Revealing the pattern by Ilma Wasty

Published August 2016 For MA Interior and Spatial Design At Chelsea College of Art, University of Art London. 16 John Islip St, London SW1P 4JU

Neither space nor time exists, it is just our perception. Space, therefore, is not defined by walls, but by our reading of those walls. The texture, the patterns the images on those surface. So what is true or false, no one can tell. Because perhaps there isnâ&#x20AC;&#x2122;t any true or false, just matters of perception

I'm so full of feeling I'm so full of feeling

I can easily believe I must be sentimental But when I mull this over

I see it's all in thought, I felt nothing whatsoever All of us spend

One life living it, Another, thinking it. And the only life we have Is split between The true one and the false. But which is true And which is false Nobody can explain. And as we go on living, The life we spend is the one That's doomed to thinking - Fernando Pessoa - translated by Edwin Honig. (Levitt, 2016)

Preface ..........................................................................................................................................................................................................................2 Introduction................................................................................................................................................................................................................4 Theorising pattern making â&#x20AC;Ś...............................................................................................................................................................................6 The Act of drawing... ............................................................................................................................................................................................ 20

Material experimentation ..................................................................................................................................................................................... 26 Exploring and analysing the pattern ................................................................................................................................................................. 34 Locating the pattern .............................................................................................................................................................................................. 42

Spatial narratives of the site................................................................................................................................................................................. 50 MA Final Installation............................................................................................................................................................................................ 66 References ................................................................................................................................................................................................................ 89

Heavily Patterned Local bus from Karachi.

I am a Pakistani Designer who has previously completed Bachelors in Architecture from Indus Valley school of Art and Architecture, Karachi in 2011. I have practised as an architect and an artist on various architectural, interior and exhibition projects from 2012 to 2015. My understanding of architectural spaces has always been about space making rather than the construction of buildings and therefore the interest and enrolment into the Ma Interior and Spatial Design programme at Chelsea College of Art, University of Arts London. The course approaches Spatial Design from a conceptual but Practical view and allows me to develop a research focused towards my interest. Pakistan has a Rich culture of patterns, décor and Crafts which is often missing in contemporary architectural practices. The word “Desi” in Urdu can be loosely translated to local. However, it is a word which has the deeper meaning in the context which includes ideas of identifying with space or culture. An object can be desi; a person can be desi and so can space be desi. It was my interest in such traditional cultural elements that lead to this research on developing a spatial language rooted in culture. With images of Old buildings, local textile and craft objects in hand, I embarked on this journey to develop the project which is now titled “Revealing the pattern”. This book is a synthesis of thoughts, Research and practices conducted during this MA project.

“Revealing the pattern” has stemmed from a desire to develop a personal spatial expression rooted in culture. Over the course of this year, I have researched this through pattern making techniques and exploring their theoretical relationship with crafts, culture and spatial design. Therefore, The project explores traditionally relevant patterns, drawing upon Islamic pattern making technique and explores their representation in contemporary spatial dialogue.

A 3d printing pen is a device that allows users to draw with molten extruded plastic much like a hot glue gun. The plastic cools off in a few seconds and therefore allowing for the creations to be 3dimensional. The pattern making for this project is made using such a device called the 3doodler. This is important as the project explores the notion of handcraft in relation to the re-emergence of pattern in contemporary spatial design. In Unit 1 pattern making has been studied through drawing and embedding patterns made with the 3d Pen into glass wax, wax and Concrete tiles. Laid together the tiles suggested ideas of pattern revealing and appearing from within the surfaces. Unit 2 furthered this research by making several tiles that come together to make a surface. To locate the patterns in space, a narrative is constructed based on the current surrounding. However, it is not until a visit to the city of Porto in Portugal that a contextually relevant site is located at the leça da Palmeira, Greater Porto. With the site in mind, the concrete and glass wax materials were further explored by changing the concrete mixtures, adding colour and adding rocks to the two materials. This was done along with photomontage of images of the tiles onto images from the site.

Unit 3 brings together the research from previous units and forms a synthesis. Ideas of patterns being revealed through weathering are further explored, and Spatial narratives are constructed into the Piscina des mares, leça da Palmeira, by weaving into the current movement pattern. To do this, a historical research of patterns in Islamic setting and Portugal's Moorish background was done, and a floral pattern is designed using Islamic star pattern as a grid. Analyses of the narrative break the design down to four architectural instances: 1. Patterns on the floor are creeping up onto the walls 2. Patterns on staircases or ramps 3. instances where the architecture collides with nature 4. Leftover pockets in the natural setting. Using these instances the final show setup is designed. To bring in the element of water into the show, Tiles from unit 2 are taken to the Thames river bank and the seaside at Margate. The Installation setup brings in new processes of adding pattern to the concrete such as those of applying to the wall and folding onto rocks.

Wazir Khan Mosque, Pakistan. (Ahmed, 2003)

“All that we are, arises within our thoughts.  With our thoughts, we make our world.” -  Buddhist quote (Pa56.org, 2016)

Patterns, ornament and décor, have been an important part of human self-expression. They adorn our buildings, our interiors and become part of our bodies in the form of jewellery and textile. My project stems from a desire to develop a personal spatial expression rooted in culture. I study this through pattern making techniques and exploring their relationship with crafts, culture and spatial design. For the course of this research paper “Patterns” shall refer to Visual patterns or motifs, such as those found in the visual arts. Levels of ornamentation have varied over history according to eras, art movements and technology. Craig.S Kaplan whose work focuses on the use of computer graphics in art, ornament and design has spent many years working with Islamic star patterns. According to him: “The history of the ornament is a reﬂection of human history as a whole; an artefact’s decoration, or lack thereof, ties it to a particular place, time, culture, and attitude” (Kaplan, 2000 p. 1).Current trends in design, art and architecture have come a long way from the previous century’s modernist aesthetics of functional beauty, heavily influenced by Adolf Loos's paper on Ornament and Crime. The paper shunned ornament which had no function and lowered the standing of arts and crafts, thus resulting in an architecture that believed strictly in functional beauty devoid of ornament. Ironically, this did not lead to an absence of patterning in architecture. The naturally existing textural patterns of materials and building structures were certainly celebrated. However, motifs and ornamentative craft disappeared from those following the modernist style. As observed by Kaplan, it is natural for humans to be drawn towards ornament or pattern. The choice of patterned cloth for their wardrobe or drapery in the bedroom is a possibility of personalization and individual self-expression. So if humans did not add layers of ornament to their surroundings, everything would look the same; a dull repetition of purely functional objects. The re-emergence of patterns and ornament in contemporary spatial design has been a subject of debate, and there are still many architects who would stick by the modernist philosophies of functional aesthetics. However, advancement in technology and the ease of production has become a significant part of contemporary design. Patterns, colour and ornament, are everywhere now. From the spatial installations of Nikos Alexiou (Venice Biennale, 2007), the much patterned interior objects and textiles of timorous beasties to OMA’s Seattle library To understand the context of my interest it is important for me to mention my cultural background. As an architect in Karachi, the Modern Masters made an important aspect of our architectural studies. White models, clean lines often translated into a similar architectural proposal in concrete. But Patterns are an inherent part of Pakistani culture. They are a visible part of our daily lives especially in our textiles but also in local crafts, and traditional architecture. With

Images of traditional buildings, textiles and crafts in hand, the question that arose was: How can I explore the existence of these patterns as part of a contemporary spatial language? How can a dialogue be made with the existing modern architecture?

Nikos Alexiou at the Venice biennale 2007 (Alexiou, 2007)

To understand the context of my interest it is important for me to mention my cultural background. As an architect in Karachi, the Modern Masters made an important aspect of our architectural studies. White models, clean lines often translated into a similar architectural proposal in concrete. But Patterns are an inherent part of Pakistani culture. They are a visible part of our daily lives especially in our textiles but also in local crafts, and traditional architecture. With Images of traditional buildings, textiles and crafts in hand, the question that arose was: How can I explore the existence of these patterns as part of a contemporary spatial language? How can a dialogue be made with the existing modern architecture?

The project, therefore, explores traditionally relevant patterns, drawing upon Islamic pattern making technique and explores their representation in contemporary spatial dialogue. Due to the nature of the project, it lends itself to a discussion of pattern making, ornamentation and craft. The paper focuses on the anthropological significance of patterns and interweaves them into a modernist setting in order to create a contemporary narrative. This also highlights their relation with spatial identity.

From left to right: Tiled surface of a Mausoleum, Sindh (Pakistan), Architectural detail at ‘Makli’ Necropolis (Pakistan), Contemporary textile from local brand ‘Ego’ (Pakistan)

To understand the importance of patterns, it is essential to discuss them in relation with cultural anthropology. Motifs are visual building blocks often repeated to form patterns. These motifs, whether abstract or representational, possess inherent symbolism. These symbols are important features of all cultures and often are universal in nature. (Hann, 2013, p. 12) When present in space or objects, they represent something more than its obvious meaning or the representation, for example, the paisley shape is representative of its floral backgrounds even when drawn as a simple shape. It is a recognisable element. In Timaeus, Plato makes reference to these spatial patterns of our existing space describing our existing surroundings as “filled with patterns of carefully packed atom-like solids and geometric forms… The pattern as style, detail, ornament, decoration, adornment, embellishment and structure (in the Western/European tradition) profoundly influenced by religion, geometry and maths as well as the arts, design and crafts” (Garcia, 2009). In Islamic art, the patterns are fundamental due to the concept of Nizam i.e., an underlying order that refers to the order created by God. (Garcia, 2009) The understanding and recognition of this concept becomes an inherent part of the religious philosophy and can be seen translated in the architecture ornamentation. The symbolism of pattern making becomes a part of the collective memory of culture. Cultural diffusion is the process by which cultural traits, material objects, ideas, inventions, patterns and behaviours transcend geographical boundaries or move between them. In such cases, the shared culture may include the same symbols with or without the same meaning. (Hann, 2013, pp. 3- 4) Taking for example, the Paisley, which is evident in cultures around the world but has its roots in Persia. It has often different names in different regions such as boteh (Persia) keiri (unripe mango, Pakistan) paisley (Scottish town which made shawls) and badami (almond). In each case, the motif is still viewed as a floral motif, but has an added layer of meaning pertinent to its particular context.

In Timaeus, Plato makes reference to these spatial patterns of our existing space describing our existing surroundings as “filled with patterns of carefully packed atom-like solids and geometric forms… The pattern as style, detail, ornament, decoration, adornment, embellishment and structure (in the Western/ European tradition) profoundly influenced by religion, geometry and maths as well as the arts, design and crafts” (Garcia, 2009). In Islamic art, the patterns are fundamental due to the concept of Nizam i.e., an underlying order that refers to the order created by God. (Garcia, 2009) The understanding and recognition of this concept becomes an inherent part of the religious philosophy and can be seen translated in the architecture ornamentation. The symbolism of pattern making becomes a part of the collective memory of culture. Cultural diffusion is the process by which cultural traits, material objects, ideas, inventions, patterns and behaviours transcend geographical boundaries or move between them. In such cases, the shared culture may include the same symbols with or without the same meaning. (Hann, 2013, pp. 3- 4) Taking for example, the Paisley, which is evident in

cultures around the world but has its roots in Persia. It has often different names in different regions such as boteh (Persia) keiri (unripe mango, Pakistan) paisley (Scottish town which made shawls) and badami (almond). In each case, the motif is still viewed as a floral motif, but has an added layer of meaning pertinent to its particular context.

The underlying order (Nizam) of an ornamental surface at Yazd, Iran (Albarn et al., 1974, P 45)

Heavily ornamented bench design by Studio Tord Boontje (Boontje, 2006)

The Oxford Art online resource puts pattern and ornament together and describes it as: “Decorative devices applied or incorporated as embellishment” (Oxford Art Online, n.d.) A Pattern is made due to repetition; whether it is formed with shapes, or movement, or objects or anything else. In Design the repetition of similar or identical motifs is central to pattern making. Non-structural in nature, both Pattern and ornament are visual elements that not only provide aesthetic information of the society but also their social and political values. Most patterns and ornament have historically developed out of rituals or symbolism but over years have become part of the decorative arts. Even so, it would incorrect to assume that all that patterns and ornament achieve is a visual pleasure. They add narratives to the space they exist in and create an identity for it. In his essay Setting the pattern, Markus Zehentbauer argues that although it may seem that the rise of modernity did not create a breeding ground for patterns to develop, it is essentially the opposite. Modernity in its strict desire for functionality created newer rules for patterns. The free façade in Corbusier buildings created a pattern with an underlying geometry of the golden ratio. This is also visible in the geometric art of Almir Mavignier and Bauhaus wallpaper or the repetitive paintings of pop art. (Zehentbauer, 2008) The return of patterns in contemporary art is, therefore, a continuation of patterns and ornament. This argument is important to point out as it is important to understand how contemporary artists and designers view patterns and motifs. They don’t only turn to the traditional books on patterns to replicate, instead using new technology they come up with new iterations or new possibilities. Designers like Tord Boontje, Patricia Urquiola and Timorous Beasties have built their practice on such basis.

While the previous section establishes the link between patterns and ornamentation, this section highlights the connection between the two and crafting. It is important, therefore, firstly to define craft; the simplest definition of craft is an activity involving the skill of making things by hand (Oxforddictionaries.com, 2016). Craft in itself is a genre that floats between the boundaries of art, design, commercial production and science. (Adamson, 2012)

Why the necessity to space out structure equally, like soldiers marching on a parade ground? Is the design of structural framing limited to the bar pattern of a cage; is space so dull that punctuating it means only the regular monotonous beat of verticals and horizontals? Why not relax and move towards a slip or jump in the arrangement of things? Let the informal in. Have a syncopation —a rat-ta-ta-tat - instead of the dull metronomic one-two repeat of post and beam that rises up and runs along our buildings in stark structural skeletons. (Balmond, Smith and Brensing, 2002)

In the Text Balmond is talking about structural patterning in a building. His questions about slippages and jumps in the arrangement are like a desire to add a mistake in the rhythm; an anomaly that adds a uniqueness. A quality already existing in handcrafted objects, these defects add beauty and character to a hand -crafted object. It was such an interaction with a millennium-old Chinese pottery that led Glenn Adamson to base most of his career on theorising craft. In a discussion held at the ICA in 2011, Adamson along with Grayson Perry, Charles Jencks and Sam Jacob discuss the topic “What is the Use of Ornament in Contemporary Art and Architecture?” For Grayson Perry, the beauty of the decorative art is that it does not require a deeper philosophical meaning, and yet it produces an impact, causing an emotional interaction with the ornament or craft (YouTube, 2011). Crafted objects are powerful tools to form a spatial narrative. They generate a dialogue with the viewer, those who are not architects or designers; the laymen.

With the ease of mass production and the rise in digitally fabricated craft, the sensitivity and a human scale that comes with handcrafting have become more important. The advent of 3d printers allows much more customization, however, it still lacks the sensitivity of a handcrafted object. Although hand-craft has been distant from the design realm during the

functional and mass produced aesthetics of modernism, it can be said to be making a comeback. 3d printing paved way for the technology of 3d pen; A new tool for drawing bringing the printing technology into the realm of hand-craft. This 3d pen shall become an essential tool for my research practice, and I shall elaborate on it further in the next section.

Left to right: Mixed media painting using 3d Pen for textures by Barbara Taylor-Harris (3doodler, 2016), 3d hand drawn sculpture by Kimone (3doodler, 2016)), 3d printed face mask- Collaboration between Bjรถrk and designer Neri Oxman (dezeen, 2016)

The re-emergence of pattern making in contemporary designs can be seen in architecture, spatial and product design. To contextualise my research, I shall discuss few of the contemporary spatial and product designers working with patterns as an expressive design tool. Timorous Beasties is a contemporary manufacturing based design studio led by Alistair Mcauley and Paul Simmons situated in Scotland. Their studio sells heavily patterned interior products such as wallpapers, furniture, fabrics for drapery and provide interior consultation. These patterns range in their variety and style as mentioned on their website â&#x20AC;&#x153;work embodies a unique diversity of pattern, ranging from design that echoes a golden age of copperplate engraving (a time-honoured classic is the Thistle range; or Merian Palm superwide wallpaper) to example of a distinctly edgy nature, an elegant transgression, a display of chic irreverenceâ&#x20AC;?. As pattern designers they also set up a dialogue with historical patterns by working on contemporary interpretations of it for example the Hotch blotch Fabric collection makes an intervention in the classical damask patterns with splatters drips and blotches. The order and memory of the classical pattern exist; however, the visual experience entirely changes. (Timorousbeasties.com, 2016)

left to right: Grand Blotch Damask fabric (Timorous beasties, 2016), Azulej by Patricia Urquiola (Dezeen, 2016)Gouache on wall, Richard Wright (Tate, 2002) 17

Patricia Urquiola is a Spanish architect and designer with a special interest in culture and craft. Her projects vary from architecture design and products such as tiles, interior objects and furniture. One of her tile series the azulej, Re-interprets the Moorish tiles from her Spanish background. The designs include a collection of geometric and floral patterned porcelain tiles. The tiles are an industrial mass produced product with the patterns digitally printed. (Hobson, 2013) Richard Wright is a famous contemporary artist whose art focuses on drawing, by making intricately complex patterns directly at the location of the exhibit on display and allowing the works to be temporary, he plays with the aspect of time, thus altering the perspective of space for the duration of the work. “Wright’s profound understanding of art and its history are reflected in his diverse imagery; minimalist patterns and baroque ornamentations to gothic iconography and typography. His wall paintings can occupy whole rooms, appearing convoluted and extensive, to create a sublime impact. Others, subtle and delicate are awkwardly placed, claiming a modest existence on a ceiling, a cornice, the edge of a wall. As Wright invents alternative spatial arrangements, solid structures can look broken up, reconfigured, or seem transparent and fluid.” (Gagosian.com, 2016) Dalila Gonçalves is a Porto-based Portuguese artist whose work embody the notion of time and memory expressed through objects and material explorations. In one of her installations, Kneaded memory, she moulds Azulejo tiles on cement rocks. The objects highlight the increasing degradation of the tile craft and its exclusion as an ornament in contemporary buildings in Porto. The installation therefore highlights and encourages discourse about the relationship of culture and memory within a contemporary spatial practice. (Dalila Gonçalves, 2015)

Figure 13 Kneaded memory by Dalila Gonclaves (Gonclaves, 2012)

In the previous sections I have already established the importance and occurrence of patterns in design and art; also their ability to construct/add narratives to space. To analyse the practice, it is important to discuss the technology that shall be used to explore pattern making. Like the pencil, pen, crayon or paintbrush, a 3d pen allows its user to draw using their hands. Each tool has its limitations and advantages, and the 3d pen does something which none of the others can do. It allows for drawings to be spatial and therefore in itself is revolutionary. The 3d pen for me brought back memories of using henna to draw patterns on hands and feet.

Drawing with 3d pen

Combining ideas of drawing and using pattern making as an expression, I start experimenting for my practice. Since my project emerges from personal memories from Pakistan, the choice of patterns was intuitive and inspired from images of memories from my personal travels. Some of these were pictures of old architectural buildings, heavily patterned with tiling showing Islamic geometric patterns. To explore the geometric tile patterns which are part of the Islamic art, research by Kaplan proved to be very useful. His research focuses on creating computer generated geometric art and ornament using Islamic star patterns. An open source program, Taprats was developed by him that allows generation of different patterns by altering rules which are used to create them. Using the program, the 3d pen, simple star pattern models were generated as shown on the next page. The act of drawing is necessary for the aspect of highlighting the notion of craft. The wobbly imperfect lines of extruded plastic are unlike those which are constructed from digital 3d printers and are critical for my practice to distinguish it from digitally printed objects. The use of plastic is an unconventional material. However, it opens up possibilities of transcribing these traditional patterns into a new language. Similar and memorable to the traditional patterns but very unmistakably contemporary in character.

Figure 17 Patterns embedded in different materials

To explore patterns as part of a surface, 3d extruded patterns were embedded into materials of different nature. Transparent glass wax, translucent wax, and opaque concrete. Each material brings out a different quality. The transparent glass wax allows layering of same or iterations of the pattern to create depth. The wax ones reveal and hide when light moves behind it. The solidity of the concrete covers the different layers but leaves crevices behind and allows only part of the pattern to be revealed. The tiles laid together to create a visual narrative of patterns appearing due to wearing. Right , Experiments in Wax Wax depending on it thickness varies in translucency. A layer of coloured plastic shows relatively clearly through the wax. However in places it is sharper and other more blurred out.

Experiments in Glass Wax Glass wax has a high melting curve. At higher temperatures the ABS plastic would sometimes melt and merge with each other. The translucent nature of the material allows for serval layers of patterns to be visible. Star patterns of similar geometry are placed over each other.

Experiments in Cement Cement although completely opaque, revealed the pattern partially. If Two layers of plastic is added, the cement left gaps due to it thick consistency.

Since the exploration of the pattern had been inspired by traditional building from Pakistani context, it was evident also to look at other prevailing patterns such as those in textile. The paisley is a traditional sub-continent motif. It is often seen in textiles and henna. The paisley, therefore, came intuitively as an option to explore nongeometrical patterns which further lead to an analysis of floral patterns. Visual analysis of existing floral patterns of Islamic regions shows that some of them seem to have an underlying geometry of the star patterns. This gives them their radial appearance and gives me the opportunity to explore iterations of floral and geometrical layers within the same surface. To develop my design a traditional Islamic pattern is used as an underlying Grid. The grid is broken down to square tile shapes for tile experiments. Floral motif is drawn on top inspired from paisley pattern drawings of the previous experiment and Images of Islamic floral patterns.

Developing the pattern using Islamic star pattern base.

While studying the anthropological aspects of pattern making, their role in adding a meaning beyond the physical aspect was pointed. Taking that point further the relation of pattern to the surface it existed on was further analysed. “The language of pattern” describes the experience of walking into a heavily patterned space: “For the westerner, conditioned to buildings expressing strength, weight and structural honesty. To find lettering combined with geometric and floral motifs covering entire facades of buildings with a positive plethora of pattern and colour is a visual and conceptual shock. He is astonished to read the two-dimensional surface of the architecture which dissolves before his eyes into ideas more substantial than its reality of brick and faience” (Albarn et al., 1974, P36)

Essential elements of this experience are the idea of dissolving the two-dimensional surface, the surfaces becoming theatrical in its use of planes and illusions. They create another virtual dimension in the viewer’s mind. The Quran gives detailed descriptions of paradise which are often represented in Islamic gardens as a grid of pathways along with flower

Alhambra: arcade between the Sala de los Mocarabes and the Courtyard. The building dissolves behind the the pattern. (Flickr, 1996)

beds and water channels. (Albarn et al., 1974, Pp. 48-50) When a visitor of the mosque or Islamic gardens, is not visiting the 3-dimensional space that is defined by the walls but also this other dimension of paradise represented by patterns that obscure the 2-dimensional surface. A prayer mat may have the same plan as a pattern, and it defines a private boundary but also a door or window to this other dimension of paradise. The tiles created in the experiments thus have the ability to do the same dissolving and fragmenting of the surface and space on which they exist. They also play in the memory of the viewer if he identifies with the patterns. Another observation from the experiments is the nature of partly revealed surface which has the potential to become further exposed in the context of weathering. The partially visible pattern is fragmented by the cement it is laid in, unlike the glass wax which freezes the pattern in its location. This narrative revealing and revealed can be interwoven into existing situations where the patterns might be historically relevant.

Figure 21 Pattern appearing and disappearing

Piscinas de MarĂŠs as a Case study

Tiled surfaces from the streets of Porto, Portugal

During the experiments the questions that rise is how and where would these patterns be located in a spatial context? Do they appear randomly in the city like street art? What is the narrative of the pattern? For me, the story of the pattern is in its recognisability but ambiguity; a memory of a similar experience. Its existence in an unconventional medium creates an experience different to the previous existence. The pattern wants to interweave into an existing environment be partly revealed somewhat hidden, and that which is hidden should reveal over time. The story is born at the moment a person notices its existence and makes a connection. Does it make them ponder? Do they photograph it? Share it on social media. Draw the link to other patterns in the context. To achieve these narratives, it was imperative to find a location for the tiles. The context had to be of a similar cultural background as those being explored. This opportunity arose in a recent trip to Portugal, which has a very rich existence of surface patterns and ornamental tiles as part of its urban context. The Moors occupied Portugal during the 16th century. Although when they were expelled in the 17th century, the intention was to wipe out the Arabic influence. That, however, is not the case, and the Arabic history is evident in the spatial realm as well as in their language. (Arab America, 2015) Porto city is well known for its patterned tiles. The Moors introduced the tiles which are called azulejo, and the name comes from the Arabic word Zalij â&#x20AC;&#x201C; polished stone. An analysis of one of the patterns found in a building shows that it can be broken down to its underlying order of Islamic star pattern. Much like the Islamic prayer mat in the mosque, some of the tiles create a window to a narrative that is beyond the physical existence of the walls. This narrative may be picturesque or be part of the collective cultural memory. An analysis of one such patterned tile is shown in figure 23 to trace out its underlying orthogonal geometry of star patterns. The site chosen is located on the periphery of Porto city, Leca da Palmeira region. It is called Piscinas de MarĂŠs, which Is One of the earlier projects by the Portuguese modern architect, Alvaro Siza. The architecture is an intervention into the natural landscape of the beach and has been designed to be as inconspicuous as possible. The built area remains below ground from the road, and the pools are designed to become part of the ocean. The materials at the site are mainly concrete which has been left to the natural weathering process. Devoid of the usual patterns adorned by the buildings all over Porto, the swimming pool complex, is an important example of the modernist era. The non-existence of the usual Portugal cultural patterns and tiles creates a unique situation for me to explore this site. By adding subtle patterns in the structures and allowing them to bleed towards the sea, the intention is to add a cultural narrative. The environmental conditions work well with the concept of revealing patterns and wearing.

Copying a Portuguese patterned tile

Pattern analysis of a Portuguese Tile from the streets of Porto

Map showing Porto centre (red) and the site. (orange)

â&#x20AC;&#x153;Language has its own independent logic. We tell stories about ourselves, define experiences, judge events and give voice to our feelings. Yet what we tell ourselves follows on the structure of language given to usâ&#x20AC;Ś the events of our life take on the form of narrative structuresâ&#x20AC;? (Levitt, 2016)

Interweaving into the existing narrative of the site, the pattern is introduced as instances of memory that may be woven together. The building is designed around the natural surroundings but also around a sequence of an architectural promenade. The pattern merely adds to the guiding system as a series of fragments. A surface to look while waiting, catching it while changing vantage points appearing underneath our feet while we stepped down and frozen between the water. The pattern starts with geometrical star patterns that are the underlying geometry for the radial floral patterns and morphs into the other along the way.

When I think of Porto, I think of the patterns. Adorning the walls, floors and ceiling with their intricately detailed stories. Some in the form of pictures others more abstract The building dissolving behind the colours and patterns.

. Yet here I walk just a few Kilometre away (from the city centre) and it is as if Porto is far far away. The sea on one side the modern houses on the other side. Taking the blue line to Mercado and walking over the bridge, I enter the leรงa da Palmeira, part of the greater Porto. Perhaps the town is of a newer construction

As I walk down the boardwalk, A hint of green emerges, A roof floating almost at the ground level. Like a person playing Hide and seek against the land, the concrete mass is tucked away against the edge. The floor subtly slants down, drawing me in. I am waiting on the edge and there is a pattern on the floor, it seems worn away from people walking on it. I must take a feetfie I think to myself.

The wall right in front also has a similar pattern. Perhaps it was drawn on top. It doesn't seems perfect. The lines are a little wobbly

I almost didnâ&#x20AC;&#x2122;t realise, but at this point, the city has disappeared above and so has the sea. There is only the sound of cars, water & seagulls. The building is like a maze. Moving through this labyrinth the pattern Perhaps is meant to guide. It appears where the walls slip past each other to create openings, the wall of the entrance to the restaurant and the pool. And again on the floor. It seems to have changed or morphed a little. There are the geometric lines but also some curvilinear and floral. The straight lines of the building contrast against it. Like opposites that attract.

I sat down on the bench where the pattern seemed to crawl from the floor to bench and on the wall. As I touch it, I realise it is not a surface drawing but a material embedded within. As the elements wear away the cement, the patterns shall appear further. A beautiful dialogue is a setup between the pattern, the concrete walls and passing time.

Stepping out of the walls, I am presented by the sea. The rectilinear lines hit the organic landforms and in some of these locations, the pattern appears. An intermediary between the two. Blurring and fragmenting the architectural lines into a layer beyond its visual existence. Just like the architecture that fragments the natural surroundings. Itâ&#x20AC;&#x2122;s as if they are playing a little game of complimenting, contrasting and fragmenting

Just like they crawled over the bench they also crawl over the staircase and weave into the rocks. Breathing as if alive to live within the mass of concrete and rocks. Appearing disappearing wearing away with time. Fragmenting the surfaces fragmenting the experience. A story of the building and also the pattern.

When I think about Piscina das mares, I think about the patterns. Appearing on the Floor creeping on top of the wall. Just like the ones at Porto, a memory of a past time, Of worn patterned buildings. But it is also a memory of a future, Where the building wears out further revealing more of the pattern. Every time you visit the building changes.

Reflecting back to the beginning, of course, the research had started off with several images from Pakistan, mostly of old worn out buildings and some craft objects. These buildings were not very well maintained and over the years the cladded tiles have worn out in areas, revealing the surface of the structure. The surfaces where the tiles remain create fragmented instances on the built, dissolving that area visually and conceptually. As a whole, the building stands as a narrative of time where the pattern is disappearing with passing time. The material and pattern making research during the course have led me to develop a spatial language which is similar in essence to this historical example but a reversal of the process. The cement tile or surfaces designed hides most of the pattern until it is revealed slowly over time, wearing away, dissolving the building surface as it appears. The pattern introduced in glass wax similarly freezes this pattern in a 3dimensional instance. The introduction of these in a culturally relevant location, therefore, plays with this notion of time that is past but also a future and encourages dialogue of their cultural relevance. The desire to develop a spatial language with pattern making was a direct response to the modernist background of my studies. By making this spatial proposition at Leca da Palmeira, it sets up a direct dialogue to such a modernist setting by interweaving into the building and becoming part of the context. The pattern and the non-patterned surface live together as if part of one body where opposites that have been brought together in a union. Each highlight and compliments the other by the nature of being an opposite. The project has progressed through series of intuitive moments which are analysed in retrospective to move on further. As pointed out earlier, the locations proposed for patterns within the piscine das Mares can be broken down to 4 architectural instances. 1. Patterns on the floor 2. patterns creeping up onto the walls 3. Patterns on staircases or ramps 4, instances where the architecture collides with nature. This Analysis was critical to make as it identifies situations in sites elsewhere where the pattern may be introduced. Countries with similar historical memories such as Pakistan or the United Arab Emirates, where I shall move to after the end of this course, both have coastal locations where the proposition may further expand too. The end of the MA course sets up a show to display the research. My setup embodys the essence of the four architectural instances and proposes a spatial installation that the visitor can view and interact with. The course is yearlong and therefore there are limitations to what can be explored during this time. Further explorations could look into diversifying the pattern research, to include other motifs of the same or different cultures. The material research along with the 3d pen may also be further explored to include more materials or iterations of 3d pen outputs. My personal research journey interacts with social and cultural conditions where these patterns that emerge from a deep-rooted place of pattern and craft making within the individual culture. The project is an interface of contemporary engagement with these traditional processes but also one that values the notion of revealing. A revealing that is not only a material one but also of a social, cultural memory.

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