of atextile art The OrnamentsofShoowa Kuba: Adigital re-interpretation KEYWORDS: Digital designresearch, patterns, ornaments,scripting. be digitally reconstructed to show theirapplicability to thedigital designdomain. will patterns These breaktheythem. how as well peopleimplementrulesas Kuba introduced how be showing will techniques This ornaments. Gothic and Classical comparing briefly by theoretical framework provided is then compared to the art of Shoowa Kuba is focusing on their textileand . Various ornament constructed patterns and digitally of be outline can historical that An ornament design. an in as applied analyzed be could Kuba Shoowa how discuss will paper This ABSTRACT [email protected] Georgia Institute ofTechnology, USA Sabri Gokmen n etnin rm h smercl ln schemes plan symmetrical (Spuybroek, 2012:33). the from extension and breaks asymmetrical create groupings their structure, the through spread and bundle individually ribs While and variation structure.expressof that lines ribs the configurationof the through achieved is effect This 41). 1911/1957: (Worringer, “organic rhythm ” an acquires of both “amalgamation ” tendencies where the abstract configuration an of ribs such is no there Instead contrast, is theresuperposition. In ornamentation support. of of forms lines Gothic the the by defined is that is structure geometrical figures, and mechanical the natural onto placed of usage organic the This through vital. naturalism, appear it make to figures organic notion this complimentarywhilecolumnsadding rounded of forms architecture, smooth to structure Classical of lines abstract the transformed In varied. structure to has relation its while has design ornament to Renaissance, central been and Gothic styles the architectural as such historical many In architecture. and art in ornament of transformation and use the for desire constant a was there century, 20th the until Up 1. TheWorldofOrnament ebr ta ae n jxaoe configuration. juxtaposed of lines the a of connection and in composition the While are that members structural and elements natural organic components: main twoformed by is ornament classicalof The notion 2. TheClassicandGothic Ornament will betested inthispaper. procedure this for machine programmable a of utility The structure. the to expression bring would patterns design, so that the qualities and characteristics of these the enhance could take the complexity of ornament to will the medium of design method This processworks. this digital how of understanding in technology and currentknowledge The programmedthroughscripting. be can rulesthat of application the executedby is motif patternsgivesthat clotheach aesthetican quality. Each simple geometric lines produce dramatic and surprising of usage playful the art, Kuba Shoowa In ribs. Gothic of be will analyzed paper, in order this to in reveal discussiontheir proximity will of to focusthe behavior main which the embroideriesbe Kuba Shoowa The scheme. woven froma emergeout patterns playful and intricate where art textile tribal African specific by exemplified is ornament of character abstract and expressive This 79 POÉTICAS DA CRIAÇÃO 80 SIGRADI 2012 | FORMA (IN) FORMAÇÃO ewe onmn ad tutr bcue f the of state. because structure in-between an posit that ribs the of behavior distinctionstructural and a make ornament to hardbetween it’s ornament, Gothic In similar a constitute static effect. that lines of usage require geometrical tribes ancient by produced figures the where of ornaments could be found in the primitive art as well, beauty.absoluteregular constituteusage and a Similar will that symmetry and proportions geometry, of rules general requires structure the This of organization lifeless 1908/1967:19). (Worringer, beauty” “crystalline called matter inanimate classical total the the in results forms, ornament organic these of absence the In possible. as beautiful and natural as them makes that used on capitals extensively to instill area notion of leavesgrowth and blossom acanthus instance, from For directly nature. taken figures of imitation of quality the on dependent is ornament classical of naturalism The overall the composition ofthestructure. to balance, and harmony symmetry, with along beauty; natural of aspects the all brings systems these of superposition The (Spuybroek,2012:44). frame mechanical the on orderstructuralin its building, embellish tothe form of added later structure, is the ornament of organic body the to constitute construction oncig ih te prs f h srcue through structure the of parts vertically, other moving with connecting start and column a of foundations the fromsprout ribs the cathedral Gothic a In 2012:44). (Spuybroek, structure andstructure actslike ornament” naturalism and abstract geometry as empathic both of aspects the conjugates that behavior vital them gives activity This space. in dimensional three configurations various produce to nature of forces of figures from nature, they themselves exert abstracted spline curves. In addition, they do not provide imitations of form the in are that ornament Gothic the of servants nature for their aesthetic pleasure. They are mechanical that herearementioned areforms ribs borrowedbeing not from The 32). 1853: (Ruskin, ribs of the configuration through construction of elements thinnest the by achieved is system the to in “perpetual” variety it This vary. allows that agent an requires system Gothic the ornament, of notion expressive an achieve to order In itself. ornament the ornament, becomes structure classical primary the in instead seen as elements secondary This vertically. way these the of placementrequire the doesn’t formation living all grows it foundation its of bottom the fromstartingorganism, living a likenature; 1957:41). In this case, the structure produce follows a generative and 1911/ (Worringer, behavior structure the throughout ornaments organic acquire geometry lines abstract of the where ” “vitalizedgeometry as this onlooker.defines Worringerthe pleases that structure the produces itself ornament the as behavior, vital of

This amalgamation gives the Gothic an expression “ornament actslike participation of children, men and women of the same the of women and men children, of participation the the processinvolving of stage multi a PalmVinifera follow the from woven cloths, Kuba The clans together. events as well as special ceremonies (Adams, that bring different heritage funeral for used areembroideries cultural these of Most 1989). and dances tribal music, offbeat identity, individual embrace that society of view pluralistic improvisedtheir of reflection a is are embroiderers.This by that variations abundant show which patterns through irregularity by characterized is Kuba objects, female body scarification and textiles. The art of These found. carved be architecture,basketry, in found be cancan patterns types different 200 to of up patterns which decorative of creation Kuba the The in century. involved are 17th since Congo of people Kuba art found the be in can them of One Gothic. to behavior similar exhibit that ornaments abstract other many are There 3. TheArtofShoowa Kuba during theprocess. is labor human of mistakescause will that improvisationsmake machine to bound this case, this In 1853). (Ruskin, construction craftsmen of progression the through learn the where “savageness” called ornament, Gothic of aspects fundamental tothe of one is this Ruskin According labor. adaptive this of evidence are occur that mistakes circumstances these Under process. design the beforehandin planned not are which details further create carvers stone the or properly done not the of part every and ribbed structure. In some cases each these unique pieces are of differences the to due innovation requires cathedral Gothic a of construction contrastthe product.In end perfect a achieveto details is used to produce exact copies of columns, capitals and different labor hand the show construction classicallabor. In of utility ornaments Gothic and classical Both everything isincontinuum. and united is component every the as architecture Gothic in up everywhere is forms variation and splitting ornament their The tracery. whereas vaults, the constitutes to grouping Their intertwining. and splitting Fig. 1.TheKubamenpreparing theraffia panel(left), The Kuba women theappliqué(right). textiles that are created by the by created are that textiles Kuba Shoowa Raphia Although these patterns feature abstract usage of line of usage abstract feature patterns these Although a give that vibrant effect “mistakes” to theoverall pattern. as appear shifts these cases both In 1978). (Adams, minds their within but sketches or samples through not patterns the out work women the that reveal samples unfinished Some appliqué. of embroiderer to make improvisations during the process enablescreationalso the the but patchworkpatterns of provides only not technique This shifts. sudden involve the body. In this case, the unification of different patterns around wrapped be to pieces largerachieve to order in are small in size, they are joined together in clothsSince2). (Fig. togethercuts raffiaby these cloths differentjoining by done patchworks the within present also is transformation in This guideline. change the a or motif by the propagates system the as evident, patterns is these of deformation the examples many In in thepattern (Fig.2). extensionsdissolveby that guidelines the of offsets and emergepatternsdirectioncase, the cloth.this the In on one along run that outlines zigzagging follow patterns that are offset from shapes the diagonal axis. The rectangularloop and woot or diamond mostly have patterns out of a dual diagonal grid running along the cloth. These emergefigures the crossingpatterns In outlines. these motifs are created using offsets and overlaps that follow The appliqué. the beforecloths raffia the on drawn are that outlines through organized are motifs the of Most which follows of certain geometrical each rules (Meurant, patterns; 1986). woot and loop crossing, categories: different three in classified be can patterns Kuba The joined are motifs ordered and together they produce visually pleasing effects. irregular both with of pieces different When 1986). (Svenson, and appliqué embellishing, involvesdyeing, weaving, textiles these making of process The (Fig.1). fabric the throughtreads short inserting by cloth blank the onto patterns the embroider Shoowa subsequently The women men. Kuba the by done are , raffia the of length natural the by defined is which 28”, x 26” clan. The basic woven cloth units measure approximately pattern (top-middle), patchwork pattern showing cuts(right), unfinished cloth showing the details of theoutlines(bottom- Fig.2 Various Kubapatterns, crossing pattern (top-left), loop left). 2). This idea is carried forward through the analysis of analysis the through forward carried is idea This 2). (Fig. motifs different of system the decode to possible it make that patterns the of outlines underlining proofthe of show embroideries Unfinished different patterns. within variations of amazing create characteristics that techniques and the motifs define cloths Kuba Shoowa- of patterns the on research and analysis The and to thestructure ofpatterns. qualities the that so characteristics design, ornament of these patterns would of bring expression of medium complexity the the to take will that machine certain procedures, it is possible to program an abstract harmonious and deformation of motifs out of zigzag outlines. By asymmetrical applying produce that In evident is 2002:171). system based (Wolfram, rule similar a scale patterns Kuba Shoowa larger generative a provide on patterns machines By programmable Wolfram. these Stephen by implementing certain done rules on cellular level studiesinteractions, automaton cellular in found be could approach similar A digitally. overall patterns these the generate to tool abstract an program to in breaks possibleis and it rule-sets these breakingdown By system. variations produce that constraintsfollowand rules geometricalpatterns Kuba 4.Digital Machines: visually pleasing. rendering it structurally intact as well as expressive and of usage the such geometrical Kuba, rules gives the ornament Shoowa such quality, of case the In 2012:195). (Spuybroek, ” “vitalized geometry of concept the through lifesource of the being ornament the structureand the of amalgamation perfect the see we where ornament to be understood through Worringer’s analysis of Gothic needs it contradiction direct In art. primitive anti-vital an as Kuba Shoowa define to possible not is it result, a their overall effect produces depth within the system. As Patterns of different motifs emerge out of these lines as abstraction. natural of lack the despite outcome the in within the lines of construction generate pleasing effects somehow is different than implementation primitive tribal overallornaments. The irregularity their geometry, Fig. 3.Thebreakdown ofEkwakwaIngalamotif(top), The carpet matrixofthemotif(below). 81 POÉTICAS DA CRIAÇÃO 82 SIGRADI 2012 | FORMA (IN) FORMAÇÃO cloths thatproduce unexpected results. the on operations intentional the create can where programmer technique ultimate this contrary, an provides the On technique system. the of beauty abstract the or outcome visual the either on effect delimiting no mistakes.imperfectionshave the These embracing and a display patterns similar utility of Kuba hand labor that is highly the Comparedimprovisational ornament, Gothic geometries. the to corresponding have figures the progressionand overallcertainquality systemas the of disturb doesn’t operation this However motifs. of patchworks show the mistakes resulting that create discontinuity The together. patches rectangular combine Shoowa In 4). Kuba pattern (Fig. cuts follow horizontal or vertical lines that study patchwork a by create to combined cuts later are carpets digital generated The (Fig.3). the patterns these show of effects vibrant that and variation matrixes gradual carpet of number infinite of of thescriptto thearray ofzigzagsenables thecreation different numbers of offsets are applied. The application segregatorfourdefine todifferent groupssize which on number of offsets. The average motif size is used as the required a with filled be can that area an defines motif enclosed Each zigzags. the cornersof fromstartingthe vectorscreatemotif the loopsextensionsof the the and These extensions. the for value offset the groups to according point these on operate vectors Diagonal 5). & (Fig.3 motifs of placement alternative the for rows two aregroupedthat under zigzags the of points corner the uses script the motif Ingala Ekwakwa the generate to instance, For outlines. zigzagging these on used operate to is code separate a motif each different For construction. pattern a further values, for provide outlines to of transformation generated gradual randomized be could zigzags using and offsets By zigzagging outlines. the of with behavior written the control is to parameters script a Grasshopper, In generation. centralis tocontrol patternvariationand of amount the patterns Kuba Shoowa in outlines the of formation The necessary rule-sets to generate these patterns the digitally. define to scripting of medium the to implemented are rules These motifs. the of geometry the construct to areused trims and extension offsets, like operations various stages many have In motifs. the define zigzag to used been the of corners configuration the its outlines, the and between motif the on Depending perpendicular the angle. a to textile, set is the outlines zigzag of of regularity deformation over. the traced are disregarding motifs By the of lines the where (CAD) Rhinoceros of medium the to taken are patterns the of images The 3). (Fig. pattern final the create that rules the outlines of each pattern and defining different set of finding from starts that process multi-stage a involves rule-sets certain behind the the making of them. define The decoding of these to motifs motifs different three could befurtherinvestigated inarchitectural design. that effects interesting produce can thicknesses ornaments these and color applying By façades. wrinkled into can patterns ornamental tools these transform digital to case used be this In 5). (Fig. dimensionally to research three generated of be could body patterns this these architecture, apply to order In design. in a produce to patchwork carpet to show cuts the applicability of the system by combined are matrices pattern implementing then them in Grasshopper to construct digital carpets. These and embroideries from the of patterns rules geometrical necessary first the forward extracting carried by is process This tools. using reconstruction scripting their and types pattern main analysis of the through shown are aspects These labor. hand improvisational and variation figure involve ornament that Gothic the to akin ornament, qualities of show textiles debate Kuba design historical digital the for In study research. case interesting an provide that patterns Kuba Shoowa presented I paper, this In 5.Conclusion: London,United Kingdom:Alec Tiranti. 1911/1957.Form InGothic. W. Worringer, 1908/1967. Cleveland,Ohio: TheWorld PublishingCompany. W. Worringer, Wolfram, S. 2002. ANew Kindof. Wolfram Science Media Inc. WAAC In introduction. Newsletter. an Vol. 8,no.1:2-5. textiles: Kuba 1986. A. Svenson, Publishing. Netherlands:V2_ 2012. TheSympathy of Things. L. Spuybroek, 1854.TheNature of Gothic. W. Morris, London:Smith,Elder &Co. & J. Ruskin, Kingdom of Kuba.London:ThamesandHudson. 1986. G. Meurant, African StudiesCenter. S.Coleman James UCLA pp.34-43, No.1, Vol.23, , African Arts Design, African Middle in Symmetry Beyond 1989. M. Adams, Center. Studies African S.Coleman James UCLA pp.24-39, No.1, 12, Cloth, Embroidered Kuba 1978. M. Adams, References: Shoowa Design:AfricanShoowa Textiles from the Abstraction andEmpathyAbstraction . Vol , African Arts Fig. 5.TheGrasshopper definitionfor “EkwakwaIngala”motif(top), Renderingsofafaçades withKubapatterns (below). Fig. 4.Thepatchwork pattern madeupofthree different patterns. 83 POÉTICAS DA CRIAÇÃO