All Pattern Everything

8/2/2019 All Pattern Everything

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F O R A N N B A K E R


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Abstract

Pattern carries with it nearly infinite definitions and interpretations.

Every field of study has its own way of claiming patterns. For

designers, patterns have enjoyed a recent renaissance, no

longer relegated to mere ephemeral decoration or determinate

underlying order. Many contemporary projects have employed

patterns, oscillating between expressive faade systems, structural

diagrams, interior graphics, circulation plans, chaos and order.

Beyond aesthetics, pattern has expanded to include principles

of ecology and complexity science. The project is grounded

on the basis that pattern and patterning in multiple scales

and uses plays an important role in a communitys resilience

against the ecological principle of disturbance. In addition, it

posits that pattern has the capacity to subvert disturbance into

a useful process. This thesis acknowledges and appreciates the

fact that pattern has demonstrated itself to be a versatile tool inmany regards, including its ability to interface with randomness.

The intention is to investigate the potential that modern pattern-

thinking has as an alternative to current practices in architecture,

urban design, and planning.


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A l l Pa t t e r n E v e r y t h i n gDrew J McNamara

M a s t e r s o f A r c h i t e c t u r e

T h e U n i v e r s i t y o f D e t r o i t M e r c y | S c h o o l o f A r c h i t e c t u r e

A r c h 5 1 0 0 | 5 1 1 0 | 5 2 0 0 | 5 2 1 0

Karen Swanson,A I A2 0 1 1 - 2 0 1 2


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Contents

006]I n i t i a l I n v e s t i g a t i o n

036]C a s e S t u d i e s

a.Introduction

b.Defining Pattern

c.Theories of Pattern

d.A Relationship with Randomness

e.Self Organizing Systems + Feedback

f. Disturbance and Resiliency

g.Planning

h.Grounding: Base Closure as Disturbance

i.UIC Circle Campus

j.The Casbah

k.Santa Caterina Market

l.Nakagin Capsule Tower

m.Downsview Park

n.Cosgrove [South] Site; Spatial

o.McRitchie [Middle] Site; Programming

p.Kinzer [North Site]; Microclimate

054]N o i s e t t e S i t e A n a l y s i s

066]D e s i g n E x p e r i m e n t s

094]C o n c l u s i o n s

100]B i b l i o g r a p h y


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Introduction

Pattern carries with it nearly infinite definitions and interpretations.

Every field of study has its own way of claiming patterns. For

designers, patterns have enjoyed a recent renaissance, nolonger relegated to mere ephemeral decoration or determinate

underlying order. Many contemporary projects have employed

patterns, oscillating between expressive faade systems, structural

diagrams, interior graphics, and circulation plans, all operating

on multiple scales. This thesis acknowledges and appreciates the

fact that pattern has demonstrated itself as a matter to be taken

seriously. Its intention is to investigate the potential that modern

pattern-thinking has as an alternative to current practices inarchitecture, urban design, and master planning.


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ur

8 Defining Pattern

Pattern is the foundation for this thesis and the lens through which

further topics will be viewed. Therefore it is important to establish

a simple foundation for what a pattern is. First is determining its

basic components. Part of the reasoning for patterns previously

being overlooked in the design profession as a serious design tool

was the ambiguity of the term itself(Andersen and Salomon, 17).

Pattern can simultaneously refer to an ideal original and its endlesscopies, in addition to invoking a loose description of temporal

and spatial repetition of objects or behaviors [18]. Within this

repetition however, there is not necessarily any regular or well-

defined symmetry (Isaacs). Pattern consists not only of repetition,

but redundancy. The variation of a patterns repetition and

redundancy results in complex constructions, imbuing pattern with

the capacity to distort, absorb, amplify, and fluctuate (Andersen

and Salomon, 33). The adaptable, dynamic character of pattern

hints at the potential for generating complex urban designs of the

same nature, a subject that will be further expanded.


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SAND

WIN

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Over the last half century there have been numerous theories that

address pattern with specificity. While the three presented here are

not the only pattern theories from the last fifty years, they are the

most relevant to the trajectory of this thesis.

Gyrgy Kepes argued for the congruence between process andpattern in nature, and identified a lack of such in the visual patterns

of human-created landscape (Kepes, Thing Structure Pattern

Process, 207). Kepes states that patterns are the meeting-points

of actions, a temporary boundary that both separates and

connects the past and the future of the processes that trace it

process in pat terns, pattern in process [205]. Most importantly

is the concept of moving past thing-seeingto pattern-seeing

which favors interactions(Andersen and Salomon, 46)

. This wasan effort to assert a dynamic equilibrium, looking to nature for

clarification on relations of order[48].

Theories of Pattern


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Christopher Alexander is undoubtedly the most well known of

those listed. In his books The Timeless Way of Building and

A Pattern Language, he similarly steers clear of patterns as

things, instead recognizing each as a set of spatial, formal,

and functional relationships (Alexander, The Timeless Way

of Building, 247). Alexander describes the act of building asa process in which space gets differentiateda process

of unfolding, like the evolution of an embryo, in which the

whole precedes its parts... [365]. The embryological model is

such that the designer works to eliminate randomness and noise

through a process of negative feedback (Andersen and Salomon,

60). The purpose of such is to reduce change, maintaining the

patterns function of explaining the randomness of the world [46].

However, Alexander does allude to the possibility of overlapping

patterns in unpredictable ways, resulting in the generation of new

and unforeseen relationships (Alexander, The Timeless Way of

Building, 223).


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DIFFERENTIATION

13


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T

First Order

Second Order

First Order

First Order

Second Order

First Order

The Patt

what could be rather than wh

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Gregory Bateson stands in somewhat of a contrast to Alexander,

and to a lesser extent, Kepes. In Mind and Nature, Bateson

states:

We have been trained to think of patternsas fixed

affairs...the right way to begin t o think about the pattern

which connects is to think of it as prima rily...a dance of

interacting parts and only secondarily pegged down by

various sorts of physical limits and by those limits which

organisms characteristically impose... [13]

This dance metaphor elucidates Batesons position oppositeAlexander. For him randomness and noise are a necessity to

be cultivated (Andersen and Salomon, 58). He accepts that

the pattern may be changed or broken by addition, by repetition,

by anything that will forcea new perception of it (Bateson, 29).

New patterns are established when deviations emerge in a

fixed pattern, opening up to positive feedback, and allowing for

information that will push it from a state of equilibrium. This is a

model of evolution, learning, and accretion, functions of the base

patterns repetition and redundancy against which new patterns

can be read (Andersen and Salomon, 61).


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The relationship between pattern and randomness is such that

any assumed dichotomy is dissolved, as demonstrated by Gregory

Bateson. Randomness is an avenue to newness when allowed

to interrupt a pattern, serving as both a point of departure

for and a perturbation withinthe random event forces

the designer to re-interpret each outcome (Verbeeck, 8).

Additionally, there exist complex objects and processes that have

the appearance of being void of pattern, but do in fact contain

patterns (Verbeeck, 7). This is what is referred to as perceived

randomness, where the knowledge of such underlying structure is

simply not immediately available. Stephen Wolfram points out that

every form or pattern in nature can be explained and generated

from simple rules [17]. These are referred to as self-organizing

systems, complex adaptive systems that have the ability togrow, order, and organize al l by themselves (Mehaffy and

Salingaros).

A Relationship with Randomness


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An organization such as the flock is characterized by a loose

structure which, by means of negative and positive feedback,

is resilient to total dissolution. The flocks behavior is not a

property of any individual bir d, but rather emerg es as a

property of t he gr oup i tsel f (S traightDope.com). Any individual

can initiate movement, which then propagates to the rest of theflock by means of positive feedback. Jittery movement at take off

is the result of the random movements by individuals which easily

generates changes in the behavior of the flock, yet is quelled by

means of negative feedback to establish a consensus.

It is pertinent to expand on the topic of feedback which can be

described as a pattern of organization (Lawley and Tompkins).

First it is important to note that the terms positive and negative

are not an indication of each ones desirability. Put simply

either a change in the system is reinforced (positive), or a

changed in the system is dampened (CleanLanguage.co.uk).

Without negative feedback, a system would devolve into complete

chaos, and without positive feedback, a system would become

unresponsive to environmental changes. In fact, a system without

feedback loops operating has no way of adapting to change

and will eventually cease to survive. According to Lawley and

Tompkins, the continued survival of a system with an interplaybetween positive and negative feedback will create the dynamic

equilibrium Kepes referred to.

Self Organizing Systems + Feedback


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entropy amplification

disturbance as information

recording

entropy correction

disturbance as mistake

administration

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designer accompaniment user influence

intervention

feedback

intervention

cyclical: regulardynamic

targeted: need baseddynamic

indirect interventionssuccession

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no interventionsuccession

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Feedback loops and adaptation do not exist in a vacuum; they are

leveraged against an input. The ecological theory of disturbance

serves to better understand the adaption of complex systems (such

as a ecosystem, or city) and to perhaps even promote it. Similar

to Verbeecks use of randomness as a means of creating newness

in the design process, disturbance is a means ofdeflection of

a community from some otherwise predictable successional

pa th (Pickett and White, 373). Relatively infrequent events playan important role in shaping the structure of a community, with

the result of the disturbance being a function of initial conditions

[373]. Disturbance does not necessarily result in equilibrium and

in some cases will cause a flipinto an entirely new state (Lister,

41). Instead, there exists a shifting steady-state mosaic, where

a community is made of different patches, such as a forest

comprised of clusters of trees that vary in age. A disturbance will

kill a patch, at which point it starts over. In this way, the forest

remains a forest, but the mosaic of patches is constantly shifting

[41].

If disturbance is the input, then resilience is the adaptation. It is

defined as the capacity of a system to recover from disturbance, by

means of reorganization and return to a similar or different state

than it was in before the event [44]. In ecosystems, the primary

means of achieving resiliency and adaptation is biodiversity. This

creates the potential for several different paths of reorganization[44]. Within ecosystems, diversity, complexity, and uncertainty are

normal [41].

Disturbance and Resiliency

The disc ssion of dist rbance and resilienc can be shifted to


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PHYSICAL

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The discussion of disturbance and resiliency can be shifted to

the built environment. There are several forms that disturbance

can take on here, ranging between physical to non-physical,

and controlled to uncontrolled. Another term for these might be

predictable and unpredictable. Throughout history there has been

much disturbance in the built environment, though very rarely is

human disturbance cyclical. Much of it takes place in the form of

a singular event such as the destruction of neighborhoods through

the construction of highways or failure to meet projections of any

sort. On occasion, there is no hope for recovery from a disturbance,

leaving an area permanently fragmented with no way of gleaning

any information from the event to develop a new pattern. Perhaps

this is because there was a lack of patterning, and therefore a lack

of a critical level of complexity that ecosystems boast.

Achieving resiliency in the built environment is a matter of

recognizing the complexity and unpredictability of both planetary

ecosystems and human societies (Sterner, 70). In the The Black

Swan, Nassim Nicholas Taleb states that there is importance in

limiting not the interactions between entities, but the size of them. It

is necessary to have a diversified ecology so that risks (disturbances)

are more frequent but less devastating (314). This sentiment is

similarly expressed by Mehaffy and Salingaros, who call for a

strategy of adaptive design by means of self-organization, which

is achieved by utilizing local rules on a small scale to generatelarge-scale complex order (Frontiers of Design Science: Self

Organization). True resiliency on the part of the built environment

requires the implementation of repetition and redundancy, which

may not always be most efficient, but will ensure survival and

provide a point of departure after disturbance (Sterner, 70).

Maintaining tight feedback loops ensures the capacity of a system

to readjust constantly, rather than returning to some fixed or

equilibrium point after perturbation (McGrath and Marshall,50). This concept invokes Gregory Batesons notion of pattern

where randomness, for which the concept of disturbance can be

substituted, is read against the backdrop of redundancy to serve

as a departure point for a new trajectory, or new pattern.


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CONTROLLED

UNCONTROLLED

NON-PHYSICAL

predictable

unpredictable

known knowns

unknown unknowns

known unknowns

unknown knowns

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There is more than enough critique to go around when it comes


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There is more than enough critique to go around when it comes

to Modernist master planning and even current methods of

planning. The research of this section is not meant to pile on

to an already sizable rebuttal of such planning and design, but

to critically understand what it is about these systems that have

created environments that are non-resilient, non-adaptive, and

lacking in the complexity that is afforded by patterns.

Camillo Sitte identified three methods of city planning in his

time; the grid iron, radial, and triangular systems (Collins and

Collins, 229). The major critique of the uncritical adoption of

these street patterns is that all design was predicated on a purely

technical platform. Sitte set this method against the inclusion of

artistic principles in developing urban plans. Jane Jacobs was

another proponent of the importance of artistic principles in

illuminating the rich complexitiesof urban structure(Mehaffy and Salingaros). Top-down emphasis on hierarchical

traffic systems, division of functions in the city, and rejection of

historical styles were staples of Modernist planning (Landscape

Urbanism Appendix, xv). This reflects a simplistic view of

a city that negates its basic complexity (N. A. Salingaros).

As was observed in the previous sections, the new city model

needs to maintain a level of flexibility and adaptability, which

is deemed impossible because traditional deterministic models

focus heavily on infrastructure that is resource-intensive and

time consuming to reorganize. This either requires infrastructure

that is more adaptable, or shifting the focus of a plan dramatically

away from it (Temporal Mutability: Post-Structuralism and the

Indeterminate in the Discourse of Landscape Urbanism).

Furthermore, the fixed, rigid, spatial frame is not capable of

containing the dynamic multiplicity of urban processes

which have previously been identified as a key to resiliency

(Corner, 26).

Planning


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It seems to follow that if a large top-down, centralized, one-fell-METABOLISTS


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g p , ,

swoop master plan or urban design is incapable of allowing

the complexities of self organization to emerge as well as

demonstrating resiliency to disturbance, that smaller, bottom-

up, de-centralized, phased plans must be the correct alternative.

This type of ideal can be traced through the ideals of a multitude

of projects, firms, and theories, starting with the mega-structure

projects of Archigram and the Metabolists.

Though Archigram claimed that 85% of their projects were

buildable, they were in fact utopian (Kasugai). Projects such as

Plug-In city demonstrated a penchant for the design of cities as

being in constant flux, imagined an alternate reality that would

be possible if .planners, governments, and architects were

magically able to discard the mental impedimenta of the

previous age [8]. T

he Metabolists, on the other hand, wereintent on developing a philosophical system based on the

concept of cyclical change [5]. Kenzo Tange, designer of the

Tokyo Bay project, declared: Limits can not be set on urban

growth [7]. One of these projects was ever built, the Nakagin

Capsule Tower. It has now fallen into disrepair, and not once were

any of the capsules changed as was planned [5]. This stands as a

caution that a patterning of literal repetitive changeable elements

(albeit with little variation of said elements) does not presume

adaptability.

Economic viability of the project plays an important part in the

actual implementation of such theories and methods of planning

and design. In addition, the time taken to construct such mega-

structures would have been too long, falling out of fashion before

they would even be completed. A similar critique may be applied

to current master planning and urban design trends that set

timelines up to fifteen years.

METABOLISTS

tokyo bay project60

kenzo tange

nakagin capsule tower70 - 72

kisho kurokawa

ARCHIGRAM


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ARCHIGRAM

walking city64

ron herron

plug-in-city64

peter cook

clusters-in-the-air project62

arata osozaki

plug-in-city: paddington east66

peter cook

blow-out village66

peter cook

TEAM X aldo van eyck alison + peter smithson


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TEAM X aldo van eyck alison + peter smithson

amsterdam orphanage55 - 60

golden lane competition52

robin hood gardens72

Along a similar thread is the concept of the Mat-Building.candilis-josic-woods


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Propagated by Team 10, mat building was the first attempt

to incorporate the historical and typological study of

urbanization patterns into the modernist discourse (van den

Heuvel, 40). The strengths of Mat-Building lie in its position as

a design strategy as opposed to a style, employing the use of

repetitive elements to exhibit emergent behavior as a whole that is

greater than the sum of its parts (Georgemaciunas.com). Alisonand Peter Smithson sought to adequately accommodate

possible programmes and their futur e changes crea ting an

architectural space which offers leewayfor occupation by

spontaneously emerging patterns of living (van den Heuvel,

42). The Smithsons understood the city as a heterogeneous space

defined by non-linear interactions (42). This certainly puts them

in stark contrast with many of their Modernist brethren, yet aligns

them closely with Archigram and Metabolists. Each developedthe idea of permanent frameworks that could play host to the

changing possibilities of inhabitation (Luna, 7). In terms

of patterns, it is possible to understand the pixilated, horizontal

framework of mat building as a base pattern, able to adapt and

act as background to the more dynamic patterning of program.

The overlap of these patterns is what gives way to the emergence

of complex behavior, and more closely positions it to the workings

of a resilient ecosystem.

Stan Allen takes Mat-Building a step further, into the contemporary

realm of Mat Urbanism. In his essay Mat Urbanism: The Thick

2-D, Allen describes Mat Urbanism in a way that overlaps the

language used in this thesis to discuss patterns. This is observable

in states such as:

Out of a fundamentally regular system (building,

rational), a high degree of variation is achieved

through local adjustment, and through the activationof void spaces within the fixed fabric (121).

ca d s jos c woods

free university of berlin62 - 72

frankfurt - romerberg competition63

caen-herouville61

Allen describes an overall intensity based on repetition and

l ( ) Th d h


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accumulation (122).This statement draws comparison to the

Bateson theory of pattern. Allen then poses a critical question:

If mat building represents a reworking of the spatial patterns of

the traditional city as they emerge over time, how can the new

patterns of the contemporary city be woven into contemporary

urbanism?(124)

The role of the designer is to create conditions under which

unanticipated spatial characteristics may emerge from the

reaction of designed elements to the indeterminate future (126).

From a disturbance standpoint, the indeterminate future harbors

disruptive forces which the designer must anticipate so that a new

course may be charted for the designed elements, that while not

anticipated, maintains a resilience and continuity. addition, Allen

adds the concept of field conditions, of which can be overlappedto create a moir. The moir is the combination of repetitive and

regular elements that produces complex behaviors and serves

as a method of studying the disturbances which can be created

from[within]individual repetitive elements (Luna 22).

Intertwined with the study of Mat Urbanism is that of Landscape

Urbanism. James Corner, in his essay Terra Fluxusfor Charles

Waldheims Landscape Urbanism Reader, sets Landscape

Urbanism apart from both Modernist and New Urbanist

methodologies. He quotes David Harvey has stating that both

fail because of the presupposition that spatial order can control

history and process (28). This declares the shift of focus on form

to an understanding of process, or how things work in space

and time (29). Shifting this focus requires acknowledgement

that apparently incoherent or complex conditions that one

might initially mistake for randomcan, in fact, shown to be

highly structured entities (29). Kepes had anticipated theshift from thing-seeing to pattern-seeing or process-seeing.

Landscape Urbanism demonstrates the importance of process.

E l i l i i l d liti l ti d


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Ecological, economic, social and political processes continue ad

infinitum, at multiple scales, placing the design in a perpetual state

ofbecoming. The above mentioned processes can be patterned

onto a site, becoming its infrastructure, one of Corners three

surface strategies (Landscape Urbanism Appendix, vii). The

strategies (demarcation, infrastructure, adaptation) establish new

conditions for future development (vii). In Batesons terms, theseprocesses are information. According to his principles, no new

order or pattern can be created without information (Mind

and Nature, 45). Similarly, the processes and flowsof the site

are rearranged to form new interrelationships with the potential for

stirring new relationships on the site (Landscape Urbanism

Appendix , vii ). These strategies of Landscape Urbanism are ways

to engage with the dynamic complexity of the site, and the city.

Process Urbanism is a recent -ism that has recently sprung up,

related very closely to Landscape Urbanism. It is a straightforward

approach, stating that since society is dynamic, the planning of

our cities needs to be dynamic too, calling for urban planning

that is permanently adjustable (Process Urbanism: The City

as Artificial Ecosystem). It is a rejection of master planning,

instead opting for a model based on recognition and knowledge

rather than belief. Process Urbanism seeks to foster more

unpredictable urban planning, allowing the urban ecosystem

to regulate itself. There is acknowledgement that planning for the

unexpected is necessary, for exactly that which we do not yet

know will happenA strategy for allowing smaller collapses

or disturbances to happen is proposed, so that a major collapse

is prevented.


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What is posited from the study of these theories of planning anddesign is the necessary use of pattern so as to better engage

the complexity of the built and natural environments. The world

operates as a patterning of processes, from which emerges

dynamic behaviors that cannot be predicted. This unpredictability

lends itself to the richness of life. However, rigid planning efforts

that do not account for processes, dynamism, emergence,

resilience, and adaption by way of a complete lack of patterning,

drain the designed environment of the richness. In attempting to

negate complexity, the full potential of a site is also negated.

Military base closure provides the grounding for this thesis by

interpreting closure as a disturbance on the local community.

The intention is to also question the large scale pattern of base

redevelopment, and through pattern analysis and recognition,

develop a new way to study abandoned military bases so as to best

invigorate them for civilian use. As stated by Barbara Bronstien,

after the Cold War ended, Congress formed a commission to

make closure and realignment recommendations through the Base

Grounding: Base Closure as Disturbance

marine corps air station el torosanta ana, ca.4,682 acres

portsmouth naval shipyard


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ellsworth a.f.b.box elder, s.d.

3,852 jobs

p v pyportsmouth, me.

4,150 jobs

fort mcphersonatlanta, ga4,141 jobs

brooks a.f.b.san antonia, tx

2,923 jobs

fort monmouthred bank, n.j.5,272 jobs

philly navy yard

philadelphia, pa.1200 acres

Realignment and Closure (BRAC) process. The most recent round

of closures took place in 2011. As one can imagine, The loss


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of closures took place in 2011. As one can imagine, The loss

of related jobs, and efforts to replace them and to implement

a viable base reuse plan, can pose significant challenges for

affected communities (Cowan & Gonzales, Military Base

Closures: Socioeconomic Impacts). In addition, a community

generally has a small window of opportunity to acquire the land

from the government, establish an authority to qualify for funding,not to mention the daunting prospect of luring potential businesses

to help fill the void left by the sudden loss of jobs. This sort of

disturbance is reflective of that seen in ecological systems, where

the structure, dominance, and predictable successional path is

flipped on its head.

The study of Base Closure through patterning will provide a

community with the tools and analysis necessary to adjust its

current stagnant course so that complexity and unpredictability

can become dominant in a site that the public had not had access

to for some time.


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Case Studies


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near west side, chicago, illinois, usa

program/sch

cultiv

2011

1965

pre-1960

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i f t t


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dule chance encounter

complexity from simplicitymobility of students

ting the in-between

infrastructure

rotated square

moire

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As a simple preface, the case studies featured in this section

have all dealt with pattern, process, planning, and disturbance

to some degree. Thinking through each situation continues the

conversation of the aforementioned ideas and theories.

Walter Netschs Circle Campus at UIC serves as an example

of the danger in presuming growth. In the early to mid 1960s,

neighborhoods were cleared to make room for the new campus.

Netsch employed his Field Theory, using simple grids rotated on

top of each other to create new complex geometries (Jones). It was

touted as providing, ...programmatic and structural flexibility

in that it was used as an open-ended design system (Felsen,

and Dunn). Yet, the buildings that this process created are now

described as maze-like. Experiences such as this hint that the true

potential for pattern, when uncritically adopted (as opposed to

adapted), will go unrealized.

While most of Netschs original design has been taken down,

such as elevated pathways and his amphitheatre plaza, there

is important lessons and information that can be gleaned from

the project (Jones). The first is the creation of complexity fromthe interaction of simple parts acted upon by simple geometric

operations [such as rotation]. Additionally, while the campus

showed little resiliency or adaptability, Netsch recognized the

power of the chance encounter. He acknowledges that what

happens between classes may sometimes be more important

that what happens during class (Jones). Believing as much, he

left plenty of space for these interactions to occur, though one

can argue that the scale of the spaces left much to be desired.

Proximity, adaptation, and foresight are all important lessons to be

drawn from the Circle Campus at UIC.

UIC Circle Campus


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algiers, algeria, africa

loose framework

aggregation | adaptation | evolution

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rooftop field

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A second example of planning, or lack thereof, is separated from

Chicago by 4600 miles. Much can be distilled from the Casbah.First is a similar lesson learned from UIC, in that complexity can

be generated from simplicity. More specifically, the interaction of

simple parts. The plan of the Casbah can be understood as a

complex aggregate of many simple, residential structures. The loose

framework of the streets, as well as the distinct boundary between

the more informal Casbah and the formally planned city, serve

as limitations (Gilbert). The process that developed the Casbah

can be likened to that which lends structural cohesion to the flock,

but in reverse. On the macro-scale there is unpredictability and

apparent randomness, where as on the micro-scale there is strong

intentionality and rich interaction in close proximity.

However, the Casbah also elucidates the hazard of analysis from

the sky. It would be easy to assume that if one wanted to replicate

the texture of this place, they would design a plan which looked

like the Casbah. What is important to realize is that the complex

plan of the Casbah is an indeterminate ouput of the more rich,albeit relatively simple, interactions between people occurring on

the ground, or what can be referred to here as input. Of course,

there is some give in this statement, considering that the plan does

lend some richness to the experience, and thus has an affects the

interaction between people.

This calls into question the causality of pattern. Are they

manufactured, or grown through patterning of processes alaGyorgy Kepes. Does it propagate on its own, and if not, what

measure of control does the designer have?

The Casbah


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ciutat vella, barcelona, spain

historic pattern

democonstruction

administrationcorrection

rehabilitation

contemporary pattern

existingadministration amplification

18481268-1835

1997 2001

2005

organizational

XX X

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programmatic variety


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variation of repetition

market stalls

bar

elderly housing

recycling

restaurant

archaelogical site

trading

loading/unloadingparking

delivery

self-serve

ramework

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Enric Miralles and Benedetta Tagliabues renovation of the Santa

Caterina Market in Barcelona collapses the scale of the case

studies somewhat. Though physically constrained to the limits

of a building, the two designers have recognized processes and

patterns of development that are detrimental to progress. In their

words ...the projects starts by criticising the actual planning

and proposes a model that allows for adaption to the areas

complexity (mirallestagliabue.com). Inserting a new process

of development may serve the role of the disturbance, flipping

the state and structure of the area, doing so by administering andamplifying the existing by meshing it with the new. They advocate

,Planning rules which contemplate something more than the

street width and the building height.

Architecturally speaking, Stan Allen points out that, Instead of

clearing and ordering the site, the arch itects respect the raucous

mix of activities typical of the city center (Mat Urbanism: The

Thick 2-D, 121).A large roof and local variation of the repetitive

stalls gathers the many disparate activities and programs, and

allows for interactions to emerge on their own.

Santa Caterina Market


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ginza, toky

44

The Nakagin Capsule Tower serves as the smallest scale study of

the set. The tower is congruent in several ways with the conceptual

tenets of pattern previously stated. The central core serves as a

determinate base pattern, over which an indeterminate pattern of

capsules is placed. The actual form and aesthetic of the building

is dependent on the maintenance of the capsules. As they need

to be replaced or removed or updated, the secondary pattern

changes. It is more or less a random process. Or at least would

have been. None of the capsules were ever replaced or even

maintained very well (Ouroussoff).

Understanding the cause for this is necessary for realizing

the potential for pattern, when considered as part-to-whole

relationships. First, as with Walter Netschs UIC campus, there was

a error in foresight. While for the campus it was simply the amount

of people, with the tower it was the assumption that the processesgenerating the building would come to pass [the removal and

updating of the capsules]. Another issue is that of variety and

variation. The capsule tower has a single form that is repeated

and varied. Yet, there is no actual variety in the pieces themselves.

A variety of capsules may have provided the tower with a resilience

to the disturbance that was the change in ownership the capsules

experienced. While the first generation of Nakagin-dwellers were

passionate, those that inherited them were not, thus letting the

tower fall into major disrepair. Here, it appears, that simplicity

failed to generate a rich, complex mixture.

Nakagin Capsule Tower


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o, japan

?

base pattern | determined

secondary pattern | indeterminate

repetition

variation

variety

45


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toronto, canada

downsview park

toronto central business district

11 mi

46

Downsview Park in Torontos suburbs serves as the most relevant

case study, encapsulating issues of base closure, redevelopment,

pattern, process, and the resolution of order/chaos, determinacy/

indeterminacy. Originally the space was known as Canadian

Forces Base Downsview, from 1947 to 1996. In the same year

as its closing, 572 of the 644 acre base was transferred to Parc

Downsview Park Inc. In 1999 a competition was held for the design

of an urban park on the former military base (del Guayo).

Downsview Park

retirement home collegiate institute


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commercial zoning post-war suburb

bombardier aerospace

memorial park

public school

post-war suburb downsview airport

hwy 401

black creek metro station

47


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entries for Downsview Park International Design Competition [99]

woody areas in black; meadowlands in gray

OMA | TREE CITY [winner]

Tschumi Foreign Office Corner + Allen Brown an

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Storey

49

The datum threading the five finalist projects is the philosophicaland physical concept of frameworks (Blum). The primary intention

behind frameworks is the interaction between a site structure, and

looseness that allows for flexible growth over time (del Guayo).

In other words, conditions are established for minimal control

to maintain flexibility, while maintaining identity and logic (del

Guayo). The language used to describe the competition, the

entries, and the frameworks themselves runs parallel to that of

Andersen and Salomon in The Patterns of Architecture. Aswith pattern, when using frameworks the designer runs the risk

of falling into one of two traps. Either the project will lose its

adaptability to new circumstances [read disturbance], or it will lose

its organization and legibility [the absolute minimum repetition,

redundancy, or structure to recognize a pattern] (del Guayo).

It is possible to read frameworks as analogous to patterns, or

even as patterns themselves. Similar to pattern, a framework can

accommodate many functions and processes within the same

structure. As such, frameworks and patterns may accurately be

described as protean.

natural infrastructure network

t


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site + soil prep

pathway construction

cluster landscaping

50

The winning entry in the Downsview Park competition was OMAs

Tree City. As stated by the firm, ...landscape elements will be

planted incrementally over time as funding permits, gradually

building up the parks mass into a flexible patchwork of planted

clusters separated by open undesignated areas (oma.eu). The

project proposed three phases that would continue long term, as

evidenced by the graphic on this page. However, closer inspection

of this statement reveals the inherent risk that this strategy entails.

There is much left up to the future, and it should be noted as it

was with the UIC project, a future that might not come to pass.In fact, there is not a ...clear articulating element or any rigid

component in the whole plan (del Guayo). Downsview Park

elucidates the difficulty in designing and actually implementing

flexible, adaptable development. Tree City made a strong gesture

toward materializing Kepes pattern and process manifesto. The

merits of the project lie in the acknowledgement of process driving

the pattern of development on site. Additionally, the ability create

a minimum of structure (base pattern) and then fine tuning by

the designer on a local level (deviation) takes advantage of what

pattern is capable of.

flexible planting clusters static programming


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Currently the project is being headed up by Bruce Mau, who

worked with OMA on the original design. The image on the far

right demonstrates the balance between determinate program that

generates revenue [thus making the project easier to sell], and

the original urban park concept. This may be saying something

about the extent to which landscape, pattern, frameworks can

be used as catalysts for the propagation of larger scale patterns.

EMBTs market renovation recognized the need for some sort of

static, programmatic element. Perhaps the shortcoming of Tree

City also lay in its heavy use of graphic design and diagram as a

method to communicate what most people might read as a plan.

As stated earlier, pattern, like frameworks, may accommodate

more information than its simplicity may let on. Thus, to tap into

patterns full potential, it is necessary to consider the experience

of pattern beyond the visual senses. In other words, pattern maybegin as visual, but it need not be anchored in that realm.


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Noisette Site Analysis


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56 north cha

noisettecharleston

7 mi

North Charleston, South Carolina has the distinction of being

home to a portion of the former Charleston Naval Shipyard.

Earlier uses of the land included plantations, standard fare for

the lowcountry. In 1901 the shipyard began operation, closing in1996 as part of BRAC. This was the first event in a long, drawn

out saga for the area that continues even to this day. Given its

location, history, current situation, contrast in building pattern,

and peculiar plan, the site makes for an interesting and fitting

location to being experimenting.

When the base closed, the City of North Charleston made a

deal with the Noisette Company. In exchange for a 340 acre

section of land (dubbed Noisette, after the company and the

creek), the company would develop a 3000 acre master plan

(The City of North Charleston). The focus of the plan was

sustainability, incorporating feedback from many community

meetings. Unfortunately for North Charleston, the plan never

came to fruition. A majority of Noisettes land was foreclosed on,

being sold off in pieces. As of the time of this writing, the future of

Noisette is still in the air, although the spirit for in the initial plan

and promise is still alive with the citizens, taking great strides tomake the most out of the site (Behre).

park circle

noisette creeknoisette reserve cooper river

daniel islandliberty hill


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57leston, south carolina

I-26

amtrak

high school

clemson conservation center

cmmc detyens ship yard

north park village

st charles place

industrial


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The original master plan that was to be enacted raises some

poignant questions. First, there is the question of scale and in turn

flexibility, or adaptability. When a plan of this magnitude goes

year after year with little progress, is it possible to make changes

without having to reconsider the entire plan? Second is the actual

pattern of the plan. Is this an appropriate form, considering the

somewhat ad-hoc plan that the original base took shape with?

Is this the pattern that sustainability propagates? Or is this no

different than deciding to simply recreate the Casbah because of

the type of experience the city is intended to engender? Drawing

from other case study lessons is it possible to create a complex,

varied environment by amplifying the patterns that already existon site? This is not to say that there are not perfectly valid merits

for this sort of development. Yet, for a site that had experienced

a disturbance such as base closure, was it wise to consider a

determinate plan that required a large investment of resources?

The remainder of this project serves not as a corrective measure

for the apparent shortcomings of the original plan [though to be

fair, considering the timing of the project, not all the blame can

be placed on form, or the plan, or the planner]. Conversely, the

intention is develop alternate futures for Noisette, taking to heart

Gregory Batesons wisdom that Nothing comes of Nothing.


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industrial oak-pine lowland forest

freshwater marsh

tidal marsh

general business

residential

multi-family

mobile home

ground covercurrent zoning

watershed


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oodplain

hurricane surge levels

site flowshydrology

wind

water

material

flickr data


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site organization

20

Noisette Creek Watershed Rail

Storm Surge Levels

1020Kinzer

10


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Cooper River

Flood Plain

1020 Kinzer

1150 Kinzer

1185 Kinzer

Noisette Creek

2575 McRitchie

2585 McRitchie

1445 McMillan

Bldg No. 32

1635 Cosgrove

site selection


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64

The first step in working towards an appropriate grounds on which

to perform design testing was basic site analysis. Identifying current

development trends on site was an important consideration.

Noisette has an abundance of three story, narrow buildingswith their short side to the street and the rest extending into a

deep plot. These storehouses are restored and in-filled with new

business. There are other buildings on site of higher architectural

quality that used to serve as officer housing. These buildings go

through the same restoration process. Another process ongoing

in Noisette is conservation, particularly of the Noisette Creek.

North Charleston has identified the need to protect and restore

the Noisette Creek and its salt marsh habitat. The Noisette Creekitself serves as great inspiration in terms of a patterned process

that results in a rich, lively environment. This will be expanded

upon in the next section.

With those processes and patterns identified, it becomes easier to

assess those sites within the Noisette footprint that do not match or

lend themselves to easy categorization. The question then is how

to handle the design of these sites so that they attain a strong part-

to-whole relationship with the rest of the site, but do not simplyuncritically adopt the same pattern that the rest of Noisette is

experiencing. To ensure that the new sites being developed have a

relation to the rest of the site an underlying conceptual structure


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relation to the rest of the site, an underlying conceptual structure

was drawn up according to the buildings and lines already existing

on site. There is no readily apparent order to the site, possessing

a decidedly suburban density. However, if the original failedmaster plan is in the least bit any sort of indication as to what the

site should be [or wants, or even needs] in the interim, forcing a

dense, urban pattern is not a solution. Resiliency and complexity

grow from simplicity, small pieces aggregating, and evolution.


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Design Experiments


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To preface this section, note that the experiments and designs

are not meant to read as a corrective measure for the previously

discussed master plan put forth by the Noisette Company. Rather,

these three sites, all located along the major route of NoisetteBoulevard, serve as alternate ways to develop a military base

that has gone through the closure process. The experiments were

designed simultaneously, though there is evidence of some cross-

pollination of ideas.

The first design begins with the assumption that the social structure

of the Noisette site had changed from a strict hierarchy during its

military life, to a horizontal network once the military presence had

left. As pointed out by Nina-Marie Lister in her piece Sustainable

Large Parks: Ecological Design or Designer Ecology?, the

road to resilience is paved with information. The more information

is present during a situation, the greater the number of possible

outcomes, revealing the possibility of responding appropriately

to a disturbance. Information and knowledge is passed through

social networks, and occasionally, important connections are

made during the course of a chance encounter. Walter Netsch

had assumed as much, designing space for these interactions tooccur. Currently Noisette has an abundance of private space

1

23

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MONOLITHIC

B Y M A N Y

S U R F A C E

O P E N E N C L O S E D

B Y O N E B Y N O N E

P U B L I C P R I V A T E O P E N

Cosgrove [South] Site


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D

BDIFFERENCE

CELLUL

differe

ntiation

part-to-whole

REPETITION

programmatic/spatial patter

S T R U C T U R E

disturbance + shifting states

private space

public space

open space


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with very little actual open or public space, assuming that chance

encounters happen most often in the public space of a city or

community. Therefore it would follow that encouraging a more

varied mix, or a tighter pattern, of private, open and public space

would only be of benefit to the invisible, social networks that

engender a community with the quality of resiliency This idea will


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engender a community with the quality of resiliency. This idea will

also appear in the experiment on the northern most site.

The method of investigating the above ideas as through the

meshing of pattern and randomness. Attempting to create a

productive relationship between these two concepts is a worthwhile

endeavor. Their overlay creates opportunity of response, learning,

and adaptation. When there is an apparently random element

introduced into a pattern, the order that seemed to compose the

patterns structure dissolves. The foundation, or input, must be

reconsidered. Interestingly enough, the random arrangement of

the spatial situations began to form congruent spaces of the samesituation.

A final layer used to experiment on this site was the subversion

of disturbance into a design tool. Proactively employing

disturbance to conceptually change the structure of the site offers

the opportunity to create a pattern of process. Where the actual

arrangement of spatial situations is random, developed by rolling

dice, there is indeed a legible pattern. The tabulated data above

can be used as a schedule, so each flip may be anticipated by

the community.

The actual structure of the space to enable the flips of each state

may be impermanent or easily changeable.


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5C

after 0 cycles

after 1 cycle


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The grounding of this design experiment is the application of

defined program as a means of providing some determinate

structure to the site, but also the pattern of use of each program.

Additionally, each program has potential resilience, where thesite can still be productive in terms of a landscape, even if the

expected users of the site never show.

A visitor center [housed in the northern building] and learning

landscape, a velodrome, an aquatics center [partially located

within the southern building], a playing field, and a cinema

comprise the sites program. Overlaid are two simple landscape

patterns generated from the previously mentioned underlying

structure of the site. This landscaping pattern was modified on

a local level with simple geometric operations such as rotation,

tessellation, and reflection. Another landscaping pattern was

overlaid, located specifically with the base landscape pattern. The

purpose of such a pattern is to create new water drainage patterns

on site in an attempt to promote indeterminate plant growth. As

new program is implemented on site, the new growth could create

soft boundaries and divisions. The faceted landscape has use as

seating for those visiting from Storehouse Row or the West YardLofts to the south.

McRitchie [Middle] Site


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V E L O D R O M E


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L A N D S C A P E

A Q U AT I C C E N T E R

V I S I T O R C E N T E R

C I N E M A

Here the program is plotted out with the corresponding, anticipated

pattern of activity. Using program behavior and user clustering

as a means to design a site ensures that there are overlaps in

activity and thus increasing the opportunities that people have tointeract.


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The Noisette Creek benefits from a daily flooding cycle due to

tidal forces. This ensures that nutrients are deposited on a regular

basis, creating a rich ecosystem (Amigos de Bolsa Chica). It

also highlights the importance or potential in employing a pattern

of processes on site. This site could be flooded occasionally,

again subverting disturbance to take advantage of its unexpected

outcomes. As the patterned landscape erodes, new conditions

may emerge, enabling the people using the site to determine its

new uses.


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Shown here is a section of the landscape and all the information

or variation that can be loaded into it as a result of its repetitive

and redundant structure. Starting on the left is simple hardscape,draining into a permeable surface. This piece of landscape is

constructed rather than formed. Future structures on site can

be accounted for ahead of time so as to ensure the continuity

of the original use and programming. The landscape can be

allowed to erode or uncovered to reveal the piers as needed.

Lastly, the ridges of the faceted landscape can be embedded with

a more determinate drainage system, creating a new pattern of

determinate and indeterminate water flow and thus new plantings

as seeds and nutrients are deposited.


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82 A Relationship with Randomness


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INPUT

H U M I D I T Y

L O C A L

G L O B A L

M I C R O

M A C R O


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84 Kinzer [North] Site

W A T E R

S H A D E

W I N D

S U R F A C E

V O L U M E

C O L O R

R E F L E C T A N C E

P L A N T I N G

INPUT

P R O X I M I T Y

L O C A L

I C R O

A C R O

V O L U M E

M A I N T E N A N C E

S U R F A C E

W H A T A D E S I G N E R C A N E M P L O Y T O I N C R E A S E

T H E P R O B A B I L I T Y O F T H E I N T E N D E D O U T P U T

Pattern can communicate much more than just a visual or an

aesthetic. Continuing points made on the last experiment, pattern

can be loaded with many forms of information, or be utilized in

several ways, all while retaining its identity and structure. Thisexperiment picks up on those notions as well as incorporating the

public/private/open spatial pattern present in the first experiment.

In addition, pattern is called up on to alter the microclimate of the

site, a pertinent task considering the sweltering climate of North

Charleston.

The diagram shown on this page is essentially a map that describes

how one might design for an intended result that they cannot

necessarily guarantee the emergence of. For example, behavior in

and of itself cannot be designed. However, behavior is the output

of some other input, and so on. Eventually the chain leads back to

what a designer actually can design. Occasionally, as evidenced

by the diagram, there are some non-linear connections. In the

instance occurring in the middle of the diagram, because of the

overlaps between the initial inputs, the design of private, public

and open space may inherently affect the microclimate. If the

design intention were simply private, public, and open space,then the alteration of the microclimate is unforeseen.

OUTPUT

M I C R O C L I M A T E

INPUT

OUTPUT

B E H A V I O R

INPUT


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W H A T A D E S I G N E R I N T E N D S T O I N F L U E N C E

B U T C A N N O T G U A R A N T E E T H E E M E R G E N C E O F

L O C A L

OUTPUT

INPUT

S O C I A L N E T W O R K

B E H A V I O R

A C T I V I T Y

I N T E R A C T I O N

A C T I V I T Y

P R I V A T E S P A C E

P U B L I C S P A C E

O P E N S P A C E

L O C A L

I C R O

OUTPUT

INPUT

RESILIEN

C

E

OUTPUT


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These three diagrams illustrate the process from intended new

microclimate pattern [purple coolest, red warmest]. The underlying

structure is used once again, this time populated with a distinct

pattern of hexagons. The shape of the hexagons mesh well with

base pattern, as well as offering a way of methodically transversingthe site, covering the site in two directions at once, without overly

inefficient zigzagging caused by the right angles of a strict grid

pattern. Finally, the pattern is modified on a local level, altering

the ground plane, creating a canopy to tie all the buildings on

the site into a coherent structure, the use of mist and humidity to

delineate between private, public, and opens space, the inclusion

of water features to induce evaporative cooling on a small scale,

trees and plantings, and varying levels of surface permeability,and color.


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Altering a single ground plane into a pattern of layers creates an

above/below condition to separate private space for employees

working on site. The general public has a place that uses pattern

to reach all their senses. This strategy refuses to categorically

exclude these two groups of people from each other, continuing

the gradation, mixing and blending that in part defines the sites

conceptual identity.


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Recalling previous observations about the general pattern of

development by way of renovating long, rectangular structures

facing the street, this experiment proposes an alternative way

to infuse the buildings with new energy. As there is not currently

an even somewhat desirable street condition to plug into, and

seeing as this site is on axis with a residential neighborhood,

the businesses are in-filled across the short axis of the building,

still enabling the 40 x 80 dimension seen in many stores of

downtown Charleston. In this way, a macro pattern is accounted

for, but deviated from by local adjustment. This creates a unique

situation that is nonetheless legible when compared with the rest

of the development happening at Noisette.


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Conclusions

This thesis process was meant to be an investigation, an

exploration, a questioning, and a testing. As a result of the

scientific nature through which the process was carried out, it

is pertinent to discuss the conclusion in terms of limitations of

the experiments, thoughts, and theories. Throughout the year,

skepticism has become the operative word as every answer has


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skepticism has become the operative word, as every answer has

provided two more questions.

The primary limitation of the project is the blatant and inherent

[literal] top-down analysis. Heavy use of mapping and plan

gave limited emphasis of what pattern may mean for the ground

conditions, elevation, and sectional quality of space. Generally,

heavy mapping and plan analysis tends to turn a project into

an exercise in graphic design as opposed to what may actually

function properly.

There are several questions that must be put forth. For example,

what is the extent or importance that geometry and shape play

in the employment of patterns? Questions of causality come to

light. Are patterns a cause, an effect, both, or neither? This is a

necessary question so as to avoid misled or misguided attempts at

critically using pattern in design.

Firsthand experience also led to the realization that overstatement

or overemphasis on the visual or geometry itself may lead to

arguments of the invalidation of pattern. There could be nothing

worse for a designer attempting to prove that pattern, something

that is vague, ubiquitous, and at time consumed in stylistic fads,

actually matters and must be taken seriously if some pressing

issues in planning and architecture are to be addressed. Notably

that of resiliency and the turning away from large, one-off master

plans.

This is not to say that pattern is the be-all end-all solution for allarchitectural and planning issues. In fact, as elucidated in the

experiments, it may serve well enough as a method of analysis.

However, it should be not be relegated to the sidelines as simply

a way of discovering order of the chaotic and often times frenetic

built environments. Pattern has proven itself to be capable of

embracing randomness and chaos, tempering it with repetition


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and redundancy

BREAD AND CIRCUSES

WISDOM OF THE INCREMENTAL OUTPUT ?INPUT

we design the input [process], not the output [result].

this may be said to be indeterminate, but what might bediscovered is that some inputs have determined outputs

FUTURES

ASSUMPTIONS

butterfly effect...small variations input lead to amplified variations

we can track forwards, but cannot decipher backwards.


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98Beginning A Long Reflection Process...

EX:

WOLFRAMS CELLULAR AUTOMATA

discovered is that some inputs have determined outputs.

some processes are determinate in that they will lead to aconsisten output, or a pattern.

ASSUMPTIONS

PRESUMPTIONS

PRESUPPOSITIONS

PREDICTIONS

PROJECTIONS

PROACTIVE

REACTIVE

?

the designer and design may hope for the emergence ofa particular pattern [behavior, etc.], but cannot predict norguarantee its permanent or existence as intended.

a feedback loop must be implemented so that the designerand design receive information that allows for determinationof the error that is leading to the unintended result.

the designer and design may adjust to correct the unintended result.or they may use this information to anticipate new behaviors, alwaysin an effort to be proactive and not merely reactive. it is a horizontalfeedback system, rather than a vertical one.

meaning, we can follow an input to see what its effect on output iwe cannot disect the output and discover what small input led to iexistence.

employing patterns in design ensures that complexity is presentat all scales.

there are patterns that emerge, and patterns that are designed.

patterns can be designed as the final output, or used as the origiinput. the question remains is whether processes can be patternand if so, what is their output? is the feedback loop not a process

do we design the wave? the dune? the cracked desert ground? odo we design the processes that these patterns emerge from?

does gyorgy kepes quoted phrase, pattern in process, processin pattern have any sort of directionality? meaning, can wedesign the process for the pattern to emerge, but can we alsouse patterns to generate process?

open frameworks in which program, activity, etc. expands intoor the framework which allows the making of individual decisions

pattern being the organization into which something expands

this may eventually lead the original design and designer so farfrom the original that it is hardly recognizable, yet still the resultof a simple system acting in a recursive manner.

BUILTUNBUILT

BUILTUNBUILTns in output


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ACTION

proactive model

RESPONSEREACTION

ACTION

reactive model

RESPONSEREACTION

BUILTUNBUILT

PROJECTION

futures model

ACTION

reactive model

RESPONSEREACTION

BUILTUNBUILT

t is, butto its

t

.

iginalrnedss pattern?

or

s

this opens the discussion of so-called top down andbottom up planning and urban processes.

occasionally it seems planning becomes an exercisein graphic design. however, some very thoughfullyplanned cities in history have been relatively successful.amsterdam is an example of this.

large scale change in a short amount of time isundesirable. enormous master planning (ie noisette)can be likened to the ecological principle ofdisturbance. widespread change at oncethe disrputs the structure, population, among manyother factors, in a short period of time.in this case, it may be determined that too much emphasis

has been given to the look or form of the plan, and notenough on the activity, elevation, section, etc.

ns.

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Amigos de Bolsa Chica. Bolsa Chica: A Tidal Salt Marsh. 2010. Amigos de Bolsa Chica. 30 November 2011

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Andersen, Paul and David Salomon. The Architecture of Patterns. New York: W. W. Norton & Company, Inc., 2010.

Bateson, Gregory. Mind and Nature. New York: E.P. Dutton, 1979.

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Bronstein, Barbara. Military Base Reuse. July 1997. CCIM Institute. 16 November 2011

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Jones, William Goodrich. Some Fields Are in the City. A Talk for the Chicago Literary Club. The Chicago Literary Club. Chicago.

28 March 2005. Lecture.

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p , y y p

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spiral shell_http://blogs.bgsu.edu/artc3110georgea/2009/09/02/30/spiral-shell/

zebra stripe_http://ec1cw.blogspot.com/2010/07/zebra-stripes.html

chinchero weaving_http://photobucket.com/arlenezimmerly

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hi di k 1 b id il 1964 h // k/ ll /b d l / h d k

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white disks 1, bridget riley, 1964_http://www.op-art.co.uk/op-art-gallery/bridget-riley/white-disks-1owen jones, designs for tiles, 1849_http://vam.ac.uk/images/image/31298-popup.html

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010-011

012-013

014-015

Image Credits

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nakagin capsule to

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