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GIRVIN | Strategic Branding & Design | Seattle

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The opening of the mimetic thread: patterning in place made.

I realize that everything we do, everything that one does, either goes forward, in the advancement of that personal melody in the capacity of experience — or, perhaps, it goes back, to the beginning — the first sound, the initial note, by which your mind and heart opened.

Everything we do is a melody, a thread of experience — and I visualize this as a note. A sound. A vibe. That note, that discovering, has a beginning. A friend of mine, recently re-minded me, about that note, that first discovering, of one thing — pattern, found, in place. What I reference is that idea of the containment of a place in message that relates to the heart of experience. When you are some where, what happens in your enrapture in that place — your enwrapping within the context of that place? Who’s there, and why? Why are you there? What’s happening, to make the experience memorable?

I believe that patterning in place-making, a near psychic language of color, pattern, brand language, color, messaging, applications of light — these all lean on the mind and spirit, to contain and enclose — to wrap the sensical human — in the shape of content.

You, now, visualize that. Where, and how, and what? Where have you’ve been, that’s done that?

I note that a Girvin blog reference on patterning, in one iteration, claimed thousands of readers; we’ve rebooted the blog, and up it goes again, past the hundreds, approaching the journey to 1000 readers, and beyond. But the idea of brand, patterning, place and story containment goes on and on — and Girvin has many stories to that effect, exploring more: Cleveland, Jakarta, Osaka, Yountville, Beijing, Paris, Dubaiothers.

That idea of the pattern, and the first notes for me, came from the artist / designer Friedensreich Hundertwasser. One might presume his inspirations, as well. That fascination started in the meanders of Hundertwasser’s painting, that then, later, came to inflect their rhythm on other creative explorations. I started with paintings and posters, then stamps. And that, in a way, vibrates to the rhythm of the imaginative peregrinations of Hundertwasser, then envisioning that patterning, that artful parlance — the seeing of other things, found in the making of place.

Like, this:

And the spirit, here — found:

According to Environmental Graffiti, it’s an experience of magical vision, “Viennese artist, Friedensreich Hundertwasser, has designed what has become one of the more unique and visually stimulating buildings in the world. With over 1000 unique windows, individualized handles on windows and doors, a living roof, café, parking garage, restaurant, bar, playground, and a running stream, the Waldspirale in Darmstadt, Germany is an architectural wonder. Upon first glance, second and third, one is simply enchanted and astonished.

The complex, a grouping of 105 apartments, with no two windows alike — everyone completely customized. The inspiring principles of design follows Hundertwasser’s dogma — his sense of patterning — ‘gegen die gerade linie’ (against the straight line). As well, there’s an implication of center that is inherently “eccentric”, off centered and wavering — like, perhaps, the stamp shown at the header of the blog. Hundertwasser calls his window conceptions as ‘aus der reihe tanzen (dancing out of line).

The siting of the structure is U-shaped. The building 12 stories at its apex; russian-styled, gilded onion domes pace the rhythm at seemingly random points along the roofline. The practiced patterning of Hundertwasser’s layering — like brilliantly colored geological strata; and the absence of sharp-cut geometric finishes are all at the heart of Friedenreich’s spirit in creative visualization. Like all of his work, there is a child-like meandering wonder, in simply twirling the line, the pencil, the crayon, this way and that — arbitrary, seemingly without discipline, in the delighting character of joy, in making. Being inspired in the movement.

The roof is a garden — including varied plant species, beech, maple and lime trees, an elegant selection of deciduous shrubs, washed in a bed of grass, crown
this organic architectural masterpiece. Within the courtyard, a stream trickles in the children’s playground.

According to Hundertwasser — design should be inspired, details in experience should delight, creativity should be environmentally resonant — “If man walks in nature’s midst, then he is nature’s guest and must learn to behave as a well-brought-up guest.”

What I look for, in designed place, is the sense of sparked surprise and discovery. Darmstadt, the place of the Forest Helix of Hundertwasser, is another of a place, in places recalled, that has profound meaning for me. It was here that I first met, stayed with, and explored — live — the work of Hermann Zapf, his wife Gudrun Zapf Von Hesse, and finally, the Klingspor.

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