1759 PATTERN RECOGNITION and REALIZATION

1759 PATTERN RECOGNITION and REALIZATION -Gautam Shah

Patterns are complex sets that are instantly recognized or realized on hindsight. Patterns recognition depends on proximity, familiarity and relevance. The relevance is a cognised derivative and so usually irrecognisable. Patterns emerge in all perceptions individually as well as collectively.

Patterns are of many types, often affected by the space ‘and-or’ time, in different proportions. Each perceived pattern, is characterized differently, Visual ones, have the spatial distancing, for Audio, it is the temporal occurrence, in case of Taste there is a strong concurrence of Smell, and for Tactile experience the closeness and corroboration of other feel-nodes are required.

Patterns are affected by the gravity and so, the direction. The size-scale, duration, context etc., are, other factors, to affect the complexities of patterns. Patterns have motifs, which may be a symbol, simile, or a pointer. Motifs are self-sustaining shapes, with potential for connection, for directional growth and spread.

Recognized and Realized patterns are prone to closure (a sense of completeness or finality), whatever is incomplete, disconnected or concealed, gets bridged, both really or virtually. This process can resolve forces that cause small systems.

Nikos Salingaros (1952) is a mathematician and polymath known for his work on complexity theory, and design philosophy. He considers, ‘regularity to be a key property of a pattern, whether the pattern is the external stimulus itself or some other percept residing in the mind of the perceiver.’

Wassily Kandinski, Painter. ‘A point can be considered to be a work of art, but a work of art need not be a pattern.’

1758 ART of ARCHITECTURE Themes

THEMES in ART of ARCHITECTURE

a new series -by Gautam Shah. I hope to present 20-25 articles, each with 30-80 art images. Proposed articles >

1-Illumination in City Twilight Zones

2-Twilight effects in Nature

3-Filling up the skies

4 -Masking the scenes with trees

5 -Real and False Capriccio …. and many more …..

Every Sunday, since 2017, I was presenting a collection of paintings related to Architecture, of various Artists (now +360 sets). This new series will highlight various themes used in ART of Architecture.

1757 CMC CERAMIC MATRIX COMPOSITES

1757 CMC CERAMIC MATRIX COMPOSITES -Gautam Shah

Ceramic matrix composites have evolved in this century. Mechanically joined or composed entities have dual material components, which when face high temperatures, are beset with different thermal behaviours. To expect to sustain their integrity and remain operative, is a difficult proposition.

Components used in boilers, chimneys, exhausts, heat sinks, combustion engines, furnaces, rocket nozzles, etc., become soft, if, of metals or their alloys. Here the traditional ceramics, can offer some degree of good heat durability, abrasion resistance, and non corrosive properties, but brittleness is always an issue over a longer period due to the uncertainty of failure. Ceramics by themselves are often not conductive of heat, electricity, though this can be altered by suitable coating or insulation. Traditional components of Metal and Ceramics, expand differently, causing issues of integrity.

Ceramic-Metal composites have matrix or filler of both, metal or ceramics, in any of the roles. The processing at high temperature, causes melting or softening of the material. Polymers and Metals can go through such melting-softening temperatures, but ceramics have own limitations.

CMCs offer properties like, high thermal-shock resistance, predictable and good high-temperature stability, excellent hardness and corrosion resistance, light weight, non- magnetic and non-conductive.

Ceramic Metal composites have gained a new meaning due to their near zero traceability by radars of war objects such as missiles, air-crafts, drones, submarines, etc. These composites have low eight and so are used in rockets.

1756 REAL and NOTIONAL BARRIERS

1756 REAL and NOTIONAL BARRIERS -Gautam Shah

A Built Space is a conditioned entity. The conditioning of the space, occurs through various types of barriers. The barriers form unique spatial character. The spatial characteristics are environmental, sensorial and function or task oriented. The barriers are protective, directive, indicative, transitive and formative.

Barriers condition the built-form, through their shape, size, scale, configuration, position and occurrence. Barriers affect all things passing by, touching, or going through them. Barriers by their own body mass and shape, redirect energies and objects. Barriers are physical presences, and so, indicate the spaces, its segments and edges. Barriers are formative entities, doing many intended and unintended things.

Barriers are surface and linear entities, and so face distinctive conditions on their faces or sides. Barriers are often so extensive that the change or modified environment is not recognized, in absence of the break or the edge.

Barriers condition the reach to the other spaces by their capacity to intervene. Such interventions are symbolic and so are notional or indicative, unreal or make-believe. A society accepts certain words, signs metaphors, and indications as warnings, danger, caution, etc., as the barriers. Similarly a small sensory variation, such as a shift in colour, texture, gradient, illumination, view, temperature, audio perception, can have profound behavioural changes, and are effective as barriers.

1755 COLOUR CONVEYANCE

1755 COLOUR CONVEYANCE -Gautam Shah

Colours are conveyed with the illumination. But the experiences of colour are also contextual in many manners. A shadow is not always total absence of light, but, can be described as a collection of many darker shades of colours. A shadow occurs with the illumination, and together show off, several versions of lighter and darker shades of the same colour.

Monet believed ‘A Colour owes its brightness to the force of contrast, rather than to its inherent qualities.’ In existing scenarios wide ranges of colour shades are experienced. Ranges of shades are sensed due to factors like, point of observation, experiences of immediate past, proportion of light-dark zones, reflection from surroundings, etc. Monet believed that ‘primary colours look brightest, when they are brought into contrast with their complementaries’, but darker or shadowed versions of the same shades have different scales of contrasts.

The learning of the existing scenario, are not corroborated, when one applies colours for representations like, Art, Architecture, Films, Graphics, Fashion, Stage craft, or Scenography. Here the colour contrasts do not emerge with the illumination or shadows, but are rather formatted, The colours are created for showing the Depth, Visual effects, Thematic compliance, match with intensity of brightness, colours of the Lighting, and to convey Time, season, or mood. In media presentations colour contrasts of light and shadows, are digitally defined, using millions of variations through the software.

1754 PERCEIVING and REALIZING OBJECTS

1754 PERCEIVING and REALIZING OBJECTS –Gautam Shah

Perception of objects becomes a complex process, because it is mixed up with the manner of realizations. Realizations in the form of recollections, also offer the many details, about how the object was perceived. Conditions of perception include, the sense, duration, environment, positional relationship.

Realizations, among other conditions, are based on own exposures, with subtle or frugal details, tenuous experiences, through documented narratives, and from trace-less anecdotes. Such recollections seem to be individual ‘frames or shots’ of images that are disarrayed. Realizations, occur in the context of current circumstances, without reliable chronological trace-back. The perception of objects is perhaps arrayed as per our subconscious expectations.

Perception of objects is two fold process, like, the perceiver to object and object to object. Both, are affected by the environmental conditions, forming many unequal sets of relationships. The inequality arises from the personal relevance of the objects, the interim distances, perceiver capacity of perception, intervention of objects and conditions that overlay the perception.

Not all perceptions are similar. Like Vision and Sound have a scaling definition. Taste and Smell are closely located, and so occur nearly simultaneously, Listening has dual and spaced nodes, offering sense of direction, the Tactile sense is spread across the body and is multi-sensual (temperature, texture, pain, warmth-cold). There are few compensatory mechanisms that overcome deficiencies of some of the sensory nodes.

1753 OPACITY to TRANSPARENCY

1753 OPACITY to TRANSPARENCY -Gautam Shah

Transparency was a phenomenon that was difficult to perceive in absence of separable and applicable materials, such as, oil, water, wax natural gums, some other plant exudates and natural materials like amber, etc. Such materials were not intensively exploited. The materials were, classed more as opaque, but with degree of their translucency to transparency. Some light transmission qualities were confused with the textural surface qualities like gloss.

Transparent objects permit almost all the light to pass through the body, whereas, translucent materials occlude light and vision in various measures. When light strikes translucent materials, it changes the direction due to the scattering. Scattering of light from the inside (underside of the surface of a baked ceramic item), introduced the concept of gloss. Distinctive transparency was realized with the production and polishing of the glass.

Historically, Romans were first to use small polished glass disks in roofs to lighten up the deep interiors. As the glass disks were small, Romans assembled several such disks in a wood frame. But by this time, many cultures had realized the value of transparency of light, with the materials, like, thin or sheer fabrics, netting like woven or knitted fabrics, oiled papyrus, thin leathers like chamois or parchment, mica, alabaster and marble sheets, lattices, etc. The Gloss over polished metal materials, hard stones, or glazed ceramics was appreciated.

Transparency in various forms diffuses light, for softer interior environments, Transparent materials are light weight, less bulky, softer and delicate. Parchments, papers and films have helped tracing, reversing and duplication processes in design, painting, graphics, printing and merchandising. The ability to form see-through virtual layers is the basis for most of the computer programmes.

1752 WHITE SPACES and DESIGN

1752 WHITE SPACES and DESIGN -Gautam Shah

For years, we have built for presence. The greater presence allowed for stronger assurance of safety, sustenance and durability. The buildings have had immense materiality in absence of transparency, translucency or reflectivity. The only elimination of materiality was attempted through the openings, but smaller ones were overwhelmed by the framing edges.

The design of a building began with occupation, because it gave a sense of physical possession. In formal designs, the bubble diagram apparently began with nothingness, but that soon gets crowded with materiality of mass barrier walls. Most designers of early age were aware of the walls massing the architecture in design and reality. And this made them to scoop out every bit of the mass, and nullify the wall volumes by mosaics, paintings, applique Deco, and play with shadows of architectural modulations.

The buildings were preoccupied with attitude of presence, a ‘horror vacue (vs amor vacue). It was seen that spaces needed ‘a manner of prescription’ and not any imaginative engagement.

The white spaces are reborn in this century not by elimination (frugality, minimalism, etc.) but, with extensive use glass barriers, white colour, mono sensuality and also by deception.

‘If something is simple, it can inspire, the capacity of the imagination is increased’. (by Kenya Hara, who is a Japanese graphic designer and art director of Muji).

1751 SCENIC STRATIFICATION

1751 SCENIC STRATIFICATION -Gautam Shah

Visual stratification relate to the capacity of the eyes to move and concentrate (and ignore) any section of a visual field. The eyes have capacity to move horizontally and capture a wide visual scape, similarly eyes can move in vertical and angular directions, to scan the scene. Besides these eyes can select a particular section and capture greater details.

Stratification is a scene sectioning process. It needs some connectible edge marks to form the visual bridges. Where the scene is too wide or with some interference, the bridging does not occur. The scene markers are real and virtual. Real ones, consist of grills, lattices, sills, or such over lays. Artist once used to overlay or draw a grid to scale (reduce or enlarge) a picture. Virtual overlays are hypothetical bridges between imaginary points. These points, if are too distanced or dulled cannot form a bridge. We class real or virtual overlays as tools of visual perceptions.

Stratifications are scene divisions classed as circumstantial, intentional or accidental. Stratifications, to be realized well, the scene needs to have some framing conditions. So architectural openings, gaps, apertures, mountain valleys, etc., offer horizontal stratified scenes. Examples of vertical zoning of scenes are rather few.

STRATIFICATION of VISION (more at > Lecture series: Space Perception’ -Article-II of 15). https://designacademics.wordpress.com/2018/03/02/stratification-of-vision/

1750 EDGE and OTHER SIDE

1750 EDGE and OTHER SIDE -Gautam Shah

An Edge marks a difference. It is extremity where the prime difference is of being on the ‘other side’. The other side manifests, because, both the sides have been realized, though in a different manner. The edge is real on one side, but the other side could be unreal, impersonal, never ever experienced, or anti-thesis of this side.

Edges occur as horizontal layers or vertical divides, but sometimes without any known presence. There are many operative systems, which are effective without a neat edge line, such as the layers of atmosphere, the latitude-longitude lines, or concepts like Heaven versus Hell. Tools and devices locate hypothetical locations or flying tracks through GPS.

There are several cases where the edge is experienced, some distance away, because the scale is inappropriate for visualization of the definition.

Expressions like Art, Architecture, Dance, Drama, Literature, Music, etc. work on two fronts, form recognisable differences across various time or space sections, and then mask, camouflage, reveal or conceal the edges. Edges, here work to add or break the continuity.

The sensorial differences across the edge begin to be meaningless, if the edge itself is too consistent, like the horizon on the sea or desert.

These are many other edges like, hunger, tiredness, work capacities, reach measures, physical survival, change in postures. Edges are also in the form of remarkable events like death, birth, marriage, rewards, etc.