First publication: XXI Magazine July-August 2016 issue
The word “pattern”, which comes from the ancient Greek words “pater” (father), old Latin “patronus” and old French “patron”, was used more in the sense of “template”, “pattern” and “imitation” in the early 14th century. In the 15th century, it starts to include the equivalents such as "behavior model", "form order", "example".
Nature's Working Method
The etymological source of the word, "father" or in a broader sense, "elders" is taken as an example and imitated during childhood. This is a learning method. In adulthood, this "direct imitation" situation becomes an "underlying" behavior pattern that cannot be selected at first glance, with the increase of examples in the environment and the development of mental dominance. The word has Turkish equivalents such as "example", "model", "form order", but there is no Turkish word that contains all these meanings.
Patterns are frequently used in psychology, philosophy, literature, architecture, engineering, many fields of design, arts and crafts, but above all, we encounter them in nature. While the author Yaşar Kemal talks about his admiration for the diversity in nature in one of his articles, he shares the following excerpt from an interview with astrophysicist Hubert Reeves for the Unesco Courier magazine in 1993:
“…Another example is snow crystals. When we look at them under the microscope, we see that they are all six-pronged. This is the rule: those without six ends are not snow crystals. But if we examine them more closely, we see that they differ from each other despite their six-pointed nature. Snow crystals are so beautiful because they are composed of an infinite number of modular motifs, despite having the same structure. Wonderful books have been published that contain nothing but their photographs. As for humans, nature does two things, just as with snow crystals and butterflies: on the one hand, it organizes, makes rules and maintains order, and on the other, it breaks the boring monotony of order by making room for imperfections and ambiguity—in other words, diversity.”
“Snow Crystals”, W.A. Bentley, 1931
Construction of Happiness
Before the profession of architecture and architects as we know them emerged, people used to solve their need for shelter on their own. In later periods, this work was undertaken by the builders. This business had no academic training, buildings were constructed through variations on the usual "set of norms" from tradition.
These norms are based on individual and social functions, the need to struggle with and benefit from nature, cultural structure and traditions over the years, and are still considered valid "in essence".
Roman architect-engineer Vitruvius, describes the architectural orders used in ancient temples in his work titled “Ten Books of Architecture”, which he wrote in circa BC. 45-15. Human measurements were taken as basis in the design of the columns. It was discovered that the foot length was one-sixth of the height, and the body height of the Doric column was determined to be six times the base thickness. Later, for the Ionian order, this ratio was changed to one eighth based on the elegance of a woman. The most recent Corinthian order, on the other hand, was based on the "delicacy of a young lady".
“Because the ancients, in all their works, acted according to the exact principles of conformity arising from the reality of nature. Ultimately, they achieved perfection because they approved of what could only be explained on the basis of reality when opposed. Thus, from the sources described, they set the rules of symmetry and proportion for each order and left them to us,” says the master.
It was up to ''us'' to realise our own unique works by advancing through these patterns.
According to many researchers, the construction of the traditional Turkish house comes from the lifestyle of the Turks during the nomadic period. Families lived in tents and all daily activities were carried out in the same volume. With the transition to the permanent settlement, the tent system, which was built around a common square and each self-sufficient, turned into independent rooms opening to a common area. This common space (sofa - life) changes to adapt to the climate and geographical conditions of the house. The cultural structure is effective in shaping the spaces, for example, the ''selamlık'' section in the old Turkish house is more ornate and ostentatious than the ''haremlik'' section. The house is introverted, external relations are limited and protected. Although there are differences in the number of rooms and materials used between a rich house and a poor house, the basic principles are the same.
Unique rooms, houses and cities were built using similar patterns.
In his book “The Timeless Way of Building”, which he wrote in the 1970s in a somewhat romantic and spiritual style followed by his other upcoming works, Christopher Alexander describes a “pattern language” that can be used to design “living” houses and cities, and exemplifies in this regard. Pattern language, like all other languages, consists of "a group of elements or symbols" and "a set of rules that determine the combination of these elements or symbols". Alexander says:
“We know that (pattern language) is a system of a certain number of rules that a person can use to create a certain number of different kinds of buildings - but members of the same family - and the use of this language enables them to create a state of diversity within that order which makes a place "livable" to the people of a village or town.”
Doge’s Palace
Procuratie Vecchie
Architect Robert Venturi writes in his 1966 book “Complexity and Contradiction in Architecture”: “A valid order assumes the contradictory states of a complex reality. It both undertakes and imposes. In this way, it allows “control and randomness,” “perfection and freedom,” that is, improvisation in the whole.” “Here you establish an order and break it, but you do it out of competence, not out of weakness”.
Alain de Botton, in his 2006 book "The Architecture of Happiness", touches on the issues of "symmetry" and "order" in architecture while examining the effect of buildings on people. According to him, one is neither happy with the perfect order nor the uncertainty of self-determination, which mother nature also uses the same method. Botton argues that one enjoys surprises and variety within a system that one can "perceive." Among the examples given is the comparison of two buildings in Venice's San Marco Square in this sense. Similar patterns were followed in the façade designs of the buildings, but the facade of the Doge's Palace, dated 1340-1420, has more diversity than the strict regular facade of the Procuratie Vecchie, dated 1532.
It can be said that the "set the rules, bend the rules" method, which is the working style of nature, is also a valid formula for the happiness of human beings.
“Designed mess”: make the rules, bend the rules.
Same Chorus
“It is necessary to teach children music, physics and philosophy; but the most important is music, because the patterns used in music and all arts are the key to learning.” – Plateau
Do you know why the human brain loves music? When the notes are repeated in a certain order, within the musical scores, the brain always tries to predict the next melody and enjoys it.
There has been a lot of relatively recent scientific research on music and its neurological effects. In a 2011 study by neuroscientist Valorie Salimpoor at McGill University in Canada, people listened to their favorite music tracks and their brain activities were examined while doing so. As with the striking points of the pieces, it was seen that dopamine levels increased in the brain a moment before that. In other words, at these key moments, a person has an expectation, and if this expectation is met compared to previous musical experiences, no matter what, if the result exceeds the expectation, a joy experience similar to a fireworks explosion is experienced in the "reward center" of the brain.
Für Elise, Beethoven, 1810
Familiar chord sequences and scales from cultural background give one an idea of how a melody can continue. Music has been written and performed within the framework of these patterns throughout the ages. The general approach is based on the fact that a composition starts with an introduction and main theme suitable for a certain key, makes the listener curious and excited with some "turns" and "side paths", and finally relaxes by returning to the main theme (coming home). For example, Blues and Rock'n Roll music, in their most classical form, is based on chords belonging to the first (tonic), fourth (sub-dominant) and fifth (dominant) voices of a scale. Musicians make alternatives, variations and embellishments on this basic pattern.
In pop music, the "chorus" is the most repetitive and memorable part. Quatrains capture the person mostly by their content rather than their melody. Instrumental solos often appeal to the emotions. These parts are listened to with pleasure, but the person waits for the chorus that he will always accompany. He waits, but if he finds what he is waiting for easily, he gets bored quickly. It's actually kind of sexual. For this reason, the composer deflects the piece to a crossroad called a "bridge", written in a different chord sequence or even a different scale, right where the chorus will come. Knowing that we will return to the chorus again, we continue on this side road for a while. One of these methods of diversion is known as "deceptive cadence". While the fifth (dominant) chord of the scale is normally expected to connect to the first (tonic) chord, for example, the chord of the sixth voice is stuck. This move strengthens the desire to return to the tonic chord with a good dominant chord. My music teacher Izi Eli exemplified this musical maneuver as “Imagine you are going to see your girlfriend with great enthusiasm, you ring the bell, but her mother opens the door”. All these little plays excite the listener, keep their interest in the piece fresh. Musical performances that do not conform to the aforementioned patterns are boring, tiring and even repulsive to most people. Some 20th century musicians, on the other hand, tried to surprise and even provoke people by breaking these stereotypes radically, and they were successful in this regard.
Design Patterns
According to the famous architect Le Corbusier, “There cannot be a work of art without a system”.
This system, mentioned by Corbusier, is constructed through various patterns in the world of design. Archetypes are classical examples that are exemplified, inspired and referenced. Paradigms on the other hand, are adaptable paths that have been tried and accepted, thought models and theoretical frameworks. In applied works, tools such as clichés, patterns, templates, templates can be used with both concrete and abstract meanings.
San Vicente Library, J. M. Chofre, 2010
At this point, I would like to emphasize once again that the word pattern has different meanings, from the imitated "pattern" to a guiding "order". Life starts with “imitative”, in other words “repetitive” production on certain patterns, followed by “innovative” production. This order is valid for human life as well as for the periods of societies.
Whether industrial or artistic, “repetitive” production and “innovative” production are used simultaneously within certain patterns in the design process. The ratio between these two is a sensitive issue, and this balance seriously determines the creative value of the work.
James Ackerman said of Michelangelo that he “rarely uses (in his architectural works) a motif that he does not assign a new form or meaning to.” In addition, the great master preserved the important features of the old models "in such a way that the audience can remember the exemplary source while enjoying the innovations".
Hero's Journey
The science fiction series Star Wars, the first part of which was released in 1977 and turned into two thematic trilogies with films shot at intervals until 2005, went beyond being a movie and left its mark on the popular culture with its characters, cartoons, novels, toy figures, t-shirts and other collector's pieces.
The news that the new episodes of the legendary series will be shot as of 2015 was met with great excitement by the fans. As rumors, smuggled images and trailers were shared on social media, expectations naturally rose. All the fans rushed to the movie theaters with the tickets they bought months ago. However, the movie received mixed reactions from the audience. Filming, acting, action were all very successful. But what about the scenario?Weren't similar subjects already covered in the "Original Trilogy" filmed in the 1970s-80s? There was something strange, but what was it?
“And again, like poetry, they rhyme in a way. Each stanza sort of rhymes with the previous one. I hope it turns out well”
Producer-director George Lucas had this to say about the recurring themes and script elements in the Prequel Trilogy, which he started shooting 16 years after the completion of the Star Wars Original Trilogy, which tells what happened before the series. "Rhymed".
Indeed, looking back at the previous films from this perspective, it is noticed that similar formulas were followed in the Original Trilogy. An experienced master guides the young hero, who lives an ordinary life but has special abilities, to the path "predicted by his destiny", where he dies dramatically, our hero develops his powers with training and experience, and in the final, he does things that will affect the future of the whole galaxy.
In fact, a basic set of plots, recurring themes, and visual and audio references are often used not only in Star Wars movies, but also in many classic and popular visual and written works.
Joseph Campbell describes this fiction, which appears in various forms in literature and mythology, through a "sketch" called "The Hero's Journey". It is a "chain of events", a motif, a "pattern" in a broader sense, which is common in most narrative works.
“The Hero’s Journey”, J. Campbell, 1987
Shortly after George Lucas transferred Lucasfilm, of which he was the founder, to Disney in 2012 with the rights to the Star Wars series, he had a disagreement with the company management about the new film to be shot. The Prequel Trilogy, directed by Lucas in the 2000s, was mostly prepared in digital environment. This technological innovation that emerged at that time gave the producers possibilities that stretched their imagination, but the result received heavy criticism due to its "artificial appearance" and "unfamiliarity with the series". It was therefore decided to shoot the new trilogy using predominantly analog cameras and practical effects, thus achieving the visual aesthetics of the films from the 1970s-80s. Even the actors, designers and performers who worked for the Original Trilogy joined the team, and the studios where the first movies were shot were rented again.
“They wanted to make a retro movie. I don't like it. I work hard to make each of my films new and different by using different planets, different spaceships.” This is how Lucas, the "father" of the series, explained why he would not be in the creative cast of the next episodes.
Star Wars A New Hope, 1977
Star Wars The Force Awakens, 2015
Director J.J. Abrams and the production team built the new film on the now-traditional patterns of the series, as Lucas had done before. He did this by making frequent and explicit references to the Original Trilogy, both in terms of atmosphere and script. The result was found "natural looking" and "familiar", especially by those who knew the aforementioned films, but this time the film was severely criticized for its lack of "innovation". Abrams explained these criticisms during an interview months after the film's release: “The funny thing is, it's been a long time since the last installment of the Original Trilogy. In the meantime, as it is known, the “Prequel Trilogy” was filmed, and in a sense, we wanted to catch the story from where it left off. So we tried quite deliberately – which I know is being ridiculed – to borrow familiar elements so that the rest of the movie can hold on to what we know as Star Wars.”
Consciously or not, when looking at the balance of "repetitive" and "innovative" production through patterns, The Force Awakens seems to give the audience a more "deja vu" effect than the previous parts of the series. What if we look at it in terms of the “happiness design”?
“Dude, this is Star Wars after all!”
Sources:
L’esprit Nouveau, Amedee Ozenfant, Le Corbusier, Da Capo Press, 1968
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