Pattern Research Project

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Quatrefoil

  Yoon Chae Lee

  2018 Pattern Research Project

  Yoon Chae Lee – Quatrefoil

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Yoon Chae Lee, VCU Interior Design BFA 2021, selected the Quatrefoil pattern for the 2018 Pattern Research Project. The text below is excerpted from the student’s work:

  “Quatrefoil is one of the good examples that still used in modern day for wallpaper, ornamentation, textile, bedding, and lighting, etc. It is ambiguous about where it came from but, regardless of its murky origins, the quatrefoil was popular throughout Europe. It was considered as a symbol of good luck. Historically in architecture, the quatrefoil became a prominent design element in Gothic and Renaissance architecture. It was mostly used in tracery and stained-glass windows. The word, “Quatrefoil” is derived from Latin word meaning four leaves. It is a symmetrical shape with four lobes or foils of equal size. It has also come to symbolize harmony, symmetry, and proportion.”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Tivoli

  Candice Duncan

  2018 Pattern Research Project

  Candice Duncan - Tivoli

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Candice Duncan, VCU Interior Design BFA 2021, selected the Tivoli pattern for the 2018 Pattern Research Project. The text below is excerpted from the student’s work:

  “Tivoli was designed for the Heal’s fabric in 1967 as a furnishing fabric depicting stylizing flowers and vines printed in multiple color combinations. At this time, Heal’s was a leader in this field. The designs they bought exemplified the changing moods of the decade. They develop from sober colors and geometric shapes, though Pop and Op Art-inspired motifs. In the later sixties they are influenced by flower power and revival patterns then move towards the super-realism associated with the early seventies”.

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Who's Afraid of St. Luke

  Bella Ayer

  2018 Pattern Research Project

  Bella Ayer – Who’s Afraid of St. Luke

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Bella Ayer, VCU Interior Design BFA 2021, selected the Who’s Afraid of St. Luke pattern for the 2018 Pattern Research Project. The text below is excerpted from the student’s work:

  “The contemporary designer of the patterns “Who’s Afraid of St. Luke” and “Preaching to the Choir” is Christian Philipp Muller, a conceptual artist from Switzerland, currently practicing in Berlin. Muller partnered with Maharam in 2010 for this wallpaper project. Both patterns are inspired by the Antwerp Painters Guild of St. Luke, which was founded in the 14^thcentury in the Netherlands. The guild’s symbol is the ox-crest of St. Luke. The ox is a symbol of St. Luke that is seen in religious art throughout Europe. And is also seen in other artwork with speculation of other religious ties. Although there is no specific pattern that is a pr3ecedent for Muller’s patterns, there is plenty of other art containing an ox, both representing St. Luke and other 3religious symbolism.”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Acanthus

  Hongyi Zhu

  2017 Pattern Research Project

  Hongyi Zhu - Acanthus

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Hongyi Zhu, VCU Interior Design BFA 2020, selected the Acanthus pattern for the 2017 Pattern Research Project. The text below is excerpted from the student’s work:

  “Acanthus is a type of plant that [is] widespread in mediterranean region. There leaves were used as ornamentation for thousands of years. The most well-known example should be the corinthian order columns of Greek temples. Later, it was inherited by the Roman Empire and its successor, the Byzantine empire. The foliages symbolize immortality, healing and rebirth; it was commonly used as a decoration for Cathedral architectures. However, it had never became a significant religious symbol in Christianity. The pattern remained as a decorative element. The pattern was developed and transformed into numerous different forms through the age..”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Asanoha

  Alyssa Chin

  2017 Pattern Research Project

  Alyssa Chin - Asanoha

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Alyssa Chin, VCU Interior Design BFA 2020, selected the Asanoha pattern for the 2017 Pattern Research Project. The text below is excerpted from the student’s work:

  “Asanoha is a traditional pattern of Japan and its roots span back centuries, making it difficult to pinpoint a specific date or period. Its origins are most likely rooted in rural villages where farmers and peasants in the countryside of Japan would practice sashiko, a simplified sewing method that resembles embroidery, that allowed them to piece together various fabrics to create new clothing, and in turn, creating pattern motifs. “

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Greek Key

  Abigail Knuff

  2017 Pattern Research Project

  Abigail Knuff - Greek Key

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Abigail Knuff, VCU Interior Design BFA 2020, selected the Greek key pattern for the 2017 Pattern Research Project. The text below is excerpted from the student’s work:

  “The Greek key, or Greek fret pattern, has existed since antiquity... The original use of this pattern was typically for Greek ceramics and architecture. In ceramics, the pattern typically appeared as a single band around the top or bottom of an amphora, or Greek Vase. In architecture, the pattern appeared across the frieze of buildings... Greek key is the modern name for this pattern, but the original name was meander or ‘meandros’ in Greek. This name came from the Meander River in Asia Minor or modern-day Turkey.”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Herringbone

  Seylar Pring

  2017 Pattern Research Project

  Seylar Pring - Herringbone

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Seylar Pring, VCU Interior Design BFA 2020, selected the Herringbone pattern for the 2017 Pattern Research Project. The text below is excerpted from the student’s work:

  “The herringbone pattern dates back to Roman times, where this pattern was found to be used in roadways and laid down in such a pattern called “opus spicatum,” which is referred to as the herringbone design found in modern textiles, sidewalks, and other interiors. Laying down the brick, tile, and cut stone in this pattern allowed for shock absorption where people would walk along the ground.”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Koi Wallpaper

  Thao Khia

  2017 Pattern Research Project

  Thao Khia - Koi

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Thao Kia, VCU Interior Design BFA 2020, selected the Koi pattern for the 2017 Pattern Research Project. The text below is excerpted from the student’s work:

  “The Koi fish is a well-known motif in Chinese and Japanese culture. In Chinese culture, the dragon is a symbol of power. According to Chinese legend of a sturgeon of the Hang-Ho1, if the koi fish successfully pass the upstream, cross the rapids of Dragon Gate, the koi fish will transform into a powerful dragon. The story symbolizes that anybody who can persevere through great trials can accomplish their highest goals to become great. Koi Symbolism is also very prevalent in Japanese culture. It is also a symbol of energy, courage, and perseverance. A Koi swims up rivers and climbs waterfalls seem like a bravery, like a Samurai warrior2 who endeavors to surmount all difficulties to attain success. However, if the Koi gets caught, it will lie still beneath the knife, facing its death bravely like a Samurai facing a sword. Koi motif became popular in America during the late 19th century. Westerner began amassing substantial collections of Japanese art after the opening of Japanese trade to the West in 1854. One of associated Artist’s first designs for a mass-produced textile was the swimming carp pattern, which was printed on both cotton denim and silk in a variety of colorways. Koi fish was the inspiration for European American designers. However, they reinterpreted the motif for purely aesthetic purposes without regard to their original symbols.”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Layers Vineyard

  Jasmine Zheng

  2017 Pattern Research Project

  Jasmine Zheng - Layers Vineyard

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Jasmine Zheng, VCU Interior Design BFA 2020, selected the “Layers Vineyard” pattern by Hella Jongerius for Maraham for the 2017 Pattern Research Project. The text below is excerpted from the student’s work:

  “This was made by Hella Jongerius for a company called Maraham. They reached out to her searching to create an upholstery textile. They wanted something that would flow seamlessly into each other for several meters of repeat. The pattern that I picked was one of three different patterns in the series called Layers. For this textile, Hella Jongerius and Maharam Design Studio came up with a way to bind multiple layers of wool felt with embroidery. The methods that she used were based off research that she conducted on the basis of needle-punched felt panels that she made as a guest curator at the Cooper-Hewitt, National Design Museum in 2005, and as an installation at Villa Noailles, the Robert Mallet-Stevens house in Hyeres, France.”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Mughal Art

  Ria John

  2017 Pattern Research Project

  Ria John - Mughal Art

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Ria John, VCU Interior Design BFA 2020, selected the Mughal Art for the 2017 Pattern Research Project. The text below is excerpted from the student’s work:

  “The pattern is a combination of lattice and flowers. The motifs woven on this pattern are floral motifs inspired by Islamic Art. Most of the patterns woven are flowers, leaves and animals. This form of pattern evolved when the Mughals invaded India. With the invasion, there was an emergence of Islamic art and architecture influence in India which is the reason for these motifs. These patterns were woven on mainly sarees which was intended to be used by women, but these patterns were also used on carpets, curtains, wall hangings, cushion covers, sarees in the present times but in the past, during the rule of Mughal Emperor Akbar, these patterns were used in shields, turban, architecture, garments, furniture etc. This pattern has been woven on the silk cloth. Mughal inspired patterns have evolved over time from the past, although they still use the traditional Mughal inspired designs but now they also use Hindu gods in the patterns.”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Polka Dots

  Chansong Kwak

  2017 Pattern Research Project

  Chansong Kwak - Polka Dots

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Chansong Kwak, VCU Interior Design BFA 2020, selected the Dot pattern by Paul Smith for Maraham for the 2017 Pattern Research Project. The text below is excerpted from the student’s work:

  “The pattern ‘Dots’ was designed by Paul Smith [in collaboration with] Maraham. Paul Smith is a menswear designer known for his quirky twist to traditional suiting for gentlemen and confident use of color.”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Seigaiha

  Boya Yu

  2017 Pattern Research Project

  Boya Yu - Seigaiha Pattern

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Boya Yu, VCU Interior Design BFA 2020, selected the Seigaiha pattern for the 2017 Pattern Research Project. The text below is excerpted from the student’s work

  “The seigaia wave is a pattern of layered concentric circles creating arches. The shape is curved, and ...often blue in color and then placed in tile form… Seigaiha is a pattern that was originally designed in ancient China where it was used on maps to represent the sea and in Japan in the 6th century when it was first used in clothing. In Japan, it continued to be used as a design on clothes for over one thousand years.”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Shippo Tsunagi

  Emilie Krysa

  2017 Pattern Research Project

  Emilie Krysa - Shippo Tsunagi Pattern

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Emilie Krysa, VCU Interior Design BFA 2020, selected the Shippo Tsunagi pattern for the 2017 Pattern Research Project. The text below is excerpted from the student’s work:

  “[The] Shippo pattern originates from Japan and dates to the Heian period (794-1185 AD)... The pattern is called ‘shippo’ in Japanese, which means ‘cloisonne,’ which is an ancient form of enameling… The pattern was traditionally embroidered on by hand or it was hand dyed/painted in a very long and tedious process by professionals. ‘Shashiko,’ which is a basic running stitch, is one style of embroidery that Shippo is often depicted. Today Shippo can be applied to nearly every surface imaginable through digital printing.”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - Volute

  Abigail Deluca

  2017 Pattern Research Project

  Abigail Deluca - Volute

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Abigail Deluca, VCU Interior Design BFA 2020, selected the Volute pattern for the 2017 Pattern Research Project. The text below is excerpted from the student’s work:

  “Volute references the design choices that reference Art Deco, the stylistic reaction to modernism that took off in the 1920’s and the mechanized age. Referencing both the periods political reform and machine. Its aesthetic is derived from the stylization of images rather than relying entirely on original forms. It is an abstraction based on social theory and modernism. Despite this, it was only described as modernistic by those trying to debase it and who carried a distaste for its commercially driven spread. Volute acknowledges the aesthetics of Art Deco while ignoring its ideologies. It romanticizes the tone of Art Deco’s decorative schemes: serious, logical, and welcoming. The source of its namesake and main form are likely taken from the metalwork of the period, however since volutes have appeared in art as early in ancient Greece this isn’t entirely clear.”

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  Pattern Research Project: An Investigation of The Pattern And Printing Process - ZigZag

  Matthew Toscano

  2017 Pattern Research Project

  Matthew Toscano - ZigZag (pattern)

  The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood.

  Matthew Toscano, VCU BFA 2020, selected the “Chevron Black” pattern by Tina Raparanta for Spoonflower for the 2017 Pattern Research Project. The text below is excerpted from the student’s work:

  “My sample of ‘Chevron Black’ is printed on cotton and is one of the many mass manufactured and continually produced textiles of the custom digital printing company, Spoonflower. The cloth itself is simple, tightly woven and slightly rough to the touch. Inks are eco-friendly, 100% biodegradable, and non-toxic, contributing to a sustainable and attractive business model.”