There are so many inspiring books around for designers and weavers and Patterns and Layering: Japanese Spatial Culture
is just one. Â I think Â understanding Â the thinking and processes in Japanese textile making and Saori in particular requires at least a very basic understanding of Japanese cultural thinking. So this book really interested me.
Culture as a way of understanding your social environment is developed as you grow up, leaving a knowing as an adult that you can’t really describe…until you encounter people who see things differently. Then what you thought was self evident isn’t at all.
This book is a collection of essays and it is worth every cent even if only for the first one Patterns, Japanese Spatial Culture, Nature and Generative design by Salvator-John A. Liotta. When reading it I have Saori and other weave textile design in mind rather than architecture but they are intimately connected, to me, as ways of building design and function through philosophy andÂ humanness, relationships and energies using a range of materials and media. Â Â The book highlights Japanese aesthetics such as irregularity/asymmetry (fukinsei – ãµãã‚“ã›ã„), simplicity (kanso – ã‹ã‚“ã) and nature (shizen – ã—ãœã‚“). Â Aspects which relate strongly to Saori weaving philosophy.Â I quote some of the ideas about the differences between the ‘west’ and ideas from the ”east’ (or the north if you are in Oz).
“Where the West has expressed ideas related to eternal life, permanency, and immutability, the East declared its preference for the transience of existence, for the decentralized pluralism, and impermanence of time.”
“…the idea that beauty lies in its ownÂ disappearanceÂ and impermanence has never really occurred to Western culture.”
The idea of weaving for impermanence is an interesting one. Â To deliberately createÂ impermanenceÂ seems a foreign and illogical objective. I hear the Three little pigs in the background as the first storyÂ advisingÂ against it. However, impermanence doesn’t mean bad quality or poor durability. It means capturing transience and beauty within naturalÂ degradationÂ and change. Imagine accepting weathering, ageing, repair and wear as an ongoing aim of textile design. Then developing a design for deliberate delicate and incremental ageing.
When I was in Japan wandering through the amazing templesÂ in Kyoto I was totally humbled and awe struck by the way the beautiful wooden floors wereÂ repairedÂ so skillfully with wood pieces which seemed to renew theÂ structureÂ as repair but also a commitment to the form and the materials used. This was something I had never seen before. And certainly not in such a prestigious and magnificent building. In Australia it would have been replaced with colourbond and the timber sent to the tip! 🙁
You can browse the book here.