AMORPHOUSORNAMENT

Russell Loveridge - Marcus Braach - HA - If Ebnoether - WEDNESDAY 10-12h | HIL F40.9

AMORPHOUSORNAMENT Russell Loveridge - Marcus Braach - HA - If Ebnoether - WEDNESDAY 10-12h | HIL F40.9 Administration: - Schedule Update: - Assignement 2 – fabrication and assembly - Xmas holiday - January – Lectures - February – Diplomwahlfacharbeit

AMORPHOUSORNAMENT Russell Loveridge - Marcus Braach - HA - If Ebnoether - WEDNESDAY 10-12h | HIL F40.9 Administration: - Schedule Update - Assignment Update

AMORPHOUSORNAMENT Principles of Ornament -What is ornament? -Ornament vs. elaboration -Appreciating ornament -The structure of ornament -The typology of patterns and motifs -Conclusions and proposals

What is ornament? Ornament is something that adds to power to beautify or to glorify simple functional objects. -Something over and above the functional shape, added for the sake of visual pleasure. -Ornament may be added to a design or material, or simply exposed and accentuated. -The finished product includes something that did not have to be there, and made the artist or designers job more difficult. In return the addition of the ornament makes the object more desirable, more valuable, and a pleasure or a privilege to own. AMORPHOUSORNAMENT

Ornament vs. elaboration? - Ornament implies a distinctive relation between content and form. - A freestanding statue is not ornament to the room that it is in, however a decorated column is part of the structure or of the room and therefore “ornament”. AMORPHOUSORNAMENT

Ornament vs. elaboration? - Ornament is the only visual art whose primary purpose, if not exclusive purpose, is pleasure. In functional terms this makes it superfluous by definition, but our definition of “function” is now unfairly restricted to mechanical efficiency. AMORPHOUSORNAMENT

Appreciating ornament Seeing ornamentally is really 4 different separate skills: AMORPHOUSORNAMENT

Appreciating ornament Seeing ornamentally is really 4 different separate skills: -We need to RECOGNIZE ornament when we see it. RECOGNITION AMORPHOUSORNAMENT

Appreciating ornament Seeing ornamentally is really 4 different separate skills: -We need to RECOGNIZE ornament when we see it. RECOGNITION -Recognize motifs and patterns. ARRANGEMENT AMORPHOUSORNAMENT

Appreciating ornament Seeing ornamentally is really 4 different separate skills: -We need to RECOGNIZE ornament when we see it. RECOGNITION -Recognize motifs and patterns. ARRANGEMENT -To understand the relation of ornament to functional form. FUNCTION AMORPHOUSORNAMENT

Appreciating ornament Seeing ornamentally is really 4 different separate skills: -We need to RECOGNIZE ornament when we see it. RECOGNITION -Recognize motifs and patterns. ARRANGEMENT -To understand the relation of ornament to functional form. FUNCTION -To identify ornamental styles. STYLE AMORPHOUSORNAMENT

Appreciating ornament Seeing ornamentally is really 4 different separate skills: -We need to RECOGNIZE ornament when we see it. RECOGNITION -Recognize motifs and patterns. ARRANGEMENT -To understand the relation of ornament to functional form. FUNCTION -To identify ornamental styles. STYLE These forms of appreciation allow for a complete understanding of ornament of the past. However one of the goals of this course is to develop an ornament based on contemporary thinking and technology. An understanding of the past is essential to the continuing development of Ornament, however there should be a distinction made now between appreciating ornament of the past, and copying it! AMORPHOUSORNAMENT

Appreciating ornament Seeing ornamentally is really 4 different separate skills: -We need to RECOGNIZE ornament when we see it. -Recognize motifs and patterns. -To understand the relation of ornament to functional form. -To identify ornamental styles. These forms of appreciation allow for a complete understanding of ornament of the past. However one of the goals of this course is to develop an ornament based on contemporary thinking and technology. An understanding of the past is essential to the continuing development of Ornament, however there should be a distinction made now between appreciating ornament of the past, and copying it! The issue of recognition is important to this question of AMORPHOUSNESS or the lack of shape or form: -A cloud is amorphous, it does not have a specified form, yet we can still recognize a cloud from smoke. -There are many distinct things that vary greatly in their specific cases, yet are still classified as one thing; example humans. AMORPHOUSORNAMENT

Appreciating ornament Seeing ornamentally is really 4 different separate skills: -We need to RECOGNIZE ornament when we see it. -Recognize motifs and patterns. -To understand the relation of ornament to functional form. -To identify ornamental styles. These forms of appreciation allow for a complete understanding of ornament of the past. However one of the goals of this course is to develop an ornament based on contemporary thinking and technology. An understanding of the past is essential to the continuing development of Ornament, however there should be a distinction made now between appreciating ornament of the past, and copying it! The issue of recognition is important to this question of AMORPHOUSNESS or the lack of shape or form: - So what is amorphousness? - How do we recognize something? - What allows pattern to be distinguished from ornament? - Why do we even want ornament as part of our lives? AMORPHOUSORNAMENT

Appreciating ornament Previously ornament was a symbol of prosperity. Overlapping of ornament, layering of textures to imply opulence and wealth became so profound that it became difficult to deistinguish the true form, texture, ornament, and most importantly the value of the work. Opulence and overuse of texture and layering usually works against the detailed appreciation of ornament. The goal of ornament is to amplify a particular expression of an environment, the layout and overall effect of a scene is important so as to control the focus of attention and highlight ornament where we least expect it. AMORPHOUSORNAMENT

Appreciating ornament Previously ornament was a symbol of prosperity. Overlapping of ornament, layering of textures to imply opulence and wealth became so profound that it became difficult to deistinguish the true form, texture, ornament, and most importantly the value of the work. Opulence and overuse of texture and layering usually works against the detailed appreciation of ornament. The goal of ornament is to amplify a particular expression of an environment, the layout and overall effect of a scene is important so as to control the focus of attention and highlight ornament where we least expect it. An understanding of layout and ornament enables a designer to control the focus of the viewer, and therefore also control the experience of ornament. AMORPHOUSORNAMENT

Appreciating ornament Previously ornament was a symbol of prosperity. Overlapping of ornament, layering of textures to imply opulence and wealth became so profound that it became difficult to deistinguish the true form, texture, ornament, and most importantly the value of the work. Opulence and overuse of texture and layering usually works against the detailed appreciation of ornament. The goal of ornament is to amplify a particular expression of an environment, the layout and overall effect of a scene is important so as to control the focus of attention and highlight ornament where we least expect it. Because of cerebral RECOGNITION the human body usually dominates any image, our eye is drawn to the specific form and can decipher it though complex patterning. Other common shapes and profiles dominate our visual recognition and deciphering of any visual input: AMORPHOUSORNAMENT There are priorities in the hierarchy of ornament, They depend on recognition and abstraction theory: - the human figure - animal figures - precise geometry - simplified – yet recognizable outlines, - natural patterns or motifs.

The structure of ornament “Comparing ornamental styles to foreign languages is an over exaggeration. It would be better to compare them to foreign cooking or music, where we have already the inherent ability to appreciate them without experience or instruction.” James Trilling – The Language of Ornament AMORPHOUSORNAMENT

The structure of ornament “Comparing ornamental styles to foreign languages is an over exaggeration. It would be better to compare them to foreign cooking or music, where we have already the inherent ability to appreciate them without experience or instruction.” James Trilling – The Language of Ornament There are three basic componants to the analysis of ornament: Primary imagery Secondary or component patterning or forms Background and foreground AMORPHOUSORNAMENT

The structure of ornament Primary imagery -Moving beyond looking AT ornament and begin looking INTO ornament. -This is the predominant figure or pattern immediately recognisable to the viewer. -In many cases this is either a figure or image representation -The primary image may (or may not) set the geometry and pattern for the overall ornament. AMORPHOUSORNAMENT

The structure of ornament Secondary or component patterning or forms - Patterning can fill in the spaces between figures, geometry or motifs. -Patterning should not be confused with a background condition. -Ornament may be exclusively made up of patterning, or a combination or forms which in turn create an overall larger pattern. The ornament here, of a dogfish, can be broken down into recognizable parts, head, body, tail. But the parts are also broken down into graphic components, which although may be abstract but have an inherent grace. AMORPHOUSORNAMENT

The structure of ornament Background and foreground - Background and forground are used in Ornament design as “ layers“, to depict depth or to seperate dominant patterns or figures for greater effect. -Background and foreground are often used as a visual illusion, to generate added complexity in the ornamental patterns -Background and foreground can also often be abstracted and dissolve into each other. The integrity of a layer flexes and becomes part of the stylization of the ornament. AMORPHOUSORNAMENT Detail Example 2 >

The structure of ornament Background and foreground - Background and forground are used in Ornament design as “ layers“, to depict depth or to seperate dominant patterns or figures for greater effect. -Background and foreground are often used as a visual illusion, to generate added complexity in the ornamental patterns -Background and foreground can also often be abstracted and dissolve into each other. The integrity of a layer flexes and becomes part of the stylization of the ornament. AMORPHOUSORNAMENT

Typology of Patterns and Motifs Pattern and Motif support each other in the creation of Ornament. It is possible to have one without the other, and it is possible to have both within the same ornament. The controlled and ordered combination of Motif and pattern is well established in the more complex or representative systems of ornamentation. AMORPHOUSORNAMENT

Typology of Patterns and Motifs Pattern and Motif support each other in the creation of Ornament. It is possible to have one without the other, and it is possible to have both within the same ornament. The controlled and ordered combination of Motif and pattern is well established in the more complex or representative systems of ornamentation. Types of Motif: -Freeform -Geometric -Representational -Floral -Figural -Object AMORPHOUSORNAMENT

Typology of Patterns and Motifs Pattern and Motif support each other in the creation of Ornament. It is possible to have one without the other, and it is possible to have both within the same ornament. The controlled and ordered combination of Motif and pattern is well established in the more complex or representative systems of ornamentation. Types of Motif: -Freeform -Geometric -Representational -Floral -Figural -Object Types of Pattern: -Unitary -Additive -Repeating -Hypotactic AMORPHOUSORNAMENT

Typology of Patterns and Motifs Motifs -Freeform Freeform motifs are arbitrary: they do not represent anything specific and, they are often unpredictable in their organization, and they do not conform to explicit or even implicit rules. AMORPHOUSORNAMENT

Typology of Patterns and Motifs Motifs -Geometric -Consist of simple and complex geometric shapes -Predominant geometric patterns or motifs are used by singular cultures or religions. -Complex impressions of the patterns can also result in contrast from colors, overlapping of patterns, and edge conditions. AMORPHOUSORNAMENT

Typology of Patterns and Motifs Representational – 3 types: -Floral -Figural -Object AMORPHOUSORNAMENT

Typology of Patterns and Representational -Floral -Natural and vegetative patterns -Dominant as a hybrid of abstract and floral forms in the Corinthian capitals and panel carving of Greek ornamentation. -Interlacing of vine and vegetative shapes. AMORPHOUSORNAMENT Typology of Patterns and Motifs

Representational -Figural -Figures of man or animal -Often depicting a historical or religious scene or persona AMORPHOUSORNAMENT

Representational -Object -Architectural tiling and patterning based on details from architecture -Interlacings, intertwining patterns of knots and intricate ropeworks, strings, rings, vines, or other symbolic motifs. -Ambiguous detailing, either as pattern or unitary ornament. AMORPHOUSORNAMENT Typology of Patterns and Motifs

Types of Motif: -Freeform -Geometric -Representational -Floral -Figural -Object Types of Pattern: -Unitary -Additive -Repeating -Hypotactic AMORPHOUSORNAMENT

Typology of Patterns and Motifs Types of Pattern: -Unitary -Additive -Repeating -Hypotactic AMORPHOUSORNAMENT

Typology of Patterns and Motifs Patterns Unitary -Single ornamental images of motifs -Layout is essential to its presentation -Relation to the object and its function -The least “pure” of all ornament AMORPHOUSORNAMENT

Typology of Patterns and Motifs Patterns Additive -Mosaic and composite patterning made of similar smaller components. -Non repeating patterns read as a whole, while comprised of many smaller components. AMORPHOUSORNAMENT

Typology of Patterns and Motifs Patterns Repeating -Textile, wallpaper, and tiling patterns repeated in a set formula AMORPHOUSORNAMENT

Typology of Patterns and Motifs Patterns Hypotactic -Non uniform, yet ordered patterns, made up of smaller variations on component units or motifs. -A morphing design -Oriental Rugs -Escher and parametric ornamentation AMORPHOUSORNAMENT

Typology of Patterns and Motifs AMORPHOUSORNAMENT

Conclusions Ornament is: “Something” over and above the functional shape, added for the sake of visual pleasure. Ornament is a fundamental art form unto itself, yet it is practiced in all of the other categories of art, architecture, sculpture, painting, textiles, and jewelry design. Ornament has a distinct relation to the underlying functional form, and is more than simple unrelated embellishment. Ornament adds visual complexity and appreciation to a piece, through decoration, materialization, or amplification of the functional design. Current trend and style has lost the recognition of ornament, but not its appreciation. AMORPHOUSORNAMENT Aesthetic Art-form Logical Technique Value

Traditions of Oranment Ornament was a craft that added value and beauty to objects, and specifically was used to beautify specific objects. Ornament is a fundamental art form unto itself that required special skills and special workmanship, yet it is practiced at many scales, in many materials, and in many art forms. An understanding of the logic and structure of an object is required so as to make its ornamentation reflect its functional design and therefore unify the relationship to avoid being simply unrelated embellishment. Visual complexity has been the property of construction and assembly techniques for the last half century. New technologies are changing these practices, so there exists a new possibility to reintroduce Ornament at this stage of the functional design. The popular appreciation of ornament has never dissipated. It was economics and scale which interrupted the use of ornamentation, not a PUBLIC dislike for its trend or style. AMORPHOUSORNAMENT Aesthetic Art-form Logical Technique Value

AMORPHOUSORNAMENT Ornament can be designed and generated using the computer so as to add complexity, distinction, and therefore value and beauty to objects. However it can be done in individualized yet fast and efficient ways CNC fabrication reduces the need for skilled workmanship, and can be used at many scales, with many materials, and in many different disciplines. In CAAD/CAM an understanding of the logic of the project is inherent in its design. Ornament which is applied into object can be incorporated at a logical level, and can be used to enhance the object or its fabrication process. A sound knowledge of fabrication and assembly techniques using digital & CNC technology allow the designer to used the process to enhance the overall design. A reintroduction of ornament is only possible if it is logical from an aesthetic, design, economic, and functional standpoint, however there is a demand for it in the arts, and more and more so in architecture. AMORPHOUSORNAMENT Aesthetic Art-form Logical Technique Value

A Proposal Programmed parametric design can be used to generate ornament in a fast and efficient manner. It can bring a complexity to modern ornament that draws heavily on the traditions of imagery, geometry, and mathematics. New technologies, materials, and machining techniques can bring forth new forms, logics, and styles of ornament, that “fit” with the modern concerns of material and cost efficiency. AMORPHOUSORNAMENT

A Proposal Programmed parametric design can be used to generate ornament in a fast and efficient manner. It can bring a complexity to modern ornament that draws heavily on the traditions of imagery, geometry, and mathematics. New technologies, materials, and machining techniques can bring forth new forms, logics, and styles of ornament, that “fit” with the modern concerns of material and cost efficiency. By exploiting the strengths of digital design, data analysis, parametric scripting, and mathematical generation of geometry, the computer and designer can create a new language of ornament. AMORPHOUSORNAMENT

A Proposal Programmed parametric design can be used to generate ornament in a fast and efficient manner. It can bring a complexity to modern ornament that draws heavily on the traditions of imagery, geometry, and mathematics. New technologies, materials, and machining techniques can bring forth new forms, logics, and styles of ornament, that “fit” with the modern concerns of material and cost efficiency. By exploiting the strengths of digital design, data analysis, parametric scripting, and mathematical generation of geometry, the computer and designer can create a new language of ornament. This language is not a specific set of ornaments like a catalogue, it is a series of logical rules from which the ornament is generated. AMORPHOUSORNAMENT

A Proposal Programmed parametric design can be used to generate ornament in a fast and efficient manner. It can bring a complexity to modern ornament that draws heavily on the traditions of imagery, geometry, and mathematics. New technologies, materials, and machining techniques can bring forth new forms, logics, and styles of ornament, that “fit” with the modern concerns of material and cost efficiency. By exploiting the strengths of digital design, data analysis, parametric scripting, and mathematical generation of geometry, the computer and designer can create a new language of ornament. This language is not a specific set of ornaments like a catalogue, it is a series of logical rules from which the ornament is generated. The ability to parametrically “version” ornament within a design allows for both a variability and an interconnection that makes the ornament a fundamental part of the overall design. AMORPHOUSORNAMENT

A Proposal Programmed parametric design can be used to generate ornament in a fast and efficient manner. It can bring a complexity to modern ornament that draws heavily on the traditions of imagery, geometry, and mathematics. New technologies, materials, and machining techniques can bring forth new forms, logics, and styles of ornament, that “fit” with the modern concerns of material and cost efficiency. By exploiting the strengths of digital design, data analysis, parametric scripting, and mathematical generation of geometry, the computer and designer can create a new language of ornament. This language is not a specific set of ornaments like a catalogue, it is a series of logical rules from which the ornament is generated. The ability to parametrically “version” ornament within a design allows for both a variability and an interconnection that makes the ornament a fundamental part of the overall design. This is AMORPHOUSORNAMENT AMORPHOUSORNAMENT

A Proposal Programmed parametric design can be used to generate ornament in a fast and efficient manner. It can bring a complexity to modern ornament that draws heavily on the traditions of imagery, geometry, and mathematics. New technologies, materials, and machining techniques can bring forth new forms, logics, and styles of ornament, that “fit” with the modern concerns of material and cost efficiency. By exploiting the strengths of digital design, data analysis, parametric scripting, and mathematical generation of geometry, the computer and designer can create a new language of ornament. This language is not a specific set of ornaments like a catalogue, it is a series of logical rules from which the ornament is generated. The ability to parametrically “version” ornament within a design allows for both a variability and an interconnection that makes the ornament a fundamental part of the overall design. This is AMORPHOUSORNAMENT p.s. AMORPHOUSORNAMENT

Programmed parametric design can be used to generate ornament in a fast and efficient manner. It can bring a complexity to modern ornament that draws heavily on the traditions of imagery, geometry, and mathematics. New technologies, materials, and machining techniques can bring forth new forms, logics, and styles of ornament, that “fit” with the modern concerns of material and cost efficiency. By exploiting the strengths of digital design, data analysis, parametric scripting, and mathematical generation of geometry, the computer and designer can create a new language of ornament. This language is not a specific set of ornaments like a catalogue, it is a series of logical rules from which the ornament is generated. The ability to parametrically “version” ornament within a design allows for both a variability and an interconnection that makes the ornament a fundamental part of the overall design. This is AMORPHOUSORNAMENT p.s. AMORPHOUSORNAMENT Look at the Course TWIKI on Jan 10 th (please!)

Programmed parametric design can be used to generate ornament in a fast and efficient manner. It can bring a complexity to modern ornament that draws heavily on the traditions of imagery, geometry, and mathematics. New technologies, materials, and machining techniques can bring forth new forms, logics, and styles of ornament, that “fit” with the modern concerns of material and cost efficiency. By exploiting the strengths of digital design, data analysis, parametric scripting, and mathematical generation of geometry, the computer and designer can create a new language of ornament. This language is not a specific set of ornaments like a catalogue, it is a series of logical rules from which the ornament is generated. The ability to parametrically “version” ornament within a design allows for both a variability and an interconnection that makes the ornament a fundamental part of the overall design. This is AMORPHOUSORNAMENT p.s. AMORPHOUSORNAMENT Look at the Course TWIKI on Jan 10 th See you all on January 12 th at 10:00

Programmed parametric design can be used to generate ornament in a fast and efficient manner. It can bring a complexity to modern ornament that draws heavily on the traditions of imagery, geometry, and mathematics. New technologies, materials, and machining techniques can bring forth new forms, logics, and styles of ornament, that “fit” with the modern concerns of material and cost efficiency. By exploiting the strengths of digital design, data analysis, parametric scripting, and mathematical generation of geometry, the computer and designer can create a new language of ornament. This language is not a specific set of ornaments like a catalogue, it is a series of logical rules from which the ornament is generated. The ability to parametrically “version” ornament within a design allows for both a variability and an interconnection that makes the ornament a fundamental part of the overall design. This is AMORPHOUSORNAMENT p.s. AMORPHOUSORNAMENT Look at the Course TWIKI on Jan 10 th See you all on January 12 th at 10:00 Have a MERRYCHRISTMAS

AMORPHOUSORNAMENT Have a MERRYCHRISTMAS