2D or not to 2D
pattern
n
1 : a form or model proposed for imitation : EXEMPLAR 2 : something designed or used as a model for making things <a dressmakerâ&#x20AC;&#x2122;s pattern> 3 : a model for making a mold into which molten metal is poured to form a casting 4 : SPECIMEN, SAMPLE 5 a : an artistic or mechanical design b : form or style in literary or musical composition 6 : a natural or chance configuration <frost pattern> <the pattern of events> 7 : a length of fabric sufficient for an article 8 a : the distribution of the shot from a shotgun or the bullets from an exploded shrapnel b : the grouping made on a target by bullets 9 : a reliable sample of traits, acts, or other observable features characterizing an individual <behavior patterns> 10 : the flight path prescribed for an airplane that is coming in for a landing 11 : a standard diagram transmitted for testing television circuits 12 : a prescribed route to be followed by a pass receiver in football
vt pat.tern
1 : to make or fashion according to a pattern 2 a : MATCH b : IMITATE 3 : to furnish, adorn, or mark with design
merriam-webster dictionary
ornament
[...] Ornament is separable from the functional shape of the object. If you want to know whether a particular feature of an object is ornament, try imagining it away. If the object remains structurally intact, and recognizable, and can still perform its function, the feature is decoration, and may well be ornament. If not, it is design.
James Trilling, Ornament: a modern perspective, p21
Filipo Negroli â&#x20AC;&#x201C; burgonet, 1543
“rose engine” lathe, mid 1700’s
Adam van Vianen 1614
In 1856, Owen Jones opened his ‘Grammar of Ornament’ by defining the “desire for ornament” as common to all people and increasing “with all in the ratio of their progress in civilisation”; […] Art Nouveau artists and designers similarly revered ornament, and questioned the distinction and hierarchy between the fine and the applied or decorative arts. For a few decades ending – provisionally – with the interbellum opposition between “pure” abstraction and figuration, decoration was seen as the prime model for a non-mimetic form of representation.
Dario Gamboni, Art Nouveau: the shape of life, Nature Design, p104
Owen Jones, The Grammar of Ornament, 1853
Alfons Mucha, Zodiac Calendar, 1896
Lorenzaccio, 1896
Sarah Bernhardt, 1898
Biscuits Lefevre-Utile, 1896
Job,1896
Rene Lalique
Dragonfly Woman corsage ornament , 1897
cont.. […] ornament tended to be restricted to the surface or “skin” of things. But it could manifest their inner structure or inherent vital principle by way of its shape, iconography, or sheer proliferation; and it could challenge the distinction between surface and structure, the contingent and the essential, […]
Dario Gamboni, Art Nouveau: the shape of life, Nature Design, p104-105
Antoni Gaudi
Antoni Gaudi â&#x20AC;&#x201C; La Sagrada Familia
abstraction
Giacomo Balla
Umberto Boccioni
Piet Mondrian â&#x20AC;&#x201C; tree studies
Alexander Rodchenko
Kasimir Malevich
El Lissitzky
from nature
nerve regeneration in polymer substrate
mosquito eye
diatom
phyllotactic pattern
romanesco broccoli
fn = f(n-1) + f(n-2) 0,1,1,2,3,5,8,13,21,34,55â&#x20AC;Ś
fibonacci sequence
ф = (1+ sqrt(5) )/ 2
golden ratio
1.618…
lichtenberg figure
lightning in a block movie
soap bubbles
aluminium tin alloy
ronan & erwan bouroullec, algue, 2004
biomimicry
chrysler, mercedes bionic car, 2005
math
golan levin â&#x20AC;&#x201C; the secret lives of numbers
symmetry
Islamic art
Islamic art
Islamic art
Islamic art
tesselation
m c escher development I, 1937
m c escher â&#x20AC;&#x201C; circle limit I, 1958
transformations
m c escher â&#x20AC;&#x201C; metamorphose
iterated function systems
vasco mourao aka. zulmira
keith haring