STUDIO' GENERATIVE VOCABULARY - Autogenic ORNAMENT_DS3b2021

Autogenic ORNAMENT

- EMULATE - INTERPRET

Prishtina, 2021

STUDIO' GENERATIVE VOCABULARY

Autogenic ORNAMENT

RESEARCH

UBTPRESS

Copyright © 2021 Banush Shyqeriu and UBTPRESS.

STUDIO' GENERATIVE VOCABULARY

Autogenic ORNAMENT

- EMULATE - INTERPRET

BANUSH SHYQERIU

CONTENT SYNOPSIS

III

INTRODUCTION

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The REVIVAL of AUTOGENIC ORNAMENT

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AUTOGENIC ORNAMENT

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Research Team: Besfort R amadani; Pashtrik Shehu

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A. Research – Inspire – Emulate: ORNAMENT in NATURE (i.e., Geology, Botany, Zoology...)

Iden fy and interpret the principles, processes and func on(s) of Ornament in NATURE B. Research – Inspire – Emulate: ORNAMENT in CULTURE (i.e. Ethnology, Art, Architecture) Iden fy and interpret the principles, processes and func on(s) of Ornament in CULTURE - Conceptualize and Construct the Structure of Ornament through Digital Poe cs (three pa erns) Research Team: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj A. Research – Inspire – Emulate: ORNAMENT in NATURE (i.e., Geology, Botany, Zoology...)

Iden fy and interpret the principles, processes and func on(s) of Ornament in NATURE B. Research – Inspire – Emulate: ORNAMENT in CULTURE (i.e. Ethnology, Art, Architecture) Iden fy and interpret the principles, processes and func on(s) of Ornament in CULTURE - Conceptualize and Construct the Structure of Ornament through Digital Poe cs (three pa erns)

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Research Team: Blerina Muriqi; Valëza Tahiri

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A. Research – Inspire – Emulate: ORNAMENT in NATURE (i.e., Geology, Botany, Zoology...)

Iden fy and interpret the principles, processes and func on(s) of Ornament in NATURE B. Research – Inspire – Emulate: ORNAMENT in CULTURE (i.e. Ethnology, Art, Architecture) Iden fy and interpret the principles, processes and func on(s) of Ornament in CULTURE - Conceptualize and Construct the Structure of Ornament through Digital Poe cs (three pa erns) Research Team: Bleona Sopa; Erëblina Musliu; Erza Gashi

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A. Research – Inspire – Emulate: ORNAMENT in NATURE (i.e., Geology, Botany, Zoology...)

Iden fy and interpret the principles, processes and func on(s) of Ornament in NATURE B. Research – Inspire – Emulate: ORNAMENT in CULTURE (i.e. Ethnology, Art, Architecture) Iden fy and interpret the principles, processes and func on(s) of Ornament in CULTURE - Conceptualize and Construct the Structure of Ornament through Digital Poe cs (three pa erns) Research Team: Suzana Krasniqi; Arbra Tahiri A. Research – Inspire – Emulate: ORNAMENT in NATURE (i.e., Geology, Botany, Zoology...)

Iden fy and interpret the principles, processes and func on(s) of Ornament in NATURE B. Research – Inspire – Emulate: ORNAMENT in CULTURE (i.e. Ethnology, Art, Architecture) Iden fy and interpret the principles, processes and func on(s) of Ornament in CULTURE - Conceptualize and Construct the Structure of Ornament through Digital Poe cs (three pa erns)

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Course Name: DESIGN STUDIO 3 – Design, Planning and Development of Economic Facilities Subject: The HYBRID Development of Interchange Transport Terminals in Kosovo Architectural Design Theme: “BIOINSPIRATION & THE QUEST FOR TECTONIC NOVELTIES IN WOOD – STRUCTURE AS ARCHITECTURE - ARCHITECTURE AS STRUCTURE & THE REVIVAL OF AUTOGENIC ORNAMENT” Architectural Design Philosophy: Hedonistic Sustainability SYNOPSIS: Architecture begins with the spark of an idea, which grows, evolves and prepares itself to enter in the realm of physical world. Hence, architecture as material entity is a synthesis of how we redesign and restructure the world with the same primordial materials our ancestors did, but always searching for the new ways to shape and express our built environment.

These new ways dene our continuous quest for novelty and the poetics with which we construct these novelties.

Structures remain a fundamental dener of architecture and our world, while through tectonics we give expression to the materials we construct.

Architecture goes beyond utilitarian properties, it embodies hedonistic substance III

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INTRODICTION CONTENT The REVIVAL of AUTOGENIC ORNAMENT* Recently a great concern and interest has risen on ornament, which pushes us to render back its genesis, its worse mes and its new fron ers.

Blinking weekly and strongly throughout the space and me, Ornament has always remained in the radar of a en on of different disciplines, especially Art and Architecture; moreover, ornament was present since me immemorial. Recently a great concern and interest has risen on ornament, which pushes us to render back its genesis, its worse mes and its new fron ers.

The urge to ornament one's face, and everything in one's reach, is the origin of fine arts. Human kind since me immemorial used ornament both in their body and in their built forms, their structures and ar facts for daily use.

Alexander Speltz in the 'Styles of Ornament' dates the use of Ornament since Prehistory – 6000 years ago.

Wri ng in the early 20th century, Speltz takes an interes ng posi on on describing Ornament in rela on to Structure: Rightly understood, the conforma on of an ornament should be in keeping with the form and structure of the object which it adorns, should be in complete subordina on to it, and should never s fle or conceal it. …the art of ornamenta on, therefore, stands in in mate rela onship with material, purpose, form and style. *Performative Energies and Cultures: Ornament and (as) Structure Banush Shyqeriu University for Business and Technology, https://knowledgecenter.ubt-uni.net/cgi/viewcontent.cgi?article=1500&context=conference 1

CONTENT In classical architectural theory, decora on was the complementary term for a fundamental dis nc on and was considered within an overall tripar te division of architecture's teachings: distribu on, construc on and decora on, the three fundamental tasks of architectural design. According to Schinkel: The purposefulness of any building can be considered from three principal perspec ves: purposefulness of spa al distribu on or of the plan, purposefulness of construc on or the joining of materials appropriate to the plan, purposefulness of ornament or decora on.

As a response to Schinkel, recent discourse requires a complete separa on of the word decora on from the word ornament: one is understood as externally applied and extrinsic, while the other is understood as cons tu ve and intrinsic.

AUTOGENIC ORNAMENT If ornamenta on is to fully return from its banishment, it will only do so as an internally generated feature essen al to the expression of the whole. More bluntly, it needs to be autogenic.

(left) Knots and braids. Gottfried Semper, Der Stil (2nd ed. 1878), vol. 1, pp. 169–72 (right) Techniques of weaving.

Gottfried Semper, Der Stil (2nd ed. 1878), vol. 1, p. 177

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CONTENT Nomina ons of decora on are o en associated with a cynical interest in kitsch, whereas ornamenta on is usually a preliminary term in the pursuit of unadulterated architectural expression.

Change is brought to an environment either through allogenic succession where foreign influence changes the condi ons of the territory, or through autogenic succession where changes are brought through internal reconfigura ons. Hence, the word autogenic is defined as 'self-genera ng' or genera ng or origina ng within the body, not something that is applied to, not a decora on.

The word Autogenic comes from the Greek word meaning “coming from within”.

As a result, ornament is a poe c expression of the process of making, the external 'forces' of making revealing themselves in order to ar culate the parts which cons tute the whole.

Islamic pa erning and ornamenta on have recently raised interests among the architects and ar sts because of its intellectual, mental, cultural and metaphysical bias, not merely decora on and material.

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(left) Lacework Carvings and Muqarnas, Bahia Palace in Marrakesh; (right) A thirty-seven ceramic tile alphabet

CONTENT Pa erns and Ornaments inspired form Nature and developed in a unique way through the use of geometry created across centuries what is now being known as Arabesque, Islamic Pa erns and Islamic Ornaments, which created a definite visual language possessing both vocabulary and grammar.

The concept of Vocabulary and Grammar could be placed in the realm of Structuralist approach to architecture; as structural counterpart to language.

Mining structural potentials of Ornament / Component – folding, associating, populating and dissolving (Credit: © B. Shyqeriu, Synergic Spaces – MOSQUE) 4

Besfort Ramadani , Pashtrik Shehu A. Research – Inspire – Emulate: ORNAMENT in NATURE (i.e., Geology, Botany, Zoology...)

Geology - The Folded layers In structural geology, a fold is a stack of originally planar surfaces, such as sedimentary strata, that are bent or curved during permanent deforma on. Folds in rocks vary in size from microscopic crinkles to mountain-sized folds. They occur as single isolated folds or in periodic sets (known as fold trains).

Synsedimentary folds are those

References: hh

Botany - Pineapple surface

Zoology - Clypeaster rosaceus

Pineapple is a tropical plant and grows best in a moderately warm climate (16° to 33°C) It cannot tolerate frost Leaf shape and orienta on that maximises capture of moisture and sunlight most efficiently The large cups formed where the leaves a a c h to t h e st u m p a re effe c ve reservoirs for nutrient solu ons and water

This is a very large sea biscuit with a strong inflated test, growing to a maximum length of around 200 mm (8 in). In shape it is ovate to slightly pentagonal, with the margin thicker at the anterior end. The petaloid area is broad, the anterior (front) petal being longer than the two posterior, paired petals, which are all of equal length; the area between the pores is wide and raised above the rest of the aboral.

ps://www.files.ethz.ch/structuralgeology/JPB/files/English/7folding.pdf ps://www.academia.edu/1164887/The_test_architecture_of_Clypeaster_Echinoidea_Clypeasteroida_and_its h ps://link.springer.com/chapter/10.1007/978-981-15-1416-6_2_phylogene c_significance

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Geology - The Folded layers

Zoology - Clypeaster rosaceus

(a) The strain distribu on within a buckle formed in a homogeneous, isotropic layer such as a massive, unbedded limestone or sandstone bed. (b) The undeformed layers prior to folding. (c, d) High strains are concentrated in the hinge region which is therefore the site of most intense fracture forma on.

References: hh

ps://sp.lyellcollec on.org/content/421/1/41/tab-figures-data ps://www.academia.edu/1164887/The_test_architecture_of_Clypeaster_Echinoidea_Clypeasteroida_and_its

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Besfort Ramadani , Pashtrik Shehu Identify and interpret the principles, processes and function(s) of Ornament in NATURE Geology - The Folded layers

The structures are linked in a variety of ways. Some mes, as for example in the forma on of fractures in the inner and outer arcs of the hinge zones of single-layer folds or of accommoda on thrusts in the hinge regions of mul layer folds, it is the process of folding that generates the fractures. At other mes, as in the forma on of a fault-bend fold and other types of forced folds, the reverse is true.The structures are linked in a variety of ways. Some mes, as for example in the forma on of fractures in the inner and outer arcs of the hinge zones of single-layer folds or of accommoda on thrusts in the hinge regions of mul layer folds, it is the process of folding that generates the fractures. At other mes, as in the forma on of a fault-bend fold and other types of forced folds, the reverse is true 7

Zoology - Clypeaster rosaceus

Clypeaster species the derived character of having demiplates in their petals, and share with more basal Clypeaster a complex marginal bu ress zone comprising circumferen al ambulacral walls and radially arranged interambulacral bars, and demarcated triangular areas of tube-feet.The more derived Clypeaster species fall into two groups: one characterized by simple marginal bu ressing with absent or single internal wall, a well developed inner par on of radial bars along adradial sutures, short food grooves, and a dis nctly sunken oral surface, the other characterized by primi vely retaining complex mul par oned marginal bu ressing, long food grooves and usually numerous median pillars between and some mes within the petals.

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Besfort Ramadani , Pashtrik Shehu B. Research – Inspire – Emulate: ORNAMENT in CULTURE (i.e. Ethnology, Art, Architecture) Ethnology

Art

Architecture

During the 19th century and the early 20th centur y we find the first ethnological studies of the Albanians.

Before that we just find some journals of travelers and pain ngs.

These 19th century studies were made by foreigners like Johann Georg von Hahn , Franz Baron Nopsca , Trachten und Geräte Nordalbaniens, Berlin, 1925)

The folk costumes of Albania show a great diversity in styles and pa erns, not to men on the colours used, ranging from a simple black and white to purple, green, orange and deep blue.It seems every village has its own costume and within it may be divided even by religion, class, age or social posi on.Everybody who has seen shows from former Yugoslavia will recognize this dance and the tune to it, presented as “Shota”,

The architecture of the houses is considered one of the deepest and most important reflec ons of the culture. The availability of materials, external and internal influences,s invasions and cultures brought by the O oman Empire, or European influences imported from the Italian and German periods, the status of the inhabitants of the country,

References: h 9

ps://www.albanian-folklore.com/index.html

References: h

ps://www.albanian-folklore.com/index.html

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Besfort Ramadani , Pashtrik Shehu Identify and interpret the principles, processes and function(s) of Ornament in CULTURE

Everybody who has seen shows by the professional ensembles from former Yugoslavia will recognize this dance and the tune to it, presented as “Shota”, a dance from the Albanian people from the so-called autonomous province of Kosovo, part of the Serbian republic at that me.The reason for this pa ern is to help move the arm in length and width also from the outside to help move the elbow in right way ,while the design of the pa ern has come as a result of the anatomy of elbow.

The reason for this pa ern is to help move the arm in length and width also from the outside to help move the elbow in right way ,while the design of the pa ern has come as a result of the anatomy of elbow.

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The costume with the xhubleta is completed by a shirt (the upper piece of the xhubleta does not cover arms and shoulders), a waistcoat with fringes on the shoulders, a sash (kërdhokla) or waist belt, stockings to cover the ankles and calves, apron and several scarves worn over the apron and head. The waist belt or kërdhokla is a broad one, about 15-20 cm broad and fastened with metal clasps. The decora ons, material and colors are con nued in every piece of the costume, thus crea ng a costume which looks as one piece. Finally the beau ful appearance of the costume is completed by a special hairdress.The costume with the xhubleta is mainly black, with a narrow strip of white at the bo om. Decora ons are also in black or dark blue, giving it an overall black appearance 12

Besfort Ramadani , Pashtrik Shehu

1

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (1st pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 13

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 14

Besfort Ramadani , Pashtrik Shehu

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AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (2nd pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 15

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 16

Besfort Ramadani , Pashtrik Shehu

3

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (3rd pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 17

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 18

Blerta Fazliji; Elsa Buzhala; Liridona Fetaj A. Research – Inspire – Emulate: ORNAMENT in NATURE (i.e., Geology, Botany, Zoology...)

Autogenic processes “can produce deposi onal pa erns similar to those associated with climate, tectonic, or sea level changes” Visual art and the geological sciences share common threads that are worthy of explora on. The role of geology in art is mercurial, and is somehow mysterious.

Here are shown some pieces of geology that can be used for ornament.

Flowering ornamental are a key aspect of many gardens, with many flower gardeners preferring to plant a variety of flowers so that the garden is con nuously in flower through the spring and summer.

Depending on the types of plants being grown, the flowers may be subtle and delicate, or large and showy, with some ornamental plants producing dis nc ve aromas which paint a pale e of scents in addi on to colors.

h ps://www.researchgate.net/figure/Natural-popula ons-and-ornamental-characteris cs-of-bromeliads

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A,sec on of part of wing showing the complex androconia of Thanaos tages, a Skipper bu erfly. Tlie turning over of the costal margin of the wing is iu this case part of tlie arrangement, a Upper covering-scales a ached to the costal por on of the imiler surface of the wang ; b edge of costal margin of tlie wing ; c costal nervure with its scales ; d field Pa erns in nature are visible regular forms found in the natural world. The pa erns can some mes be modeled mathema cally and they include symmetries, trees, spirals, meanders, waves, foams, tessella ons, cracks and stripes.

Mathema cs, physics and chemistry can explain pa erns in nature at different levels. Pa erns in living things express the underlying biological processes. Studies of pa ern forma on make use of computer models to simulate a wide range of pa erns.

h ps://www.geological-digressions.com/autogenic-or-allogenic-dynamics-in-stra graphy/

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Blerta Fazliji; Elsa Buzhala; Liridona Fetaj Identify and interpret the principles, processes and function(s) of Ornament in NATURE

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Blerta Fazliji; Elsa Buzhala; Liridona Fetaj B. Research – Inspire – Emulate: ORNAMENT in CULTURE (i.e. Ethnology, Art, Architecture) The history of tex le among us and their produc on according to some study sources date back since an quity.

Tradi onal Albanian clothing are more than two hundred different forms of clothings in all Albania .

Albania has its own specific variety of clothing being par cularly colorful and rich in detail. The costumes are o en decorated with pagan symbolic elements of Illyrians among others suns, eagles, moons, stars and snakes.

h ps://www.ethnicjewelsmagazine.co.uk/archive/neck-ornament-and-pendant-from-albania/

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The centerpiece of medieval Albanian art started with the successor of the Roman Empire, namely the Byzan ne Empire that ruled the great majority of Albania and the Balkan Peninsula. It comprised gradually of frescoes, murals, and icons painted with an admirable use of color and gold. Onufri, David Selenica, Kostandin Shpataraku and the Zografi Brothers are the most eminent representa ves of medieval Albanian art.

Icons and frescoes emerged as a significant art form with an extensive church building in Albania. They covered sacred building interior walls, floors and domes increased and expanded in size and importance. When communist government took rule over Albania and the artwork that arrived during the communist era reflects its me.

The architecture of Albania is a reflec on of Albania's historical and cultural heritage.During classical an quity, towns in Albania have evolved from within the castle to include dwellings, religious and commercial structures, with constant redesigning of town squares and evolu on of building techniques. Although there are prehistoric and classical structures in the country, which effec vely begins with construc ons from the Illyrians and Ancient Greeks such as in Byllis, Aman a, Phoenice, Apollonia, Butrint and Shkodër.

h ps://en.wikipedia.org/wiki/Architecture_of_Albania

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Blerta Fazliji; Elsa Buzhala; Liridona Fetaj Identify and interpret the principles, processes and function(s) of Ornament in CULTURE

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Blerta Fazliji; Elsa Buzhala; Liridona Fetaj

1

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (1st pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 27

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 28

Blerta Fazliji; Elsa Buzhala; Liridona Fetaj

2

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (2nd pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 29

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 30

Blerta Fazliji; Elsa Buzhala; Liridona Fetaj

3

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (3rd pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 31

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 32

A. Research – Inspire – Emulate: ORNAMENT in NATURE (i.e., Geology, Botany, Zoology...)

Ornament means "to adorn, deck, embellish, and it dates back to 1720. Middle English used ournen (late 14c.) in this sense, from Old French orner, ournement; from La n ornare - meaning adorn. Related: Ornamented; ornamen ng.

Plant based ornamenta on: carvings from stalls of Ulm Minster, Germany

2d illustra on that will be mul plied

lotus flower 33

Ornament in Zoology Ornament has been evident in civiliza ons since the beginning of recorded history. One of the most famous book about ornament history “S lfragen: Grundlegungen zu einer Geschichte der Ornamen k” by Alois Riegl, starts by arguing that the geometric ornament originated from an “immanent ar s c drive, alert and restless for ac on that human beings possessed long before they invented woven protec ve coverings for their bodies”, as he analyses the geometric ornament in the Stone Age. In this area, people a empted to represent mostly animal forms in 2d and this gave rise to the idea of an outline. He then, addresses composi ons of paired animals arranged symmetrically to either side of an intervening central element in the Heraldic Style.

Another use of botany in ornament is the acanthus leaf in Greek and Roman Art and Architecture, where they tried to express the principle of the folia on of the leaf. This leaf is seen in the Corinthian capitals where the leaves are fla ened out and they lay one over the other as in the cut.

Acanthus Leaf

source: “the Grammar of Ornament”

Natural forms in 2d - Stone Age Ornament

Natural forms in 2d - Stone Age Ornament with animal mo fs

Ornament in Heraldic Style

Alois Riegl “S lfragen: Grundlegungen zu einer Geschichte der Ornamen k” 1893 Owen Jones “The Grammar of Ornament” 1856 34

Blerina Muriqi, Valëza Tahiri Identify and interpret the principles, processes and function(s) of Ornament in NATURE When speaking of the connection of ornament and nature, Islamic Arabesque comes to mind. Islamic art avoids figurative images, and is oriented on mathematically-based decorations, that are in many cases plant/animal based or inspired by nature. The Islamic arabesque is a form of artistic decoration/ornamentation that consists of "rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements.

It usually consists of a single design which can be 'tiled' or seamlessly repeated as many times as desired. There are repeating elements in Islamic art, such as the use of stylized , geometrical floral or vegetal designs. Most importantly, this type of ornament can serve as an inspiration or a model for Structural Design in Architectural Buildings. These kind of patterns can generate the veil of a building.

Islamic Art and Decora on

Exctrac ng principles and rules from the ornamental pa erns: REPETITION FRACTAL PENROSE AGGREGATION MODULARITY VARIATION 35

The process of crea ng ornaments in Islamic Art and Architecture, which are in most cases inspired by nature, is by repea ng a plant based symbol in an algorithm, for example: two flowers, or a flower turning upwards and another downwards, and so on un l a pa ern is generated.

Autogenic is an adjec ve that means: self-generated or self-produced. Architecture can become autogenic, especially when we speak of ornamenta on and pa erning as generators for tectonic, or even structural systems in architectural design. Finding paradigms and references in natural and biological systems is a way to create a pa erns or modular systems of different kinds More specifically, ‘biomime cs’ is a way to produce a single ornamented module, that can be mul plied, repeated, and modified un l a pa ern is created. In this way, the pa ern generates and mul plies itself working as an autogenic plant-based ornament.

In the use of acanthus leaf, the Romans and Greeks wanted to express the principle of folia on of the leaf, and bestowed all their care in the delicate undula ons of its surface. Roman ornament consists of a scroll growing out of another scroll, encircling a flower or leaves.

Principles iden fied in the use of acanthus leaf in ornament: FOLDING PACKING BIFURCATION SUBDIVISION

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Blerina Muriqi; Valëza Tahiri B. Research – Inspire – Emulate: ORNAMENT in CULTURE (i.e. Ethnology, Art, Architecture) Folk costumes and traditional clothing represent one of the most powerful components of traditional culture and national heritage. They reflect and express the history and cultural development of a country.

These Albanian features are elements of identity, of our identity, which it has survived through centuries. The use of textile, colors, ways of knitting, when all-together combined, they become parts of something bigger, a symbolic meaning expressed through ornament.

The use of ornament in traditional clothing appeared in very early times, based either on decorations or patterns which it differs from specific regions and areas, each one of them with different meanings too. Except for the clothing, the same use and practice would be noticeable in jewellery, shoes , etc. The combined use of materials, such as, wool, stone, animal leather, metal and fabric, along with their unique way of handwork are examples of this cultural heritage. https://sq.wikipedia.org/wiki/Veshjet_tradicionale_shqiptare

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On one hand we have modernist arguments against ornament and decoration, referring to it as a waste of time of hand-craftsmanship and work, whilst today we view ornament as totally different, as a part of the three fundamental principles of architectural designing process. By using today’s technologies and designing methods we are capable of using ornament as a constraint to create new identities for our buildings, turning the functionalist argument about the ornament back on itself.

Through these new ways of approach to ornament, architecturally speaking, by that it is meant both the designing process and the philosophical-theoretical definition of one, there has emerged a new contemporary ornamental typology used in buildings, in today’s times, which derives from the usual type of ornament but not to be perceived only as decor, or a work of crafts, but a main autogenic, structural inspiration, a product of technology and expressiveness.

Antoine Picon; Ornament: The Politics of Architecture and Subjectivity; 2013, https://issuu.com/cagdaoz/docs/ad_vol79_no6_patterns_of_architectu

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Blerina Muriqi; Valëza Tahiri Identify and interpret the principles, processes and function(s) of Ornament in CULTURE

Starting point; Module;Folding

Repetition; Creation of a Pattern

The ornament

It was at the very beginning that ornament was considered as decoration, something that is added to a previous existing structure/ base material, which in Albanian traditional clothing it was quite often used as such. Through knitting they created different motifs and patterns, mostly those of nature origin

Starting point; Module; Add 39

Repetition; Creation of a Pattern

The ornament

Starting point; Module Repetition; Creation of a Pattern The ornament Albanian Rugs play a very important role as part of our cultural heritage and serve as an example of the use of ornament specifically knitting in Textile and different fabrics. Colorful palettes, the clear geometric sense within the p a tte rn s, symme try a n d b a l a n ce , a re j u st so me o f th e ma i n ch a ra cte ri sti cs i n th e i r d e si g n s.

Starting point; Module

2D Pattern; The Ornament 40

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Blerina Muriqi; Valëza Tahiri

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (1st pattern)

The form and inspira on of the ornamental pa ern derives from the concept of the masterplan itself. Star ng from the main centric point, con nuing with the growing spiral and the expansion of lines, to 3 dimensionality. It is through this way that a er detailed studies the ornament now becomes part of the structure, building, tectonics, and a main aspect of expressiveness. The module of the ornament serves now not only as decora on but it’s use and meaning has expanded into so much more.

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Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 42

Blerina Muriqi; Valëza Tahiri Conceptualize and Construct the Structure of Ornament through Digital Poetics (2nd pattern)

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2

AUTOGENIC ORNAMENT

Renders of the use of ornament in the Studio Project 3D Model

2D View of the Module of the Physical Model/ Repeated 44

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Blerina Muriqi; Valëza Tahiri

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (3rd pattern)

Lines; Inspired by the Rug Patterns

2D Pattern 45

Addition

Extrude

Creating the Module

3D Pattern of the wall

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 46

Bleona Sopa; Erëblina Musliu; Erza Gashi A. Research – Inspire – Emulate: ORNAMENT in NATURE (i.e., Geology, Botany, Zoology...)

Defini on of ornament: an accessory, ar cle, or detail used to beau fy the appearance of something to which it is added or of which it is a part: Herein, various defini ons of ornament will be reviewed. Several scholars agree that the tradi onal defini on of the term ‘ornament’ refers to the decora on u lised to embellish objects of the buildings. As the contemporary ornament has no par cular defini on yet, due to its mul faceted nature, the sec on below will try to raise a complete picture of the concept of the contemporary ornament. As ornamenta on is the process of adding items to a work of art in order to enhance the aesthe c characteris cs and the depth and the clarity of its symbolic implica ons; it is used by every culture as an integral part of artwork.

Various mo fs used in the ornamenta on are geometric, botanical, and animal mo fs.

Geometric mo fs are made up of abstract shapes, which include all geometric shapes from the point to the polygon. Botanical mo fs are made up of leaves, flowers, and fruit.

Examples of these are lotus and papyrus, palm leaves and acanthus. Animal mo fs consist of real or imaginary animals as well as human figures. These mo fs could be put together in combina ons such as the integra on between geometric and animal mo fs, or geometric and floral, such as arabesques.Ornamenta on is a way to express the meaning within its all types; the symbolic, historical,aesthe c, and metaphorical. Most architects agree on one issue: that the ornamenta on is necessary for architectural expression, provided to maintain at least one of the fundamental rolesof it; func onal or symbolic. https://worddisk.com/wiki/Phyllotaxis/ https://vdocuments.mx/reader/full/architectural-ornaments-in-the-twenty-first-century-an-architectural-ornaments

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In nearly every style the plant-world has been used in pa erns. Leaves, sprays, flowers, and fruits, either singly or combined, have been adapted in ornament. The direct imita on of nature, retaining form and color as much as possible, leads to the naturalis c concep on; the construc on of an ornament according to the rules of rhythm and symmetry, with a stricter observance of regularity —is known as the ar ficial method. The selec on of the compara vely few plants from the luxuriant field of the plantworld was partly determined by beauty of form (the outline of the leaf, the delicacy of the spray, &c.) and partly by the fact that they possess (or did at some me possess) a symbolic meaning.

The plates which illustrate this sec on will first exhibit the Akanthos; and then such plant-forms as are less used or only found in certain styles. They will first be presented as they exist in Nature; and then as they were modified in the various styles.

Since the climate has become an influen al element in urban development, architecture has begun referring to the ecosystem, and ornaments have started to be combined with buildings’ façades to allow the urban environment to take advantage of this synergy.

Contemporary ornamenta on is an intermediary for communica on between the building and its urban context.Therefore, it has become an integral part of this ecosystem as ecologically passive and/orac ve devices that respond and interact with climate change to improve the performance of the building. The new biological paradigm on advanced design, sees building components as systems that act upon each other, where; material, structure, form, func on and surface ar cula on / ornamenta on are interconnected, similar to natural / biological systems with high performa ve energies. https://encyclopedia2.thefreedictionary.com/ornament

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Bleona Sopa; Erëblina Musliu; Erza Gashi Identify and interpret the principles, processes and function(s) of Ornament in NATURE

Modularity

Subdivision 49

Itera on

Circula on

The Akanthos Leaf, and the Ar ficial Leaf.

The Laurel and the Olive

The vine: Natural

Principles: itera on, modularity, propo on,balance, varia on 50

Bleona Sopa; Erëblina Musliu; Erza Gashi B. Research – Inspire – Emulate: ORNAMENT in CULTURE (i.e. Ethnology, Art, Architecture) Ornaments shown here are not based on segment geometry and simple polygonal figures. All of them use circular shapes, o en interlaced and decorated with floral forms. Their geometry can be very complex with mul ple levels of overlapping curves.

We frequently see various interconnected spiral shapes. This is interes ng to no ce that later these ornaments occur frequently in Islamic design in Central Asia – Samarkand.

As ornamenta on is the process of adding items to a work of art in order to enhance the aesthe c characteris cs and the depth and the clarity of its symbolic implica ons, it is used by every culture as an integral part of artwork.The contemporary ornament is linked to the cultural-social-historical surrounding contexts; it is a mirror that reflects the close correla on between the history of the na on on the one hand, and art, culture, tradi on, society, and religion on the other. https://atcm.mathandtech.org/ep2012/invited_papers/3472012_19700.pdf https://www.semanticscholar.org/paper/A-critical-review-of-ornament-in-contemporary-and-Bal%C4%B1k-Allmer/b6100ee657a4227f27c80abadd6513a7eb738995

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Ornamenta on is a way to express the meaning within all its types: the symbolic, historical, aesthe c, and metaphorical. Most architects agree on one issue: that the ornamenta on is necessary for architectural expression, and is provided to maintain at least one of its fundamental func onal or symbolic roles , and according to Balik and Allmer the symbolic ornament expresses the building func onally and aesthe cally together.

Gothic art ornament

Wright’s Ennis-Brown house (1924).

Princess Nora bint Abdulrahman University,KSA

Polish Pavilion at Shanghai Expo 2010,China

The ornament is a detail that is used to a ract the a en on of the observer, whether it is a form, colour or texture. In architecture, every detail represented in the shape, texture, or colour is employed to a ract the observer, and since the ornaments are related to detailing, they are an integral part of architecture.

Ornaments in architecture are divided into integral and applied ornaments. The integral ornament is an integral part of the framework of the building, whether it is façades, ceilings, roofs,or the en re building.

https://www.researchgate.net/publication/324992289_Architectural_ornaments_in_the_twenty-first_century_An_analytical_study

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Bleona Sopa; Erëblina Musliu; Erza Gashi Identify and interpret the principles, processes and function(s) of Ornament in CULTURE Fiber art

Organize

Mul ply Islamic art

Modularity 53

Cut off

Mul ply

Symetry

Itera on

Gothic architecture Gothic Tracery The Circle is o en used in ornamenta on as a fundamental form.

No good result is produced (as a rule) by dividing it merely by radii or other straight lines; and it is therefore usually divided by means of cui-ved lines or of a combina on of arcs and straight lines.

In the forms of Tracery, the Gothic style evolved and brought to perfec on a characteris c decora on by means of arcs of circles. And although the results have something s ff and mechanical, when compared -with the ornaments taken direct from nature in other styles, it cannot be denied that they possess a great originality, and richness of form.

The Circle, and its Subdivision.

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Bleona Sopa; Erëblina Musliu; Erza Gashi

1

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (1st pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 55

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament

56

Bleona Sopa; Erëblina Musliu; Erza Gashi

2

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (2nd pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 57

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament

58

Bleona Sopa; Erëblina Musliu; Erza Gashi

3

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (3rd pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 59

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 60

A. Research – Inspire – Emulate: ORNAMENT in NATURE (i.e., Geology, Botany, Zoology...)

References: 61

References: 62

Identify and interpret the principles, processes and function(s) of Ornament in NATURE

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B. Research – Inspire – Emulate: ORNAMENT in CULTURE (i.e. Ethnology, Art, Architecture)

65

References: 66

Identify and interpret the principles, processes and function(s) of Ornament in CULTURE

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1

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (1st pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 69

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 70

2

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (2nd pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 71

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 72

3

AUTOGENIC ORNAMENT

Conceptualize and Construct the Structure of Ornament through Digital Poetics (3rd pattern)

Iterative process of constructing (the geometry, motif) of the module / component in digital environment 73

Modulate, associate, variate, multiplicate, populate the COMPONENT(s) in three different 'surfaces'

Atmosphere – Render and contextualize in the Studio’ Project

Physical model of a 'Screen' of the Autogenic Ornament 74