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.

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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.

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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.

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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.

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

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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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MORPHING the ARCHITECTURAL GEOMETRY

Post 671 by Gautam Shah

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Architectural forms are primarily of neat geometric constitution. Externally these may remain holistic, but internally evolve into a complex entity. The interior morphing compulsions are for new spaces and novel experiences, whereas the gamble on the exterior front relates to new shapes and silhouettes. Internal uses are varied and dependent on the orientation and connection to exteriors, but external side basic demands are for ethereal lightness and grounding to the gravity. On the exterior front, to sustain the neat geometry and maintain the holistic form, several compromises occur. These include lopsided connections with the outside, regimented face on all sides, irrelevant scale and form for the locality and community. Where such liberties are required, these are sought to be covered up with a monophonic applique skin. The skins could be opaque and glossy, or transparent and reflective. The skin is also included with extensive texture of architectonic elements, surface treatments and ornamentation, to camouflage the variations.

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Architecture India Temple Orchha Orchha Fort

The validation of a holistic entity, on functional, structural or social is not possible, unless wide range of compromises are accepted. Historically, large number of architectural forms start as a composition of several sub entities, but mature into a singular form. This was more plausible where buildings were designed by a master architect, and later handled by expert builder or a strong political patron. The comprehensive forms also emerge when cannons of styling or architectural orders are well established.

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The maturation to a comprehensive form has occurred on the same building during its planning, with later day improvisations, or as a style upgrade across a region. Such changes come through extensive rejuvenation of the shell or as superficial application. Often, there was no conscious effort for a comprehensive form, but rather affirm to a trending ‘style’. The style morphed forms were more unifying with new orders, thematic confirmation, repetition of patterns, axial symmetry, proportions etc. It also gave way for superfluous decorations to be added, by later generations.

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Architectural geometric forms besides being too neat and simplistic have little to offer in terms variations. So on external and internal sides, the form is transgressed. The bloated form causes spatial diversity. The geometric form is stretched outward as projections, galleries, and inward as cutouts, chowks, ducts, etc. The transgressions occur over existing openings or new ones, but all bring in more illumination and visual connections with nature. Later day structural changes are rare, as many were load-bearing entities. Morphing new things over existing structure was an easier strategy.

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The outward push or exterior transgressions of buildings have had two basic purposes. To create a comprehensive architectural entity by stabilization (wider base), stepped form, hierarchical arrangement of constituents, linking of loose elements, balancing the composition, add segments of interest on the side that are deficient, establishing connections to the site topography or neighbourhood, strengthening or recasting the style value, increase the footprint and for adding the mass.

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Building forms are pushed outward to enlarge and reconfigure the shape of interior space. The breach removes the omni present sense of enclosure of interior spaces. The outward transgressions, like verandahs extend the threshold or buffer zones. In many instances it facilitates sideways view, additional aeration and illumination. The outward push of the building mass added surface area, and space for new architectonic elements or units for pattern making.

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The outward push makes an architectural composition multifarious, but it is the inward push that changes the spatial quality and often the raison d’ etre for the adventurous undulation of the outer form. Openings created or reformed for interior space modulation, began to create a visually recognizable entity at twilight and night times against the darker setting of the town. Steeples, lanterns etc. were simultaneous elements of both the exterior and interior transgressions.

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Architectural form transgressions are profuse at roof level. The chief purpose was to pattern a silhouette. In old buildings the silhouette or the edge-line was factored in twilight hours. But after 19th C the street lights and massing of structures in the surroundings began to redefine not only the massing, but the roof edges. Roofs are re-composed with same unitary shapes being replicated at different scales and with siting positions. These at micro level include manipulation of roof edges, parapets, eaves, finials, grotesque, gargoyles pinnacles etc. At macro level, roof elements include Chhatris, belvedere, flying buttresses, spires, roof lanterns, steeples etc.

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To convert a conglomeration of bare geometric elements into a comprehensive building, several levels of changes occur. The changes include confirmation to gravity by way of a wider base for stability, localization (orientation, climate) (position of entrances in North versus South Europe), Real and perceptive structural stability, cultural validity and stake-holders accordance.

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Such a process of confirmation is consciously negated by the deconstructivist. The confirmation to gravity is post conception adjustment, wider base for stability is camouflaged behind reflective surfaces, localization does not exist, elements of real and perceptive stability are defied on the exterior side but are outrageously clumsy on the internal side, cultural validity and stake-holders accordance is given a go, for the ‘universal’ built-form. It is not architecture but a construct like a sculpture. It is an adventurous built-form offering spatial complexity for new experiences, a fresh behavioural setting, but one is expected to search for a functional utility.

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HOLISM and DESIGN

Post 342 –by Gautam Shah

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Design effort that conceives a complete and self-contained system to begin with is called a Holistic Approach. It entails germination of an intuition or idea into a complete system. Such creations are very personal, akin to a work of art. These are bizarre, and often nonfunctional. Holistic beginnings, however, are detailed further where each subsection is real and workable. Holistic ideations, without detailing remain one time achievements. Holistic approach is useful in areas where sufficient information is unavailable, or there is a distinct disinclination to search for the detail. Holistic approach is inadvertently followed when inspiration rather than logic causes a design. A holistic conception and its execution, if separated in time, some recall is required, forcing documentation of the design. With documentation the holistic creation may not remain as wholesome.

Gizah Pyramids -Holistic design

Cambridge Dictionary > The belief that each thing is a whole that is more important than the parts that make it up.

Oxford Dictionary > The theory that parts of a whole are in intimate interconnection, such that they cannot exist independently of the whole, or cannot be understood without reference to the whole, which is thus regarded as greater than the sum of its parts. Holism is often applied to mental states, language, and ecology.
The opposite of atomism.

Holistic Art by M F Hussein India

Holism (from holos, a Greek word meaning all, entire, total) is the idea that all the properties of a given system (biological, chemical, social, economic, mental, linguistic, etc.) have holistic nature. The holistic nature of a thing or concept, is beyond the sum effect of all the parts and components that are individually present. Instead, the system as a whole governs how the sub-units behave. Holism is also equated with Totalism.

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Parmenides, a Greek philosopher (late 6th or early 5th C. BC), of pre-Socratic era stated that ‘All is one, nor is it divisible, wherefore it is wholly continuous. It is complete on every side like the mass of a rounded sphere’. The concept holism has been part of philosophical discourses everywhere. Holism rests on singularity of the ultimate. Indian philosophy has accepted it, but with its duality (Maya or the unreal) in all things.

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Holism as an idea or philosophical concept is opposite to atomism. The atomism perceives that a whole can be dissected into its parts. The atomist divide things up in order to know them better, whereas the holism believer looks at things or systems in totality. The atomism considers everything including time to be infinitely divisible. Reductionism is sometimes seen as the opposite of holism. In science reductionism is seen as a complex system that can be explained by reduction to its fundamental parts.

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At operative level a design conception can be a holistic approach. The design however, consists of many different technologies, each of which requires exclusive input. The exclusive input in the form of latest learning does not reside with the designers, but with the vendors, installers or manufacturers. These agencies can offer their exclusive input while operating in their own domain. The design as a result becomes a creation based at many locations, manifesting in different time segments and by as many agencies. The design once conceived, must go through the process of “Reductionism” or Component approach.

Bertini fresco of Galileo Galilei and Doge of Venice Search for Whole through Parts

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