By Mark Garcia
Pattern-making is ubiquitous in either the average and artifical global. The human propensity for development popularity and fabrication is innate. Encompassing the ancient, vernacular and parametric, this name explores the construction, materialisation and theorisation of a few of the world's most vital and spectacularly patterned areas. It investigates how interiors, constructions, towns and landscapes are patterned via layout, construction and production, use, time, twist of fate and belief. It additionally brings into concentration how modern complex spatial practices and CAD/CAM at the moment are pushing styles to surround a better diversity of structural, programmatic, aesthetic and fabric results and houses. Extending styles a long way past the outside inspiration of favor and ornament, styles of structure assesses how and why the deployment of styles is shaping the way forward for architecture.Analysed via a multidisciplinary and overseas sequence of essays and designs from architects, engineers, teachers, researchers and professional pros within the field. Key participants comprise: Hanif Kara, Patrik Schumacher and Alejandro Zaera-Polo.
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Additional info for The Patterns of Architecture (Architectural Design Vol. 79 No. 6 November December 2009)
Sample text
A more poignant example is described by Lady Barker in The Bedroom and the Boudoir (1878) wherein the real and artificial blend into one. 6 In this short description, Lady Barker establishes a direct connection between the inside and outside. Noisette roses are the agent to a spatial reading that establishes the interior room as an extension of landscape. That is, this room breaks the traditional reading of interior architectural space as discrete rooms conforming to a greater architectural whole.
Patterns Zaha Hadid Architects, Louis Vuitton Store, Macau, China, 2007 The slight distortion in the cubic volume is visually amplified by means of the correlated pattern. Zaha Hadid Architects, Randers Art Museum competition, London, 2009 Architecture as a pattern of continuously transforming components. 1 They have been covering architectural surfaces since time immemorial, in the same way that they have been spread all over manmade objects. The human body was perhaps the first surface to receive designed patterns.
9. See Stephen Perrella (ed), AD Hypersurface Architecture, Vol 68, No 5–6, 1998. 10. Schumacher, op cit. 11. The author has been experimenting with the agenda of parametric figuration in various teaching arenas: Innsbruck University, the Architectural Association Design Research Lab (DRL), Yale University and the University of Applied Arts, Vienna. Text © 2009 John Wiley & Sons Ltd. Images: pp 28-30, 35, 36(b), 37 © Zaha Hadid; p 31(t) © Bob Krist/Corbis; p 31(b) © Charles & Josette Lenars/Corbis; p 33 © Krisztian Csémy, Jasmina Frincic and Jakub Klaska; p 34 © Huang, Yung-Chieh, Hang Jin and Wen-Kai Li; p 36(t) © Werner Forman/Corbis; p 38(t) © Johannes Elias, Christoph Hermann, Thomas Milly and Negar Niku; p 38(b) © Peter Schamberger; p 39 © Manuel Froeschi, Konrad Hofmann, Maren Klasing, Martin Krcha; pp 40-1 © Nicola Beck, Christoph Zimmel 41 RELENTLESS PATTERNS THE IMMERSIVE INTERIOR What happens when patterns become all pervasive?