Experimental work exploring smooth and striped textures with unlimited, repetitive, omnidirectional patterns, where the unity is lost within its complexity.

‍

The course taught by Tchely Hyung-Chul SHIN has led us to observe that today, unlike in previous centuries, motifs and ornamentation have lost their prominent place in architecture, design, and urban planning. This evolution can be explained by the omnipresence of formal purity that characterized modernity after World War II, followed by the minimalist aesthetic that ensued.

The exercise proposed involved studying the construction logic of two textures, drawing inspiration from both natural and artificial phenomena. The first texture, named "Smooth," featured an unlimited, open, disordered, and fluid pattern, where unity was lost within its complexity. For my analysis, I chose to prioritize the size of elements within a bone structure to evaluate their repetition frequency and interaction. The strength of this composition lay not in its outline but in its inherent materiality.

The second texture, named "Striated," exhibited a repetitive, closed, ordered, measurable, and omnidirectional pattern. I selected the structure of a melon's skin, characterized by its alternation of solid and void areas, reminiscent of a map or landscape seen from above.

Following a thorough analysis and various manipulations aimed at making these textures more orderly or complex, the task was to transcribe them at three different scales: the scale of territory, architecture, and finally, object. The use of textures reflects a return to humanity's primitive need to create patterns on surfaces. Through a motif, we delve into the very essence of humanity.