PATTERNS by Politecnico di Milano

PATTERNS

Patterns by Ilaria Casetto

Didactic exercise Fall Semester 2010

Interior worlds: patterns Main Editor Gennaro Postiglione Course of Interior Architecture Faculty of Architettura e SocietĂ Politecnico di Milano www.lablog.org.uk Editor Ilaria Casetto

only for pedagogic purpose not for commercial use

INDEX 00_Patterns by Mark Taylor 01_Joseph Maria Olbrich, tiles for his house in Dramstadt 02_A. Fork, study for an interior 03_Koloman Moser, Logo for Wiener Werkstatte 04_Charles Rennie Mackintosh, stencil for a porch 05_Gustave Klimt, reform dress for Emilie Floege 06_Antoni GaudĂŹ, BatllĂ˛ house 07_Adolf Loos, American Bar 08_Henry C. Mercier, Fonthill House 09_Hector Guimard, Hotel Guimard 10_Koloman Moser, the black bird 11_Hermann Abeking, Satirical drawing about fashion 12_Giacomo Balla, Bambina x Balcone 13_Louis Sue, Forniture and tissues for the Atelier Francais 14_Wimmer&Loevy, Sala della Wiener Werstaette

15_Giacomo Balla, Compenetrazione irridescente

33_Ingazio Gardella, dispensario antitubercolare 34_Albert Speer, Cathedral of Light

16_Eugene Freyssinet, Airship Angars 35_Leni Riefenstal, Triumph of the will 17_Rodcenko, Natura morta 36_Gioâ&#x20AC;&#x2122; Ponti, Ferrania offices 18_Erik Gunnar Asplund, Stockholm LIbrary 19_Charles Rennie Mackintosh, bedroom forniture

37_Anonimous, Leaf 38_Giuseppe Pagano, CittĂ orizzontale 39_L. Figini - G. Pollini, Officine Olivetti

20_Peter Bahrens, I.G. Farben Industry 21_Simon Rhodia, Watts Towers 22_Auguste Perret, Notre Dame du Raincy

40_Vaino Vahakallio, Helsinki CourtHouse 41_ Gustav Clason, Tulehuset 42_Mauritius Cornelius Escher, Verbum

23_Frank LLoyd Wright, Ennis House 24_Le Corbusier, Plan Voysin 25_Paul Citrohen, Metropolis

43_Oscar Niemeyer, Departement of education 44_Mauritius Cornelius Escher, Encounter

26_Paul Poiret, interior of the Atelier Poiret

45_Architectural forum, caravan village

27_Pierre Chareau, interno presentato al Salon des Artises Decorateurs

46_Architectural forum, the problem of logement in the USA

28_Pierre Chareau, Maison de Verre

47_Luigi Moretti, Casa Albergo

29_Rodchenko, Ingranaggi

48_Pietro Fornasetti, Multi-mirror

30_John Jacobson, Boudoir

49_Braendli, spot for wallpaper

31_Laboratori del Bauhaus, Sala da pranzo

50_Bernard Rudofsky, Stoffa dattiloscritta

32_Gino Levi, Giuseppe Pagano, casa degli architetti

51_Pier Luigi Nervi, Lanificio Gatti

52_Gio’ Ponti, Zodiac Apartment

73_Carlo Mollino, Nuovo Teatro Regio

53_Frank LLoyd Wright, Price Tower

74_Bruno Munari, Curva di Peano

54_Jesus Rafael Soto, Dinamique de la coleur

75_Benoit Mandelbrot, Fractals 76_Anonimous, Decori UFO

55_Victor Vasarely, Tlinko 77_Gerard Richter, 4096 colours 56_Walter Netsch, Air Force Chapel 57_Cassina, Superleggera

78_Nanda Vigo, interno di una mansarda

58_Missoni, Simpaty

79_Ettore Sottsas, Bacterion

59_Piero Manzoni, Achrome

80_Sol LeWitt, Triangle

60_Gabriele DeVecchi, URMNT

81_Jean Nouvel, Insitute Du Monde Arabe

61_Bridget Riley, Britannia 82_Piet Blom, Kubohouses 62_Andy Wahrol, Coca Cola 63_Gordon Bunshaft, Beinecke Library

83_Angelo Mangiarotti, Intarsio industriale

64_Marimekko, Unikko

84_Bruce Naumann, 100 Live and Die

65_Gio’ Ponti, Ceramic Tiles

85_Christo e Jeanne Claude, The Umbrellas

66_Yayoi Kusama, Venice Biennale 67_Enrico Castellani, Superficie Bianca 68_Alan Jacquet, Untitled

86_Itsuko Hasegawa, Shondai Culture Center 87_Allan McCollum, over 10000 individual works

69_Joe Colombo, Tube chair 70_Archzoom, No-Stop city

88_Katarina Fritsch, Company at the Table

71_Sol LeWitt, 10000 lines

89_Cersaie, Giardino all’italiana

72_Dan Flavin, Without name

90_De Jorio Group,restauration of transatlantic Enrico Costa

91_Antony Gromley, Field 92_Mario Botta,San Giovanniâ&#x20AC;&#x2122;s Church 93_Alessandro Mendini, interno di un interno 94_Ross Bleckner, Nocturne 95_MVRDV, Silodam 96_David Burn, I feel better now, i feel the same way 97_Spencer Tunik, Meine 98_Vanessa Beecroft, vb 39 99_Herzog&De Meuron, Eberswalde LIbrary 00_ Personal interpretation

Patterns by Mark Taylor

Abstract In recent years there has been widespread interest in patterns, provoked by the realisation that they constitute a fundamental brain activity and underpin many artificial intelligence systems. Theorised concepts including scale, proportion, symmetry and so on, as well as social and psychological understandings are being revived trough digital/parametric means of visualisation and production. In his book The Self-Made Tapestry: Pattern Formation in Nature Philip Ball suggested that “patterns are typically extended in space, while forms are bound and finite. Patrici Rodeman in Patterns in Interior Environmentes: Perception, Psychology, Practice uncovered cultural and psychological associations relative to the location of patterns to spaces. In both texts the appearence and preference of particular patterns is held above material representation, and also Ball interrogates “the process that underliethe

formation and transformation of patterns”. This paper discusses the effect of repearing motif placed over several dissimilar interior surfaces including wall covering, curtains, cushions and objects/artefacts. Drawing upon historical and contemporary instances, where pattern becomes all pervasive and contagiously corrupts objects and environment, this phenomenon is theorised through Roger Caillois’ Mimicry abd Legendary Psychasthenia. Under this conception a form of mimicry occurs that produces various “distinctions and confusion” between subject and environment. The paper concludes with a discussion of contemporary uses of CAD software to map motifs across a range of materials and scales. No longer constrained by traditional products techiques, spatial patterns are formed by networks, amrketing and media outlets as much as their inscription on mobile artefacts.

Paper

Patterns Mark Taylor Queensland University of Technology, Brisbane (Australia)

In recent years there has been widespread interest in patterns, perhaps provoked by a realisation that they constitute a fundamental brain activity and underpin many artificial intelligence systems. theorised concepts of spatial patterns including scale, proportion, and symmetry, as well as social and psychological understandings are being revived through digital/parametric means of visualisation and production. The effect of pattern as an ornamental device has also changed from applied styling to mediated dynamic effect. The interior has also seen patterned motifs applied to wall coverings,

linen, furniture and artefacts with the eĂ°ect of enhancing aesthetic appreciation, or in some cases causing psychological and/or perceptual distress. While much of this work concerns a repeating array of surface treatment, Philip Ballâ&#x20AC;&#x2122;s The Self-Made Tapestry: Pattern Formation in Nature suggests a number of ways that patterns are present at the macro and micro level, both in their formation and disposition. Unlike the conventional notion of a pattern being the regular repetition of a motif (geometrical or pictorial) he suggests that in nature they are not necessarily restricted to a repeating array of identical units, but also include those that are similar rather than identical. From his observations Ball argues that they need not necessarily all be the same size, but do share similar features that we recognise as typical. Examples include self-organized patterns on a grand scale such as sand dunes, or fractal networks caused by rivers on hills and mountains,

through to patterns of flow observed in both scientific experiments and the drawings of Leonardo da Vinci. Alongside this distinction Ball also characterises the difference between pattern and form, although sometimes the two seem inextricably linked. He suggests that form concerns the “characteristic shape of a class of objects”, but that they need not all be the same size. Sea-shells and flowers are given as examples, particularly as no two are identical but share certain features that are typical. To this extent forms tend to be characterised as bounded and finite, whereas patterns are extended in space. The patterns I am interested in are those that are unleashed into the environment, and placed over all interior surfaces including walls, bed hangings, curtains, cushions and coverings. Whether using botanical, floral, striped or geometrical motifs, the effect of objects imitating other objects causes the interior environment to become blurred and unclear. This assimilation of patterns into space hides or releases clearly identified physical forms from their role in assisting spatial navigation and perspectival orientation. In the case of the heavily patterned interior where bedspreads resemble walls, resemble lamps, resemble cushions, resemble hangings, and resemble covers and upholstery, there is a spatial disturbance. In this saturated environment objects, artefacts and surface coverings occupy particular spatiotemporal, or proxemic, positions that render objects indistinct. We could say that the pattern of one surface has in a sense corrupted the other, or as Roger Caillois, suggested the “properties of objects are contagious. They change, reverse, combine and corrupt each other if too great a proximity permits them to interact.” Caillois’ studies on insects indicated that surface mimicry such as wing colouration on moths imitating tree bark, has little to do with protection or hiding to evade predators, but rather concerns

“distinctions and confusions” it produces between itself and the environment. According to Elizabeth Grosz this ability to morphologically imitate means that “the creature, the organism, is no longer the origin of the coordinates, but one point among others.” We could therefore say that the disorder of spatial perception and the desire for similarity has a goal, which is to “become assimilated into the environment.” When looking at the interior, a number of historic and contemporary examples seem to resonate with both the notion of spatial extension and assimilation. One early example of surface mimicry occurs in the interior of Robert Adam’s Etruscan Dressing Room (1775) at Osterley Park in Middlesex. In this eighteenth century room, chairs are placed against the perimeter wall and brought to the centre when needed. The chair-rails are painted in a similar manner to the room’s dado, and when placed against the wall it renders them indistinct. This doubling of the painted surface blurs and confuses the chair’s relation to the wall, such that one might be mimicking the other, and the chair rail (as a distinct entity) disappears. Although this example depicts a momentary incident between furniture and wall surface, other interiors concern the creation of a fully immersive environment where the whole space is saturated with the same or a similar pattern. Karl Friedrich Schinkel’s design for a boudoir at Schloss Charlottenhof in Potsdam, Germany (1824-30), comprises a continuous fabric surface that flows across the ceiling, down walls and out into space. Fine timber stools, chairs and daybeds are upholstered with the same material, producing, according to Ben Pell, “an intoxicating atmosphere for Friedrich Wilhelm IV and his guests.”In this instance the room is, as Pell argues, a fully immersive environment constructed through the relentless repetition of the graphic as it extends into space. Although both of these examples are

composed of abstract motifs, other designs including floriated and biological images have infused domestic interior spaces. Some blur the real and artificial and dissimulate the environment through application of the same or similar patterns across several surfaces, fabrics and objects. Lady Barker in The Bedroom and the Boudoir (1878) describes an occasion when the real and artificial blend into one. Not only is the individual form (rose) recognisable as a garden plant, it is seamlessly accepted through its representation. She states: “I know a rural bedroom with a paper representing a trellis and Noisette roses climbing over it; the carpet is shades of green without any pattern, and has only a narrow border of Noisette roses; the bouquets, powdered on the chintzs, match, and outside the window a spreading bush of the same dear old-fashioned rose blooms three parts of the year”. In this short description, Lady Barker established a direct connection between the inside and outside. The pattern of Noisette roses connects the interior to landscape, dissolving boundaries as the pattern of real and artificial flowers extend into space. The traditional reading of interior architectural space as a bounded volume no longer holds when conceptualised through the eðect of a repeating motif. There is a spatial disturbance. The existing architecture is neither regarded as a structure/substrate for surface ornamentation, nor as an ordering system to be enhanced with decorative motifs. Lady Barker’s room is disassociated from traditional physical and spatial systems, and is constructed in relation to the exterior vegetation, which is mimicked through a form of abstracted representation. It is an intense experience engaging the senses and producing an immersive intoxicating atmosphere for the woman in her boudoir. This outlaying of biological patterns across objects and surfaces alters our perception of space and conversely alters architectural space. The resultant spatiality mimics the

garden, in as much as patterned surfaces/ objects imitate each other, such that the relationship between pattern and environment is blurred and confused. The environment is no longer distinct from the object, but remains an active component of its identity. It is room becoming garden, becoming dynamic, disorientating; it is desire as production. The above examples indicate how individual objects (chair/wall), spatial envelopment (striped fabric) and spatial extension (rose), disturb the presumed clarity of the physical interior. The new technologies of CADCAM manufacturing (laser-cutting, digital printing, etc), provide tools that are able to print, cut, fold and construct patterns on a diverse range of materials and in numerous variations. While such techniques are used in building construction their application to fabrics, including handbags and accessories, invite the print to travel through seemingly unrelated cultural categories. Marimekko, the Finnish textile and clothing design company, has developed a range of prints that are inextricably bound through media and imaging as much as through cultural association. Applied to various products including handbags, bed sheets, crockery and clothing, these regular geometrical patterns are executed at different scales. They are not bounded by “real” interior space, but link the interior to clothing and accessories in a mobile fragmentary manner. Atelier Manferdini also operate in a similar manner, but unleash their digitally fabricated patterns onto metal objects, clothing, running shoes and architectural designs. The intention this time is not to hold a collective identity for these products, but to release the pattern from the constraints of conventional ordering devices, and allow it to take over. That is, to immerse itself within the environment rather than creating an immersive environment. New technologies offer the possibility of nonstatic motifs, or the regeneration of patterns through interactive technologies such as

those employed by Ingo Maurer. His recent installation, Rose, Rose, on the Wall... is a “wallpaper” project composed of 900 circuit boards with around 10 per cent equipped with RGB LEDs set out in a rose pattern. Complete with flat plasma-screen fire, the colour and brightness of this domestic wallpaper can be adjusted and programmed according to mood, thereby changing the appearance of the repeating pattern. While this latter project is static in location but variable in intensity, other patterns discussed above are lured into material space and desire to be dispersed everywhere, to be within everything, and even to be matter itself. We could say that under this conception objects and environment withdraw pushing back the constraints by which we realise space, such that it becomes a fully immersive environment. Although Caillois’ psychasthenia is a response to the lure posed by space for the subject’s identity, in the saturated interior the subject’s (pattern) response is constructed in a similar manner. That is, the interior as a dissected and stratified entity is replaced by one of movement and shifting states, which for the occupants removes their traditional right to a “perspectival point” and, to use Grosz’s terms, forces the participant to “abandon themselves to being spatially located by/as others.”

References Ball, Philip. 1999. The Self-Made Tapestry: Pattern Formation in Nature. Oxford, UK, New York: Oxford University Press. Barker, Lady. 1878.The Bedroom and Boudoir. London: Macmillan and Co. Caillois, Roger. 1980. Man and the Sacred. Westport: Greenwood Press. 2003. Mimicry and Legendary Psychasthenia. In the Edge of Surrealism: A Roger Caillois Reader. Ed. Claudine Frank, 89-103. Durham: Duke University Press. Grosz, Elizabeth. 1995. Space, Time and Perversion. St Leonards: Allen and Unwin. Pell, Ben. 2006. Walldrobe/Wearpaper. In Decoration. Eds. Emily Abruzzo and Jonathan D. Soloman, 114-122. New York: 306090, Inc. Rodemann, Patricia. 1999. Patterns in Interior Environments: Perception, Psychology, and Practice. New York: John Wiley&Sons.

ATLAS

‘01/patterns/ceramic tiles

Joseph Olbrich, toghether with Wagner and Hoffmann is one of the founders of the Secessione Viennese. They built the the Ernest Ludwig House and some other houses for the artists of the movement where in the 1901 they show at the public their way of life, called “total work art” (Gesamtkunstwerk in deutsch) in wich every aspect was a piece of this art. In this picture we can see the pattern made by the ornamental tilings of Olbrich’s house. The shrub on a black or white surface is a symbol of the Organic Vitality already shown on Ver Sacrum in 1898.

â&#x20AC;&#x2DC;02/patterns/a study for an interior

This is a study for an interior shown in the Hungar Pavillion during an exhibition. The protagonist of the composition is the oak tree that seems to grow from the floor and the winding line, already used by Henry Van de Velde in his works. The both aspects, lines and brenches are often used as a pattern since the years of the Secessione Viennese to the Art Nouveau, and they oftern returned in different Architecture or interior works.

â&#x20AC;&#x2DC;03/patterns/Logo of Wiener Werkstatte

This logo was the registered trademark of the Wiener Werkstatte, It had a form of a rose with a strict rectangular pattern in black and white, the top secion depicting a stylized flower made of squares.

‘04/patterns/Stencil

Charles Rennie Mackintosh used this stencil to make a pattern on the porch of Hill House. The stencil shows the shadow of a flower curving on a chequerboard ground. The tulip is not immediatly distinguible from it’s background and it seems like the stencil it’s not well done, but peering it carefully, the flower it’s clearly recognizable.

‘05/patterns/Reform dress

Emilie Floege, here in a photo with Gustave Klimt, is wearing a “reform dress”: a rebellion against the tightly laced wasp weist of the 19th century, it was a loosefitting tunic that veiled the figure and it was often decorated with graphic patterns, it was fitted in with Klimt’s idea of comfort.

‘06/patterns/Batllò house

In this house and in the others works of Gaudì, he proved the Roussillon Method, in wich arches are obteined with tiles applications one upon the others. Tiles are “The Patterns” of Gaudì’s architecture, they covers all the facades of his houses. Gaudì uses the materials (glass, ceramic and wood) with command and integrates these in an unitary composition. The colours becomes more brightly with the rising of the levels.

â&#x20AC;&#x2DC;07/patterns/American Bar

The American Bar is very little but shows Loosâ&#x20AC;&#x2122; combination of simple and unadorned forms with rich materials. here the pattern is the multiplication of space made by mirrors that are on the wall above the bar and on the opposite parallel one , wich create an illusion of rooms that follows each other. The tiles of marble gives a particular colour to the light inside, and passing trough the entrance you feel a complete loss of physical bearing. The mirrored and amber cubed interior reflects and refracts space and light infinitely.

â&#x20AC;&#x2DC;08/patterns/Fonthill House

Fonthill was built and inhabited by Henry Mercier, an archeologist and tile maker. The whole house is painted with pastel colours and contains a lot of ceramics embedded in the concrete of the wall as well as others tools taken from various traverls made by Mercier. This decoration is the pattern wich permised to the house to become so famouse. The forniture is all hand maded and often embellished with tiles made by the architect at the height of Art and Caft Movement.

â&#x20AC;&#x2DC;09/patterns/Hotel Guimard

Hotel Guimard was designed by the Architect Hector Guimard for himself and his wife. In the interior we can recognize the influence of Victor Horta in the way he manipulated cast iron to imitate tree branches, spreading out to support immense ceilings. The pattern in this project are brenches painted on the wall of the atrium, once more we can recognise the organic symbol of the Art Nuveau.

â&#x20AC;&#x2DC;10/patterns/The black bird

This pattern was designed by Kolo Moser for the Wiener Werkstatte. It would be printed on textile or used to enrich covers, frontespices and spines of the pubblication of the Viennese Secession.

â&#x20AC;&#x2DC;11/patterns/ Satirical Drawing about fashion

This is a satirical drawing about fashion in that times. The dress of the lady is created wih a fabric printed with a pattens of leaves, and the couch on which she lays ic fully covered with a flower tissue. The woman seems to camouflage herself in the forniture because probably sheâ&#x20AC;&#x2122;s bored.

â&#x20AC;&#x2DC;12/patterns/Bambina x Balcone

The painting analyses the movement of the little girlâ&#x20AC;&#x2122;s body movements, dematerialized in the series of successive frames. The divisionist brushwork of early Balla is transformed into a pattern of chromatic tesserae, which obscure the clear perception of the figure, whose progression is articulated only by the vertical grillwork of the balustrade.

â&#x20AC;&#x2DC;13/patterns/ Forniture made for Atelier Francais

These forniture and tissues were presented during the Salon des Automne in Paris. It is clear that, in the first years of 1900 the re was a predilection for floral patterns and srtipes which were used to cover every surface of a room. In this case we can see a screening realized with silk handpainted with a motiv of vine stock.

â&#x20AC;&#x2DC;14/patterns/Hall of the Wiener Werkstatte

The Wiener Wersktatte and the Deutsche Werkbund were the mouth of the Wiener trend in the early years of 1900. For forniture but also for ladies dresses the taste that influenced taylors was the french one. This concerned on floreal patterns, rich tissues and a theatrical way to compose them. In this interior we can see clearly this attitude in the way to cover the floor and the armchairs with the same tissue.

‘15/patterns/Compenetrazione Irridescente

In his pre-futurist moment, Giacomo Balla tested his interest in photography combined with the knowledge of colours caracteristic of the “pointillists” analyzing reality trough particular patterns of forms. He used a realistic cromatic radiation to create an emotive alteration in the observer.

â&#x20AC;&#x2DC;16/patterns/Airship Hangers

the Airship Hangers were built at Orly in Paris and were destroyed during the Second World War by the American aircraft. The two hangars were 175 meters long, 91 meters wide and 60 meters high and were constructed on a small airfield. The building envelope was made up of a series of parabolic arches, each in the shape of a vault, that when connected created an undulating pattern. Windows were built starting to the height of 20 meters and were constructed with a special reinforced yellow coloured glass, to provide the light and protect the airships.

â&#x20AC;&#x2DC;17/patterns/Natura Morta

Rodchenko abandoned painting in favour of photograpy and poster design ofter made with the tecnique of collage. This work is composed by a pattern of different wallpapers cutted and glued to form an ensamble of different motivs.

â&#x20AC;&#x2DC;18/patterns/Stockholm Library

The library was prepared since 1918 by a committee in wich also the architect took part. Is one of the most important buildings in Stockholm because in Sweden was the first library in wich the sistem of open shelves was used. The public can take directly books without asking to the library staff. Here the pattern is made by million books alligned by the walls of the rutunda that is also the main room of the library.

â&#x20AC;&#x2DC;19/patterns/bedroom forniture

The Guest bedroom portaied in this picture was the last work of interiors made by Mackintosh. On a room conventionally coded as feminine he gave a strong masculine design that included a pattern of bold black and white stripes that are painted on the wall and on the ceiling but also printed on the bed linen.

â&#x20AC;&#x2DC;20/patterns/I.G. Farben Offices

Built in 1920-25 the paint factory of the I.G. Farben Company features, in its administration building, a large hall around which offices are arranged, on the model of the Larkin Building by Frank Lloyd Wright. Peter Behrensâ&#x20AC;&#x2122; version is a place in wich slanting rafters disrupt the overall rectilinearity and a pattern made by different colours painted on the walls with the particular decoration both of the floor and ceiling contributes to create a dynamic space.

â&#x20AC;&#x2DC;21/patterns/Watts Towers

The stucture of these towers is made from steel pipes and rods, wrapped with wire mesh and coated with mortar. The main supports are decorated with a pattern of pieces of porcelain, tile and glass, but also with found objects or softdrink bottles. The main part of the material is made by damaged pieces from Clay industries that lay around the site. Rodia didnâ&#x20AC;&#x2122;t use special equipement, just hands tools and window-washers objects, and with the help of neighborhood children who brought pieces of glass or pottery. During the Second World War rumors that the towers were antennas to communicate with Japanese forces caused vandalism and suspicion. The building would be razed but a committee of architects and artists saved the Towes and now they are open for the public, they are also mentioned in a song of Red Hot Chili Peppers.

â&#x20AC;&#x2DC;22/patterns/Notre Dame du Raincy

Probably the best-known of modern churches, Perretâ&#x20AC;&#x2122;s Notre Dame is a masterpiece made with reinforced concrete. Itâ&#x20AC;&#x2122;s large windows encompass the space of the church itself like filigree grills and give to the interior space a particular pattemade by the light wich enters in this composition and gives to the place that sort of mysticism typical of Gothic architecture.

â&#x20AC;&#x2DC;23/patterns/Ennis House

In the twenties Frank Lloyd Wright distances himself from the model of Prairie House, all his committents where rich Californian men, and in that land the natural conditions needed new solutions for housing. Since wright was young he was always influenced by the primitive architecture of mayas or incas and from that massive buildings, with inclined walls developing from an huge paved floor , he took his ideas for these series of houses. Often he also simulated ruins with decoration motives repeated on the surfce of the facade

â&#x20AC;&#x2DC;24/patterns/Plan Voysin

Plan Voysin was presented by Le Corbusier in 1925 at the Internation Exposition of Decorative Arts, it was an urbanistic project for the center of Paris. The Plan would have been superimposed to the historical center of the city, and it consisted on an linear highway sistem wich would have passed trough the city thanks to the demolition of a wide zone of the rive droit and on a simmetric sistem of crucial skyscrapers combined with redants buildings that would have created a new pattern among ancient monuments as Palais Royal, La Madeleine and others.

â&#x20AC;&#x2DC;25/patterns/Metropolis

The photo shows us a great number of different buildings arranged all together that apparently has nothing to do with each other. But if we look at the overall we can observe that all this construction contribute to generate a unique type of pattern: not made by a sequence of identical images but by a unique sequence of city images.

â&#x20AC;&#x2DC;26/patterns/interior of the Atelier of Paul Poiret

This is the interior of one of the Ateliers of Paul Poiret, a creator of tissues fof forniture or fashion. All the pieces of forniture in this room are covered with the same patterns of flovers created by the maison. Itâ&#x20AC;&#x2122;s curious that all the drawings which were the base of the printing were created by grls with no artistic education.

â&#x20AC;&#x2DC;27/patterns/a model of an interior

To bring the fireplace out from the wall it was covered in a unique way, using a pattern wallpaper. Using the wallpaper it looks that the wall is nothing compared to the fireplace making it the most evident element into the room.

‘28/patterns/Maison de Verre

The fundamental characteristic of this building is the glass façade that is also the pattern that i observed in this project. The furniture and interior décor were predominantly hand crafted and designed by Chareau, and the main feature of the house—the glass wall—was sand casted, a process closer to that of an artisan. This type of glass wall was traditionally used for smaller windows in staircases or walls, but never as a complete façade, it was an utopia for that years.

â&#x20AC;&#x2DC;29/patterns/Ingranaggi

The picture was taken by Rodcenko during a reportage on fhe AMO fabrique in Moscow. It represents the pattern of teeth of the gears used to produce cars. His images eliminated unnecessary detail, emphasized dynamic diagonal composition, and were concerned with the placement and movement of objects in space.

â&#x20AC;&#x2DC;30/patterns/Bodouir

The walls of the bodouir are entirely papered with tissues printed with a pattern of garlands. The whole covering of the room is conceived on the idea of the contrast between positive and negative, infact the walls are white with coloured garlands and the courtains are dark with clare drawings.

â&#x20AC;&#x2DC;31/patterns/Dining room

If we had a photo of planâ&#x20AC;&#x2122;s room probably we could not recognize where furniture end and where floor starts anymore, this is link to use of the same pattern for all the room. Choosing to recover chairs and floor with the same motive of pattern it is as if they blend in nicely together forming a unique elements inside the room.

â&#x20AC;&#x2DC;32/patterns/House of the architects

This photo shows how patterns are used in a domestic contest. Not only, as always happens, in the floor tiles but also in all the furniture and in curtains. We can see, in fact, that sofa, armchairs chairs and curtains are coated with the same geometric pattern that makes a whole and ties all the furniture in the livingroom.

â&#x20AC;&#x2DC;33/patterns/Antitubercolar Dispensary

In this building the horizontal develope has an important relevance. Characteristic of this work is also the frontal side, in which the structure is moved back and the wall become a pierced brise soleil in concrete that gives a particular pattern to the front side, as it was embrodied.

‘34/patterns/Cathedral of LIght

Albert Spreer, the official architect of Hitler, created lot of schenographies for munsters during nazist regime. He used to inspire himself with the monumental enphasis typical of Ancient Egypt or Neoclassicism. He reduced all these suggestions in a language of stone facings and geometrical patterns used also to arrange coreographies of soldiers like in this occasion, the munster of Nurnberg in 1934. Tousands of spotlights were directed in the sky and this idea was called “Cathedral of Light”.

â&#x20AC;&#x2DC;35/patterns/Triumph of the will

This photo was taken by Leni Riefenstal, it represent a mass parade during the National Socialism. The behaviour of grouping creating an human pattern was typical of the Nazistâ&#x20AC;&#x2122;s cerimonies and it was closely linked with the idea of Germany as a superior Nation in which the collective dimension was decisive to win the war.

‘36/patterns/Ferrania Offices

This interior could be the Paradigma of the word “ Patterns”, the architect wanted to create a spatial disturbance of the human perception.The same motif of black and white stripes are printed all around, booth on the wall and on the forniture.

â&#x20AC;&#x2DC;37/patterns/Leaf

From the 30â&#x20AC;&#x2122;s the system of transport in London was improved and it was produced a co-ordinated images for all the vehicles. Trams, busses, undergrounds were developed to add to the pleasure of the journey the pleasure of the design of the interiors.were employed best architects and designers to serve the community and the moquette portaied in this picture is one of the results of their work. There were made lot of types of wollen fabric, they had different patterns but the same three colours repeated, green, dark green and red, to recognise in every vehicle the image of the public transport.

â&#x20AC;&#x2DC;38/patterns/Horizontal city

Not always pattern are to be found in a particular type of furniture or decoration: they are just around us, even if most of the time we donâ&#x20AC;&#x2122;t realize it. We just have to look at this picture to see that also buildings, forming a rectangular block , with linear road crossing that blocks from one end to the other, could create a pattern in the fabric of the city.

â&#x20AC;&#x2DC;39/patterns/Olivetti Industries

From 1934 started the upgrading made by Adriano Olivetti for his industry. The project was commited to Luigi Figini e Gino Pollini, two young architects of these years. This building in particular was a part of the third enlargement wich started in 1939, and was the most important for the characterisation of the industry. This buinding was 130 meter long coated with glass and divided into modular parts wich are the typical pattern of the facade. This technical solution is taken from international avante-garde of the tirties, with a special recall to the work of Le corbusier. Thanks to this project Officine Olivetti become one of the most relevant masterpiece of industrial architecture of these years.

‘40/patterns/Helsinki Courthouse

The Helsinki Court is established in the building that was the Alko’s headquarters during the 40’s. The entire complex is made by reinforced concrete with a frame of pilars. The windows are little and repeated in a modular pattern for all the buildings. This was dued to the automated processing of alcohol which didn’t need too much light.

‘41/patterns/Thule Offices

The house of the insurance company Thule has the typical surface of an offices’ building with a pattern of similar windows to illuminate the stations of the officers, the sequence of the windows suggest the flexibility of the interior spaces, infact every officer’s desk was entirely trasformable it it was the need to do that.

‘42/patterns/Verbum

The central word ‘Verbum’ recalls the biblical story of creation. Out of a misty grey there’s a pattern of primeval figures which, by the time they reach the edges of the hexagon, have developed into birds, fishes and frogs, each in its own element: air, water and earth. Each kind is pictured by day and by night, and the creatures merge into each other as they move forward along the outline of the hexagon, in a clockwise direction.

‘43/patterns/Ministry of education and wealth

Oscar Niemeyer, Lucio Costa, Alfonso Reidy , Roberto Burle Marx, Le Corbusier thought us that even a boring windows’ sequence can be a façade pattern. They were obliged to use many windows because of the function of the building; it had to host the main headquarter of the Ministry of Education and Health. It meant a huge number of offices, with a consequent need of windows. The final result, though, seems to be a woven surface.

â&#x20AC;&#x2DC;44/patterns/Encounter

Out from the gray surface of a back wall there develops a complicated pattern of white and black figures of little men. And since men who desire to live need at least a floor to walk on, a floor has been designed for them, with a circular gap in the middle so that as much as possible can still be seen of the back wall. In this way they are forced, not only to walk in a ring, but also to meet each other in the foreground: a white optimist and a black pessimist shaking hands with one another.

‘45/patterns/Temporary Houses

Temporary houses must have some characteristics: cheapness, seriality, adaptability. These aspects create a “main model” that can be used where there is the need to. The picture represents a temporary vilage created by a huge number of that model. From above, we can see that the final effect is a particular pattern on the ground, not so positive, though; it tells us that people who lived there were considerated “all the same”, because of their work and their social condition.

â&#x20AC;&#x2DC;46/patterns/The problem of logement in the USA

After the end of World War II, many people needed a house; obviously, the Government had to plan huge regions, in which residential buildings had to grow up. They had to be not expensive and very adaptable, to be easily built with industrial components. So the pattern that they form on the ground has the same negative characteristic explained below: people are considered â&#x20AC;&#x153;all the sameâ&#x20AC;?, even because this kind of approach regarding the residential problem could not think about a better urban solution.

‘47/patterns/Hotel House

The picture represents a big hotel, which, in project’s terms, has the same problems of the Ministry of Education and Health described below. It needs a lot of rooms, and each of them must have al least one window. The final result, regarding the main façade, would be boring, but in this case, even if the windows are square shaped and aligned, the pattern is quite interesting. Since all the windows are rearwarded, it seems that the building has holes all over the surface, creating a movement thanks to shadow and light.

â&#x20AC;&#x2DC;48/patterns/Multimirror

This is a sorciere made by eight different little mirror in which the lady can see herself from eight different prostectives. In a certain way this object gives the chance to create a pattern of someone when he look himself in the mirrors.

â&#x20AC;&#x2DC;49/patterns/Spot for Braedli wallpaper

The wallpaper in the picture represents a series of very little pois on a white background. It is part of the 1949 collection by Braendli, an italian brand that produces wallpapers from 1908. The product in the picture takes its inspiration from the sea world, and precisely from fish nets.

â&#x20AC;&#x2DC;50/patterns/Stoffa Dattiloscritta

Bernard Rudofsky used his Olivetti typewriter to create a series of textiles patterns on different fabrics. He wrote an ensamble of symbols that after were repeated and printed on the tissues.

â&#x20AC;&#x2DC;51/patterns/Gattiâ&#x20AC;&#x2122;s Industries

All the works of Pier Luigi Nervi are characterized by a perfect synthesis of structural engineering and sculpture. in this building, the Lanificio Gatti, the pattern is made by concrete nerves wich are the ideal representation of all the static forces that converges in the pilars.

â&#x20AC;&#x2DC;52/patterns/Zodiac Apartement

During the fifties the transatlantic Andrea Doria was the most luxurious, it was the first ship to feature three different pools for the three different classes on board. Its interiors were designed by GiĂ˛ ponti, Minoletti and Salvatore Fiume. This is the forniture of the Zodiac Apartment situated in the first class. We can see that the whole tools are covered with tapestry which represents Zodiac signs and is the typical pattern of this apartement. The cabin was organized into a bedroom, a bathroom and a little boudoir and painted with lightblue.

‘53/patterns/The Price Tower

The Price Tower rapresent for Wright an occasion to build an habitable skyscreaper, but his concept of this building refused the idea of a modular framing box preferring a series extendible floors to allow the creation of double height or mezzanine floors. The fondamental symbol was “the tree”, so a building like an organism instead of a mechanism. Price Tower mixed in itself apartements and offices and its surfaces were coverred by copperplates to protect the building from sun’s ray. In a flat landscape it was like a lighthouse and it was visible from kilometers away.

â&#x20AC;&#x2DC;54/patterns/Dynamique de la coloeur

Jesus Rafael Soto defined his works â&#x20AC;&#x153;kinetic artâ&#x20AC;? because he projected figures in space. In this oevre he used two different pannels fixed one upon the other. The both pannels have different patterns on their surfaces and when an observer is perfectly in front of the work and looks at it, he has the illusion that the composition is bydimensional, but when he moves, the work splits in two different patterns.

â&#x20AC;&#x2DC;55/patterns/Tlinko

The Op-Art apperas in this work of Victor Vasarely, in wich the trompe dâ&#x20AC;&#x2122;oil, the opposition of black and white and a pattern of geometrical forms contributes to the effect of movement and depth: rombhuses break the balance of the work giving dynamism and the contrast of the two colours produced a sense of intensity.

â&#x20AC;&#x2DC;56/patterns/Air Force chapel

The most striking aspect of the Chapel is its row of seventeen spires. The original design called for nineteen spires, but this number was reduced due to budget issues.The structure is a tubular steel frame of 100 identical tetrahedrons, each 23 m long, weighing five tons, and enclosed with clear aluminum panels. The repetition of these elements form an ambivalent pattern: in the exterior of the building we can see the spires posed in succession, and in the interior of the chapel the tetrahedrons have in between stained glass windows wich give to the space a mystic atmosphere and divide the internal space in modular parts.

‘57/patterns/Superleggera

This photo is from the historical archive of Cassina, it was taken during the production of the “699” chair, typically known as Superleggera. The picture represents very well the idea of serial production of forniture, there is a pattern of raw frames that are not refined yet. On of the concept of this production was that the chair was created in series but it could have been customized with different colours, to become a unique piece of design.

â&#x20AC;&#x2DC;58/patterns/Simpathy

Milano-Simpathy was the first collection of the maison Missoni. It was presented at the Rinascente of Milan in 1958, especially a dress with coloured stripes was the protagonist of the shop windows and it was promoted on the newspaper â&#x20AC;&#x153;Corriere della Seraâ&#x20AC;?. During the years this pattern made by patchwork of colours and geometrical forms becomes the trade mark of the maison used in all collection and also for interior design ( Missoni featuring Giorgio Saporiti made some pieces of forniture coverred with textiles).

â&#x20AC;&#x2DC;59/patterns/Achrome

Piero Manzoni, after his experience with Nuclearismo, in 1957 creates his first Achrome works.Manzoni, did not limit himself to monochrome canvases, but a-chrome, meaning without colour. The Achrome, are, in fact, total and infinite spaces, where the artist gains his own freedom. Colour and form would be only spatial obstacles to the artist. Manzoniâ&#x20AC;&#x2122;s only intervention was to soak the canvas with liquid kaolin and glue, and setting these to dry, thereby allowing the materials themselves create the work in a selfsufficient way. In this case he created a pattern of geomeric shapes wich could extend itself endless.

â&#x20AC;&#x2DC;60/patterns/URMNT

Behind a perforated surface thereâ&#x20AC;&#x2122;s a soft white canvas which is moved by a propeller and produce countless patterns of movements.

â&#x20AC;&#x2DC;61/patterns/Britannia

The most important theme in Bridget Rileyâ&#x20AC;&#x2122;s works is the gradual variation of the single element. In this example there is a pattern of black and white stripes that became convex in the centre of the drawing just like as the visitor is looking them with a fish eye lens.

‘62/patterns/Green Coca Cola Bottles

Warhol often used the theme of patterns in his works. He represents in series some common products of the society to describe how they are a sort of idols of the contemporary age, and in the same way he rapresents the idols of the star system as commercial products. He said about Coca-Cola:” What’s great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coca-Cola, Liz Taylor drinks Coca-Cola, and just think, you can drink Coca-Cola, too [...]”

â&#x20AC;&#x2DC;63/patterns/Rare Book Library

The architect thought of the library as a treasure house of rare books whose presence ought to be emphasized. The case of this building is made by frames of marble cutted in slabs which reflects light in the interior creating a pattern of veins that seems to enrich the preciousness of the books collection

â&#x20AC;&#x2DC;64/patterns/Unikko

This floreal pattern is one of the most famous of the brand Marimekko. It was created in 1964 when the director of the factory, Armi Ratia, decided to remove flowers from her collections of tissues, then the designer Maija Isola decided to create this new pattern as a rebellion.

â&#x20AC;&#x2DC;65/patterns/Ceramic tiles

Ponti defined the floor a chessboard in wich all the elements played a role, included man. The pattern choosen for this Hotel in Sorrento is made by ceramic tiles. The architect loved ceramic composition and he often used these in his works, in this case he drew thirty different patterns wich could have been mixed two, three four times with the others and form always different compositions.

â&#x20AC;&#x2DC;66/patterns/Dots

Dots are fundamental elements in Yayoi Kusamaâ&#x20AC;&#x2122;s art, in this case they are reprehesented by a pattern of silver balls, till she was young she have had allucinations and sheâ&#x20AC;&#x2122;s mentally ill, but these visions are definitely protagonists in her works and represent her salvation. She has an obsessive relationship with her art and often she dresses with the same texture painted on the canvas to become a part of the performance and to show her interiority. Art is therapeutical for Yayoi who claims that without her works she would have already kill herself.

â&#x20AC;&#x2DC;67/patterns/Superficie Bianca

Castellani uses the different effects made by light on canvas, wich is embossed with pins: the result is a discontinuous surface, which loses its traditional function of painting to become a plastic pattern, modulated according to a regular rhythm, capable of infinite variations on the theme of contrasting light and shadow, light and dark.

‘68/patterns/Untitled

Alan Jacquet reproduces a picture on canvas but doing that the photo frame is distorted in a pattern of coloured dots that disturb the vision of the image by the visitor, this tecnique is called “Camouflage”.

â&#x20AC;&#x2DC;69/patterns/Tube Chair

Tube chair is composed by four tubes with different diameters, mixable in different ways kept togheter with steel clips. The chair could be trasformed in an armchair orin a chaiselongue only rematching the different parts. Tubes could be inserted one in each other and carried in a juta bag.

â&#x20AC;&#x2DC;70/patterns/No stop city

Here the patterns are all the punctuation marks wrotten by the typewriter. They are symbols of the contemporary society, increased with industrial enveloping. the new city is a potential no-stop city in wich there are no more road links but only a huge range of buildings with vertical connections.

‘71/patterns/Ten thousands lines

This work was in the “Bulletin 32” published on the magazine “art&project”. These bulletins were generally a single sheet folded in half and printed on both sides, and they were sent free to a mailing list of approximately 400 to 500 individuals, including other artists, curators and gallerists, or were distribuited during the exhibitions of Sol LeWitt. They were generally considered works of art in their own right. The artist commented this art-pattern saying “In the Orient the number ten thousand traditionally implies a large number. These drawings are part of a group. The size of the wall or the page on which a drawing in made determines the density of the lines”.

â&#x20AC;&#x2DC;72/patterns/Without name

Flavin realized his works using simple neon tubes, he studied the light reflection on the three-dimensional space of a room, he choosed carefully the colours of his installation to communicate feelings like joy, pain or passion. With this pattern of neons the perception of space is disturbated and the walls vanished into an undefined space.

â&#x20AC;&#x2DC;73/patterns/New Royal Theatre

The Theatre was rebuilt between 1965 and 1973 because the original building bursted into flames. This is a particular of the external surface that is composed with some parts of structural glass and some parts of bricks, like in this picture, in wich this particular motif create a pattern extended in all the facade.

â&#x20AC;&#x2DC;74/patterns/Curva di Peano

In 1974 Bruno Munari explored the possibilities of fractal objects in particular of the Peano curve, wich is filled with colours creating a lot of different pattern just with an extethic purpoise.

‘75/patterns/Fractals

This image shows a particular fractal called “insieme di Mandelbrot”. A fractal is a rough or fragmented geometric shape that can be split into parts, each of which is (at least approximately) a reduced-size copy of the whole, property called self-similarity. A lot of natural objects are classificated as fractals, like clouds, mountains, coasts lines, some vegetables and snow flackes. In 1975 Benoit Mandelbrot was the first who named these mathematical figures “fractals” in the book “Les object fractals: form, hazard and dimensions”.

â&#x20AC;&#x2DC;76/patterns/UFO Decorations

The UFO designs represents the tradition aiming at drawing on the fabric great and uniform patterns of geometrical solids or forms, which are studied with their movements in the space and their essential variation of shadows to create space illusion.

â&#x20AC;&#x2DC;77/patterns/4096 colours

The order of the coloured squares is based on chance, having been generated randomly by a computer programme. The 11 configurations were selected by Richter and there is no hierarchy among them. Richter started work on grid paintings as early as 1966, when he reproduced industrial colour charts as used by paint manufacturers. In 1971 the element of chance was introduced into his pattern, with the distribution of colours randomly decided, although there remained a white grid between the colour fields.

â&#x20AC;&#x2DC;78/patterns/Attic room like a gazebo

The idea of this work of Nanda Vigo was to transofrm an attic room into a winter garden. The choice of covering all the surfaces with a wallpaper representing a pattern of flowers and plants could be linked with the idea of a gazebo immersed into a fabolous garden. The apartment was in Milan, so a real outdoor garden was not possible, and the architect choosed to ricreate it.

â&#x20AC;&#x2DC;79/patterns/Bakterio

This is the pattern Bakterio invented by Ettore Sottsass. He collaborated with Abet Laminati to produce some rolled sections to over different pieces of forniture. The great intuition was that this material could have been used to create design pieces and not only to cover floors of walls with artificial wood or marble.

â&#x20AC;&#x2DC;80/patterns/Triangle

Sol Lewitt thought that the most important phase of producing a master piece was the conception of the idea. Other steps like production were subordinate and they can be done by others people. Art had to be easy to be product because it wasnâ&#x20AC;&#x2122;t the artist that did it, from this idea take birth the geometrical patterns used like this triangle made by black and white stripes.

â&#x20AC;&#x2DC;81/patterns/Institute du Monde Arabe

The Institute du Monde Arabe was built by Jean Nouvel and architecture studio during the policy of big ouvres of Francoise Mitterrand, itâ&#x20AC;&#x2122;s a building which try to make a diplomatic communication between europe and arabian countries. The north facade symbolizes the relationship with the old city of Paris, the south facade recalls arabian traditions with the use of a pattern of 240 mechanical moucharabieh, the typical arabian brise-soleil which open and close theirselves every hour.

‘82/patterns/Cube Housing

Cube Housings were an architectonic experiment by Piet Blom in wich he considered form and spatial effects more than functionality. the single cube looks like it is tilted and olaced with one point a pole, so it has three sides facing the ground and the other three facing the sky. This disturb the normal perception of “house” that people have, and in this little village we can see a pattern of facades in different perspective but we could not suppose the interior distribution of spaces.

‘83/patterns/Intarsio Industriale

This product was also known like “IN-IN” it was made by thin plates of wood (typically were used ayous, koto and poplar) which after the cutting were coloured with different colours and glued toghether. After that the mass of plates was cut into slices perendiculary. These slices were the finally product called “Intarsio Industriale” and its peculiarity was the pattern of different colours and woods that formed some interesting figures.

â&#x20AC;&#x2DC;84/patterns/Onehundred Live or Die

Light offered Nauman a medium that has the quality of being elusive and effervescent while aggressively pervading an environment with its message. Naumanâ&#x20AC;&#x2122;s art is motivated by ideas, not an attachment to a particular medium. Through the use of neon signs, a public and familiar means of communication to relate an idea, Naumanâ&#x20AC;&#x2122;s goal is to make the viewer think. In this particular installation the visitor is overwehlmed by a pattern of usual action (probably the same actions that he uses to do every day) associated with a word: die or live.

â&#x20AC;&#x2DC;85/patterns/the Umbrellas

The Umbrellas was a project of Christo and Jeanne Claude, it was set in USA and Japan. In the first country the umbrellas were yellow and in the second nation were blue. The concept was created around 1984 and 1985, about 1800 men worked to locate the structures of the umbrellas and on the 6th October 1991 they were opened at the same time in the two regions and were layed there for a period of eighteen days to create a pattern of coloured objects visible also from afar.

â&#x20AC;&#x2DC;86/patterns/Shonandai Culture Center

Itsuko Hasegawaâ&#x20AC;&#x2122;s community centre is a fluidly informal set of volumes that draws on traditional Japanese means of enclosing space for cultural events. The mosaic pattern of the triangular division completed from the glass and the aluminum panels has given prosperity to the place by surrounding a central open space. Itsuko Hasegawaâ&#x20AC;&#x2122;s community centre

â&#x20AC;&#x2DC;87/patterns/ 10000 Individual Works

Allan McCollum objects give the impression of industrial mass production. All the individual pieces form toghether a pattern but they differ in colour, size and form, a feature that can be appreciate only when they are presented in groups. the observer at the first sight seen a collection of the same object repeated tousend times, and only with a more careful observation someone realize that they are all different.

â&#x20AC;&#x2DC;88/patterns/Company at the table

This work is called â&#x20AC;&#x153;Company at the tableâ&#x20AC;? and it represent thirty-two identical, life-size men seated either side of a long refectory-style table. They do not communicate, each seems lost in thought, in company but alone. They form a humanpattern with identical outfits wich imply a fraternity, which might be that of a monastic order.

â&#x20AC;&#x2DC;89/patterns/Italian Garden

This â&#x20AC;&#x153;gardenâ&#x20AC;?, was set in a pavillion of the fair of Cersaie in 1989, and the purpoise was to reproduce a typical italian garden to demonstrate different property of some ceramic tiles. The particular pattern here are the tiles composed in different ways and colours to give the illusion of water or grass with flowers.

‘90/patterns/Ship “Enrico Costa”

The architecture team De Jorio restored the interiors of the ship respecting the original project. The bedrooms are furnished recalling the Liberty Style and all the walls are covered with handoainted wallpaper and paintings with trome l’oeil effect. Every room has a personal pattern on the wall to create an historical revival of the fifties when the transatlantic was launched.

â&#x20AC;&#x2DC;91/patterns/Field for the British Isles

Most of Antony Gromleyâ&#x20AC;&#x2122;s sculptures consist of lead body cases from plaster casts. There body forms are frequently grouped in large installations. In this work there are 40000 of them, and they were made by 100 people from Lancashire. Each work is individual but they form an integral pattern.

â&#x20AC;&#x2DC;92/patterns/Church of St. John

The entire building has limited dimensions, it is conceived as a massive stone construction based on an ellipse. There were used sqare blocks which form a pattern of stripes also because of the types of stone used: the grey Riveo Stone and white Peccia marble.

â&#x20AC;&#x2DC;93/patterns/Interno di un Interno

Mendini,during his work as designer always tried to transform design pieces in forniture easily affordable by the lower class. When he studied the art movement of Pointillisme the transferred the typical pattern made by little point on walls and tools used in ordinary houses.

‘94/patterns/Nocturne

In his “nocturnes” Ross Bleckner uses patterns like holes, shadows and fissures bathed in whitish patches of light to symbolize the finiteness of life and its desappearence in the realm of shadows.

â&#x20AC;&#x2DC;95/patterns/Silodam

Silodam is a project by MVRDV ant it was completed in 2002. Itâ&#x20AC;&#x2122;s peculiar of this project to embody different types of dwellings ensambled in little heighborhood inside the building. On the facade the most important pattern is made by windows and colours that are used to identify the units. Windows are repeated in the four sides of the building and they are organized in a module wich is modified if the apartment is a duplex or another typology.

â&#x20AC;&#x2DC;96/patterns/I feel better now, I feel the same way

As libraries replace their card catalogues with on line database, the cards themselves, obsolete, are usually thrown away, but the american artist David Bunn rescued two million cards from the Los Angeles Library and used them, with their boxes to do an art-pattern and give them a new born.

â&#x20AC;&#x2DC;97/patterns/Meine

Spencer Tunick uses for his works naked people laid prone on different areas, to create a pattern of bodies. At the first sight his works strike for the collective dimension and for the relevant number of peole used, only in a second moment an observer notice that people are not all of the same sex and age but there are men and women of several different ages and phisical conditions.

â&#x20AC;&#x2DC;98/patterns/

Vanessa Beecroft uses to work with bodies that she put often undressed in an empty space. In this set she used some marines. They have the same uniform and the same rank and they stay in a military formation. it seems like they are forming an human pattern, there is no more the individual but only the collective dimension.

â&#x20AC;&#x2DC;99/patterns/Eberswalde LIbrary

For this project Herzog and DeMeuron collaborated with the photographer Thomas Ruff. Here the entire building becomes a screen of images, applied to concrete panels as well as glass. The entire surface is divided into strips, everyone contain only one historical picture which is repeated for all the sides of the building. It seems to watch more different films in which the plot is reduced to an only one fixed image.

‘00/patterns/personal interpretation

This poster is my interpretation of the word “pattern”. With this work i want to add something to the definition given by Mark Taylor. He talked about pattern especially for the field of interior design or art, with some tips about computer graphic. Working on this booklet and searching on internet i realized that patterns are more than a wallpaper that covers a whole room, they are the base of natural life. The leopardskin is made by a pattern of black spots, a zebra is fully covered by a pattern of black and white stripes, the cauliflower or the pistil of a daisy are the realization of the Mandelbrot Fractal in form of vegetables or flowers. Often also men use pattern for their work both in cities and farming: the neighborhoods of Barcelona were organized in a squares grid by Ildefonso Cerdà in order to control the growth of the city; a similar grid is used from egyptian times to divide fields closely to the Nile. In conclusion patterns are not linked only

with fashion or forniture but from the organization of the universe to the form of bacteria everything responds to a patterns logic. In this poster I wanted to show the both sides of patterns: for the external layout I chosed black and white squares that disturbs the perception of the observer, and for the interior of every white square I choosed an image from art, nature, wild life or interior design to summarize all my researches. Every box can be taken off of its place and turned to look its content.

REFERENCES

‘01: Piastrelle per la casa alla colonia degli artisti, Dramstadt Joseph Olbrich G. Massabria, P. Portoghesi “Album del liberty”, Laterza Editore, Bari, 1975, pg 115 ‘02 Studio di interno, Parigi A. Fork G. Massabria, P. Portoghesi “Album del liberty”, Laterza Editore, Bari, 1975, pg 120 ‘03 Logo for the Wiener Werkstatte, Dramstadt Koloman Moser Maria Rennhofer, “Koloman Moser: master of viennese modernism”, Thames&Hudson, London, 2002 pg 50 ‘04 Stencil for a porch, Charles Rennie Mackintosh Roger Billcliffe, “Charles Rennie Mackintosh, the complete forniture, Forniture, drowings and design”, Abrams, New York,1979 ‘05 Reform dress for Emilie Floege Gustave Klimt Maria Rennhofer, “Koloman Moser: master of viennese modernism”, Thames&Hudson, London, 2002 pg 33

‘06 Batllò House, Barcelona Antoni Gaudi http://www.casabatllo.es ‘07 American Bar, Vienna Adolf Loos http://www.vitruvio ‘08 Fonthill House, Doleystone www.greatbuildings.com www.fonthillhouse.com ‘09 Hotel Guimard, Paris Hector Guimard http://www.greatbuildings.com ‘10 The black bird Koloman Moser Maria Rennhofer, “Koloman Moser: master of viennese modernism”, Thames&Hudson, London, 2002 pg 89 ‘11 Satirical Drawing about fashion Hermann Abeking Giovanni e Rosalia Fanelli, “Il tessuto Moderno: disegno, moda, architettura 1890-1940”, Vallecchi Editore, Firenze, 1976, illustrazione 387

‘12 Bambina x Balcone Giacomo Balla http://www.centroarte.com/balla%20giacomo.htm ‘13 Forniture for Atelier Francais, Luis Sue Giovanni e Rosalia Fanelli, “Il tessuto Moderno: disegno, moda, architettura 1890-1940”, Vallecchi Editore, Firenze, 1976, illustrazione 492 ‘14 Hall of the Wiener Werkstatte, Vien Artists of the Wiener Werkstatte Giovanni e Rosalia Fanelli, “Il tessuto Moderno: disegno, moda, architettura 1890-1940”, Vallecchi Editore, Firenze, 1976, illustrazione 588 ‘15 Compenetrazione irridescente Giacomo Balla http://www.centroarte.com/balla%20giacomo.htm ‘16 Airship Hangers, Orly Eugene Freyssinet William J.R. Curtis, “Architettura moderna dal 1900”, Phaidon Architecture 2005 pg 81 ‘17 Natura Morta Aleksandr Miahjlovic Rodchenko Catalogo della mostra tenutasi a Milano nel gennaio 1992 dal titolo “Rodcenko: grafico, designer, fotografo”, Edizioni Mazzotta, Milano, 1992 pg 62 ‘18 Stockholm Library, Stockholm Erik Gunnar Asplund Kenneth Frampton, “Storia dell’architettura moderna”, Zanichelli, Bologna, 2007, pg 95

‘19 Guest Room, Hill House Charkes Rennie Mackintosh Roger Billcliffe, “Charles Rennie Mackintosh: the complete forniture. Forniture, drawing, design”, Abrams, New York, 1979 pg 258 ‘20 I.G. Farben Industry, Frankfurt Peter Behrens http://www.greatbuildings.com/buildings/ I._G._Farben_Offices.html ‘21 Watts Towers, Los Angeles Simon Rodia Bud Goldstone, “The Los Angeles Watts Towers”, Thames and Hudson, London, 1997 pg 49 ‘22 Notre Dame du Raincy, Raincy Auguste Perret Kenneth Frampton, “ Modern Architecture 1851-1945”, Rizzoli international pubblications, New York, 1983 ‘23 Ennis House,Los Angeles Frank Lloyd Wright William J.R. Curtis, “Architettura moderna dal 1900”, Phaidon Architecture 2005 pg 230-231 william aline storer,“the architecture of frank lloyd wright: a complete catalog”, second edition cambridge,MA: the MIT press 1979 ‘24 Plan Voysin, Paris Le Corbusier Kenneth Frampton, “Storia dell’architettura moderna”, Zanichelli, Bologna, 2007, pg 105

‘25 Metropolis Paul Citrohen “Tempo, Tempo! Bauhaus-photomontagen von Marianne Brandt”, Berlin Elizabeth Otto, Bahuaus-Archiv, 2005, pg 43 ‘26 interior of the Atelier Poiret Paul Poiret Giovanni e Rosalia Fanelli, “Il tessuto Moderno: disegno, moda, architettura 1890-1940”, Vallecchi Editore, Firenze, 1976, illustrazione 551 ‘27

Interoir presented at Salon des Artistes Decorateurs, Parigi Pierre Chareau Giovanni e Rosalia Fanelli, “Il tessuto Moderno: disegno, moda, architettura 1890-1940”, Vallecchi Editore, Firenze, 1976, illustrazione 573 ‘28 Maison de Verre, Parigi Pierre Chareau Giovanni e Rosalia Fanelli, “Il tessuto Moderno: disegno, moda, architettura 1890-1940”, Vallecchi Editore, Firenze, 1976, illustrazione 675 ‘29 Ingranaggi Aleksandr Miahjlovic Rodchenko Catalogo della mostra tenutasi a Milano nel gennaio 1992 dal titolo “Rodcenko: grafico, designer, fotografo”, Edizioni Mazzotta, Milano, 1992 pg 137 ‘30 Boudoir John Jacobson Giovanni e Rosalia Fanelli, “Il tessuto Moderno: disegno, moda, architettura 1890-1940”, Vallecchi Editore, Firenze, 1976, illustrazione 521

‘31 Dining room Laboratories of Bauhaus,esposta a Breslavia Giovanni e Rosalia Fanelli, “Il tessuto Moderno: disegno, moda, architettura 1890-1940”, Vallecchi Editore, Firenze, 1976, illustrazione 729 ‘32 House of the architects Gino Levi, Giuseppe Pagano Giovanni e Rosalia Fanelli, “Il tessuto Moderno: disegno, moda, architettura 1890-1940”, Vallecchi Editore, Firenze, 1976, illustrazione 732 ‘33 Antitubercolar Dispensary, Alessandria Ignazio Gardella Luca Marzi “Dispensario antitubercolare di Alessandria, 1933-1938” from Costruire in Laterizio n° 126, 2006 pg 60-63 ‘34 Chathedral of Light, Nurnberg Albert Speer William J.R. Curtis, “Architettura moderna dal 1900”, Phaidon Architecture 2005 pg 355 ‘35 Triumph of the will Leni Riefenstal Edward Lucie-Smith, “Arti visive del XX secolo”,Konemann, 1996, pg 153 ‘36 Ferrania Offices, Milan Giò Ponti www.thais.it ‘37 Leaf Anonimus James Peto & Donna Loveday, “Modern Britain 1929-1939”, First, London, 1999, pg 106

‘38 Horizontal City Antonino Saggio “giuseppe Pagano” fromCasabella n°195, 1946, pg 52-53 ‘39 Officine Olivetti L.Figini - G.Pollini http://www.storiaolivetti.it ‘40 Helsinki CourtHouse, Helsinki Vaino Vahakallio “Monopolio statale degli alcolici” From Casabella Costruzioni n° 173 , 1942 pg 50-54 ‘41 Tuhle Offices, Stockholm Gustav Clason “Tuhlehuset a Stoccolma” from Casabella Costruzioni n° 173 , 1942 pg 78-81 ‘42 Verbum Mauritius Cornelius Escher M.C. Escher “the Graphic Work”, Taschen, 1992 pg 17 ‘43 Departement of education, Rio de Janeiro Oscar Niemeyer from Domus, n°207, marzo 1949, pg 28-29 ‘44 Encounter Mauritius Cornelius Escher M.C. Escher, “the Graphic Work”, Taschen, 1992, pg 30 ‘45 Constructions Provisoires L’architecture d’aujourd’hui, n°12, 1947 pg 75 e 76. Photo by A.F.

‘46 Logement in USA, “Le probleme du logement aux états-unis” L’architecture d’aujourd’hui, n°12 , 1947 pg 80-82 ‘47 Casa Albergo, Milano Luigi Moretti Piero Bottoni, “Antologia di edifici moderni in Milano”, Editoriale Domus, Milano, 1954 pg 54-60 ‘48 Multi-mirror Pietro Fornasetti www.ritafancsaly.com ‘49 Spot for wallpaper Braendli from Domus 237 volume 6 1949 pg 78 ‘50 Stoffa Dattiloscritta Bernard Rudofsky Bernard Rudofsky, “stoffe dattiloscritte di Rudofsky” da Domus n° 242, 1950, pg22-23 ‘51 Lanificio Gatti, Biella Pier Luigi Nervi http://www.agisoftware.it/arte/5/a/Ar/ Nervi,%20Pier%20Luigi_03.htm ‘52 Zodiac Apartment, Transatlantico Andrea Doria Giò Ponti Paolo Piccione, “Giò Ponti e le navi, 19481953”, Idearte, Viareggio 2007, pg 200 ‘53 Price Tower, Bartlesville Frank LLoyd Wright Kenneth Frampton, “ Modern Architecture”

‘54 Dinamique de la couleur Jesus Rafael Soto http://www.jr-soto.com ‘55 Tlinko Victor Vasarely http://www.vasarely.com ‘56 Air Force Chapel, Colorado Springs Walter Netsch Alexandre Persitz “chapelle de l’academie de l’armee de l’air americaine colorado springs, etats-units”,from l’Architecture d’aujourd’hui, june 1961,n°96, pg 78 ‘57 Superleggera Cassina Edward Lucie-Smith, “Arti visive del XX secolo”,Konemann, 1996, pg 123-125 ‘58 Simpaty Missoni http://www.missoni.it/ita.html ‘59 Achrome Piero Manzoni http://www.pieromanzoni.org/opere_ achromes.htm ‘60 URMNT Gabriele DeVecchi http://www.gabrieledevecchi.it/opera. php?idO=48 ‘61 Britannia Bridget Riley www.metroartwork.com ‘62 Green Coca Cola Bottles

Andy Wahrol http://www.minerva.unito.it ‘63 Beinecke Library, Yale Gordon Bunshaft William Sanders “Modern architecture” Herry N. Abraders, New York, 1990 pg 105,106 ‘64 Unikko Marimekko http://www.marimekko.com ‘65 Ceramic Tiles Giò Ponti Fabrizio Mautone, “Giò Ponti e la committenza Fernandes”, Electa, Napoli, 2009 pg 118-120 ‘66 Narcissus Garden, Venice Biennale Yayoi Kusama http://www.nonsolokawaii.com/art-fileyayoi-kusama-part-2/ ‘67 Superficie Bianca Enrico Castellani Rita Selvaggio, from Musei Magazine, n°6, dic/gen 2010, pg 20-21 ‘68 Untitled Alan Jacquet Mrk Francis, “Les années pop”, Centre Pompidou, 2001, pg 54-55 ‘69 Tube Chair Joe Colombo, Produced by Flexiform from 1970 and than from Vitra (from 2005) Vitra design Museum, La triennale di Milano,”Joe Colombo, l’invenzione del futuro”, Skira 2005 pg 230-231

‘70 No-Stop City Archizoom Roberto Gargiani“Archizoom associati, 1966-1974: dall’onda pop alla superficie neutra “, Electa, Milano, 2007 pg 54 ‘71 10000 Linee Sol LeWitt http://www.flickr.com/photos/nebulosus_ severine/5528614658/in/photostream ‘72 Without name Dan Flavin http://www.blockprojekt.de/?m=2006, photo by Stefan Block ‘73 Nuovo Teatro Regio, Torino Carlo mollino Sergio Pace, “Carlo Mollino architetto (1905-1973): costruire le modernità”, Milano, Electa, 2006, pg 302-303 ‘74 Curva di Peano Bruno Munari Alberio Fiz “Omaggio a Bruno Munari”, Varese, Mazzotta, 1999 pg 67 ‘75 Fractals Benoit Mandelbrot Benoit Mandelbrot, “Les objects fractals: forme hazard et dimension”, Flammarion, 1997 ‘76 UFO decorations, Centro Design Montefibre “La Decorazione” da Casabella, n° 412 1976 pg 26-27 ‘77 4096 colours Gerard Richter www.gerhard-richter.com

‘78 Attic room, Milano Nanda Vigo Nanda Vigo “Mansarda trasformata in Gazebo” from Interni n° 285, 1978 ‘79 Bacterio Ettore Sottsas www.sottsass.it ‘80 Triangle Sol LeWitt ‘81 Institute du Monde Arabe,Paris Photo taken by me visiting Paris in 2009 ‘82 Kubohouses, Rotterdam Piet Blom http://www.kubuswoning.nl/introkubus2. html ‘83 Intarsio Industriale Angelo Mangiarotti from the article “Lavoro” from Interni, n° 317 gen/feb 1982, pg 24 ‘84 One hundred live or die Bruce Naumann http://cernet.unige.ch/matieres/mdt/nauman/nauman1.html ‘85 The Umbrellas Christo e Jeanne Claude www.christojeanneclaude.net ‘86 Shonandai Culture Center Itsuko Hasegawa “Shonandai Culture Center” from The Japan Architects, n° 391 vol II, 1989

‘87 Over 10000 individual Works Allan McCollum Francesco Poli, “Arte contemporanea: le ricerche internazionali dalla fine degli anni ‘50 a oggi”, Electa, Milano, 2003 pg 91-92 ‘88 Company at the table Katharina Fritsch Francesco Poli, “Arte contemporanea: le ricerche internazionali dalla fine degli anni ‘50 a oggi”, Electa, Milano, 2003 pg 182-183 ‘89 Giardino all’italiana Danilo Premoli “Ceramiche Ragno: Progetto casa” from Interni n° 408, Marzo 1991 pg 4-5 ‘90 Room of the ship “Enrico Costa” from Interni, n°427, genn/feb 1993 ‘91 Field for the British Isles Edward Lucie-Smith, “Arti visive del XX secolo”,Konemann, 1996, pg 100 ‘92 Church of St John, Mogno Mario Botta Mario Botta, “La Chiesa di San Giovanni a Mogno”, Skira, Milano, 1999, pg 36-40 ‘93 Interno di un interno Alessandro Mendini Raffaella Poletti, “Atelier Mendini, una utopia visiva”, Fabbri editori, Milano, 2000, pg 150-151 ‘94 Nocturne Ross Bleckner Francesco Poli, “Arte contemporanea: le ricerche internazionali dalla fine degli anni ‘50 a oggi”, Electa, Milano, 2003 pg 190

‘95 Silosam, Amsterdam MVRDV www.mvrdv.nl ‘96 I feel better now, I feel the same way David Burne Edward Lucie-Smith, “Arti visive del XX secolo”,Konemann, 1996, pg 136 ‘97 Meine, Meine Spencer Tunick Edward Lucie-Smith, “Arti visive del XX secolo”,Konemann, 1996, pg 32 ‘98 V 39 Vanessa Beecroft www.vanessabeecroft.com ‘99 Eberswalde Library, Eberswalde Herzog&De Meuron http://www.vitruvius.com.br/revistas/read/ arquitextos/05.056/509 ‘00 personal interpretation

INTERIOR WOR(L)DS. This work is part of a collection of books realized by the students of the course of â&#x20AC;&#x153;Interiors Architectureâ&#x20AC;?â&#x20AC;&#x161; of class 2010 - 2011 and edited by Professor Gennaro Postiglione; it takes its origins from the participation in the Second Interiors Forum World 4 - 5 October 2010, hosted by Politecnico di Milano. Every student selected a paper among the words presented at the IFW and chose 99 projects, represented by just one image, covering 99 years, from 1901 to 2000; the 100th image had to be a personal interpretation of the word chosen. For this work I tried to include not only interior architecture but a wide range of arts, like painting, sculpture, visual art and architecture. I observed an evolution in the use of patterns, before they were used a lot in interior forniture and fashion but not in others fields, but as years go by patterns assumed a relevant role on the scene of art sperimentation, and they become one of the favourite way for artists to exprime themselves.