Art is the Flower – Life is the Green Leaf. Let every artist strive to make his flower a beautiful living thing, something that will convince the world that there may be, there are, things more precious more beautiful – more lasting than life itself… you must offer real, living – beautifully coloured flowers – flowers that grow from, but above, the green leaf – flowers that are not dead – are not dying – not artificial – real flowers springing from your own soul – not even cut flowers – You must offer the flowers of the art that is in you – the symbols of all that is noble – and beautiful – and inspiring – flowers that will often change a colourless leaf – into an established and thoughtful thing’.

Mackintosh, Charles Rennie, 1868-1928; Wall Panel for the Dug-Out (Willow Tea Rooms, Glasgow)

3 Margaret MacDonald Mrs Mackintosh Opera Of The Seas 1903

Mackintosh joined Glasgow School of Art at fifteen and a year started working as a trainee draftsman with John Hutchinson. After that apprenticeship in 1889, he joined Honeyman and Keppie. In 1890 he won £60, as the coveted ‘Alexander Thomson Traveling Studentship for Public Design. He decided to go to Italy and Europe. This changed his life with varied design related experiences. It was here that Charles Rennie Mackintosh met fellow artist and future wife, Margaret MacDonald, who influenced his life intensely. Macintosh, wife Margaret, sister-in-law Frances and her husband Herbert Mac Nair, were known as the The Four or the Spook School’, and the Glasgow Style. They influenced the Glasgow art scene and European design movements such as Art Nouveau and Secessionism profoundly. The Four exhibited widely in Europe, both together and individually, and Mackintosh received commissions for furniture from patrons in Berlin, Vienna, and elsewhere in Europe’.

4 a Galagow School of ART

4 Mackintosh School of Art

Architecture of Charles Rennie Mackintosh is a contrast between strong right angles and floral-inspired decorative motifs with subtle curves’. The Glasgow School of Art project, considered to be the first Art Nouveau style building, gave him international reputation. It was constructed in two stages separated by nearly half a decade, allowed lots of improvisation during the second execution. During the period he completed a curious project, the Queen’s Cross Church. It is now restored and houses the Charles Rennie Mackintosh Society headquarters.

House for an art lover Glasgow)(3811523958)

Macintosh created a new design paradigm from the natural forms of plants and flowers in an age when most of the modernist designers were trying to rediscover Greek, Roman, Egyptian and other ancient expressions. ‘We must clothe modern ideas with modern dress’. A friend said, ‘the creations of Mackintosh breathe. The interior and exterior spaces designed by Charles Rennie Mackintosh sing of serenity, spirituality, and of rigorous attention to detail’. He had a knack of making hard surfaces and tough forms, soft and elegant. His was meticulous, delicate and extremely restrained. The husband-wife partnership created a unified expression. From around 1904, Mackintosh began to adopt more formal, angular geometry, gradually doing away the cursive form of Art Nouveau.

17 a Ruchill Church Mackintosh

52 Ruchill Church Hall 17

Charles Rennie Mackintosh’s only other ecclesiastical work was the Ruchill Free Church Halls which were completed in 1899. Significantly, the Free Church did not ask Mackintosh to design the adjacent church building.

‘The architect must become an art worker… the art worker must become an architect… the draughtsman of the future must be an artist…’ Charles Rennie Mackintosh.

50 Queens Church Mackintosh

Church buildings by Mackintosh > Mackintosh designed two religious buildings in Glasgow. Queen’s Cross Church is a former Church of Scotland in Glasgow. The site was on a corner location, with adjoining tenements and a warehouse. The Building started shortly after Mackintosh finished his competition design for the Glasgow School of Art. The design has Gothic features. The window features a blue heart. After being decommissioned in 1970, it serves as headquarters of the Charles Rennie Mackintosh Society. The adjoining church hall provides tearoom facilities with a display many Mackintosh artifacts including replicas of the chairs he designed for the Willow Tearooms.

56 Ruchill Church 37350818736_cac711721f_z

Mackintosh works had subtle Scottish flavour, but he consciously adopted freshness that marked his modernism. He was concerned for functional, practical and simplistic features. He never used heavy ornamentation of past styles. Much of his work includes contribution by his wife, Margaret MacDonald whose flowing, floral style complemented the formal, rectilinear architectural work. Unfortunately his work was appreciated only long after his death.

31 Bedroom furniture by Charles Rennie Mackintosh Wikipedia Image by Karora

By 1914 Mackintosh lost hope of ever receiving the recognition that he truly deserved. He became stubborn and uncompromising. His career and health both were low. After the stay in Walberswick, conditions began to improve. This was just before the war (WW-I), but he was called a German spy and for a while put under house arrest. He moved to London, in the early 1920s, to reignite his carrier. Here Macintosh began to concentrate on water colour art. Later they moved to France in 1923-27, where he painted scenes of the French coastline. He painted Port Vendres, near the Spanish border and the landscapes of Roussillon. He sought to capture the harmonious coexistence relationships between man-made and natural elements through architectural landscapes in watercolour paintings.

20 Hill House by Mackintosh

Macintosh was a meticulous person, and his working drawings included exhaustive details for architecture, decoration, and furnishings. His wife, Margaret MacDonald immensely contributed to this documentation. These drawings have helped restore many of the projects with original details. All his major architectural commissions like homes, commercial buildings, interior renovations and churches were between 1895 and 1906. Many of his projects, however, remained on paper.

Charles Rennie Mackintosh (Kelvingrove Glasgow) (3838792257)

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CHAIRS -1 Floor Seating

Post 699 –by Gautam Shah

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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.

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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’.

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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.

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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.

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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.

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MY BLOGS > LINKS with #URBAN

Post 694 –by Gautam Shah

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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/

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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/

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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/

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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/

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VANDALISM -Issues of Design 27

Post 692by Gautam Shah

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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

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DISTANCE as an ELEMENT of DESIGN -Issues of Design 26

Post 689 –by Gautam Shah

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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.

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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.

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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.

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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.

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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.

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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.

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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

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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.

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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.

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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.

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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.

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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.

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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.

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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.).

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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

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CASEMENT WINDOWS

Post 688 –by Gautam Shah

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Bay Casement Boothbay Maine Ocean Harbor Window

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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.

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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.

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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.

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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.

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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.

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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.

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

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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.

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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.

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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.

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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.

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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).

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

Post 686 –by Gautam Shah

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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

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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

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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‘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, checker-boards, and triangles), cobwebs, tunnels, and spirals’. (-Wikipedia).

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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.

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

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