The REVIVLA of AUTOGENIC ORNAMENT

2.6. The REVIVLA of AUTOGENIC ORNAMENT

Recently a great concern and interest has risen on ornament, which pushes us to render back its genesis, its worse mes and its new froners.

Blinking weekly and strongly throughout the space and me, Ornament has always remained in the radar of aenon of different disciplines, especially Art and Architecture; moreover, ornament was present since me immemorial. Recently a great concern and interest has risen on ornament, which pushes us to render back its genesis, its worse mes and its new froners.

The urge to ornament one's face, and everything in one's reach, is the origin of fine arts. Human kind since me immemorial used ornament both in their body and in their built forms, their structures and arfacts for daily use. Alexander Speltz in the 'Styles of Ornament' dates the use of Ornament since Prehistory – 6000 years ago. Wring in the early 20th century, Speltz takes an interesng posion on describing Ornament in relaon to Structure: Rightly understood, the conformaon of an ornament should be in keeping with the form and structure of the object which it adorns, should be in complete subordinaon to it, and should never sfle or conceal it. …the art of ornamentaon, therefore, stands in inmate relaonship with material, purpose, form and style.

*Performative Energies and Cultures: Ornament and (as) Structure Banush Shyqeriu University for Business and Technology, https://knowledgecenter.ubt-uni.net/cgi/viewcontent.cgi?article=1500&context=conference 10

In classical architectural theory, decoraon was the complementary term for a fundamental disncon and was considered within an overall triparte division of architecture's teachings: distribuon, construcon and decoraon, the three fundamental tasks of architectural design. According to Schinkel: The purposefulness of any building can be considered from three principal perspecves: purposefulness of spaal distribuon or of the plan, purposefulness of construcon or the joining of materials appropriate to the plan, purposefulness of ornament or decoraon. As a response to Schinkel, recent discourse requires a complete separaon of the word decoraon from the word ornament: one is understood as externally applied and extrinsic, while the other is understood as constuve and intrinsic.

AUTOGENIC ORNAMENT

If ornamentaon is to fully return from its banishment, it will only do so as an internally generated feature essenal to the expression of the whole. More bluntly, it needs to be autogenic.

(left) Knots and braids. Gottfried Semper, Der Stil (2nd ed. 1878), vol. 1, pp. 169–72 (right) Techniques of weaving. Gottfried Semper, Der Stil (2nd ed. 1878), vol. 1, p. 177 11

Nominaons of decoraon are oen associated with a cynical interest in kitsch, whereas ornamentaon is usually a preliminary term in the pursuit of unadulterated architectural expression.

Change is brought to an environment either through allogenic succession where foreign influence changes the condions of the territory, or through autogenic succession where changes are brought through internal reconfiguraons. Hence, the word autogenic is defined as 'self-generang' or generang or originang within the body, not something that is applied to, not a decoraon.

The word Autogenic comes from the Greek word meaning “coming from within”. As a result, ornament is a poec expression of the process of making, the external 'forces' of making revealing themselves in order to arculate the parts which constute the whole.

Islamic paerning and ornamentaon have recently raised interests among the architects and arsts because of its intellectual, mental, cultural and metaphysical b i a s , n o t m e r e l y decoraon and material.

(left) Lacework Carvings and Muqarnas, Bahia Palace in Marrakesh; (right) A thirty-seven ceramic tile alphabet 12

Paerns and Ornaments inspired form Nature and developed in a unique way through the use of geometry created across centuries what is now being known as Arabesque, Islamic Paerns and Islamic Ornaments, which created a definite visual language possessing both vocabulary and grammar.

The concept of Vocabulary and Grammar could be placed in the realm of Structuralist approach to architecture; as structural counterpart to language.

13 Mining structural potentials of Ornament / Component – folding, associating, populating and dissolving (Credit: © B. Shyqeriu, Synergic Spaces – MOSQUE)

3. Studio PORTFOLIO

During the design process, within different sites, a diversity of projects is constantly encouraged in order for different working groups - teams - to express their own ideas, concepts and attitudes toward interpreting studio philosophy and theme within real site and context constraints.

This unique compilation sums up all the studio projects within the same template, giving a neutral reading of the projects.

At the end, this studio is unique, as redefines the basic concept of the studio connected to a physical environment. Due to the global pandemic situation, working and studying from home became an emergent and even a common solution. Using their homes as the physical environment and expressing their ideas and taking the feedback through the virtual environment, for students and for us as the studio-master, became the new studio concept, a Hybrid Studio.

In most of the cases, new situations and limitations do encourage creativity, and our students with no doubt achieved not just to fulfill the common design process but also be very creative and use the new situation for novel projects and experiences even in their mutual collaboration with colleagues in group, nourishing the sprit of team-work. Congratulation for your hard work and your outstanding results!

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DESIGN BRIEFVARIATIONS: The HYBRID Development of Interchange Transport Terminals in Kosovo

1. Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram) and Bus Station + Shopping Mall + Office Spaces + Multistory Parking Structure + Sport and Recreation Center + Biophilic Design

2. Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram) and Bus Station + Underground Parking Structure + Retail and Office Spaces + Exhibition Gallery and Biophilic Design.

3. Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram) and Bus Station + Multistory Parking Structure with Retail and Office Spaces + Conference Hotel and Biophilic Design.

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Biophilia

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3

Biophilia

CONFERENCE

Biophilia

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