Oriental design

What is Oriental Design?

Oriental design refers to the artistic approach by which things are made in an aesthetic manner that stems from or whose influence is derived from Asian culture, past and present. These cultural approaches or influences in design could be derived from countries such as: Japan, China, Malaysia, India, Turkey and many others in their geographical region. 

Oriental design can be expressed in architecture and building methods, sculpting, motifs, wood and stone carvings, calligraphy, fabrics/materials used in fashion and other forms of artistry. Some examples and influences from Oriental design are: Japanese architecture and its influence to Modern architecture, the influence from China in the creation of Chinoiserie in the mid 18th century and Islamic geometric patterns,

Japanese architecture and its influence to Modern architecture - 

Traditional Japanese architecture, decorative in ornamentation but still minimalist in its use of spacial design “Ma,” with the inclusion of natural light and a great use of wood and plaster. This would become highly attractive to the Western world in the late 1800’s forming the new expression of Japonism, which was a mix of Japanese aesthetics with western ones in all forms of design expressions. The Japanese built in tandem with nature and their surroundings, with characteristics such timber cladding, woodblock prints ceramics, extended eaves, wooden columns and others. These were highly influential to European artists who began incorporating Japonism to their interiors. In the 20th century, Architects such as foremost American, Frank Lloyd Wright and pioneer modern Architect Le Corbusier would also come to draw inspiration from Japanese Architecture. Le  Corbusier found interest in the use of light and space, and how the flow of nature came in and out of the building. Frank Lloyd Wright would translate the use of geometry and organic styling from artists like Hokusai into more contemporary architectural forms. 

These new interpretations of Japanese architect would not only influence the west but also have a mark on contemporary architecture in Japan. It encouraged the use of natural materials, lighting and tones with a variety of geometric shapes forming a stylish but simplistic approach in buildings. It’s influence across the globe brought open floor plans, minimalist space, green areas and gardens within the buildings. 

Glazed Earthen ware bowl taking influence from Hokusai's "The great wave of Kanagawa, ca. 1829-32," designed by British designer Christopher Dresser, ca. 1880.

an example of a sukiya-zukuri home. 

1932 Swiss Pavillion, Le Corbusier and Junzo Sakakura. 

By great Japanese ukiyo-e printmaker Ando Hiroshige seems to have provided a reference for American architect Frank Lloyd Wright’s for his elevation drawing of the Winslow House in River Forest, Illinois, with draping vegetation in 1910.

Chinoiserie - 

Chinoiserie is a term referring to a form of pseudo Chinese or Chinese influence on design expression in Europe. This can be expressed in pottery, painting, furniture, interior design and architecture; honing to characteristics such as: dragons for ornamentation in architecture, furnishings, artworks and interiors; Pagodas with eaves and multi-tier structures; faces and figures of Chinese individuals, lacquered finishing on all kinds of furniture with decorations; Chinese landscapes with the inclusion of mountains trees and vegetation, in paintings and other works of art; porcelain pottery and much more.

This highly flamboyant and expressive style, was considered by few, either calling it out as a cheap, poor or sometimes satirical, in its imitation of its original Chinese counterpart. However, architects and interior designers like Sir William Chambers and Thomas Chippendale, would either try to give full reverence to the original or attempt to give it new light by adding other design features. Sir William Chambers, being well traveled to the east as a youth, would write a record illustrating his observations of Chinese building designs. He aimed for more accurate depictions in his works - designing a number of structures such as the great Pagoda of Kew in South London, an aviary and a bridge. Thomas Chippendale on the other hand, made a mix of Rococo style, Gothic and Chinese, forming the basis for the English Rococo style seen today. 

Fig 1 illustrates a sugar bowl designed by John Linell and made Arthur Annesley, 1758-59 London, England. Fig 2 illustrates a porcelain vase and cover made by Richard Chaffers factory, 1758-62 Liverpool, England. 

Fig 3 illustrates the pagoda and mosque of the garden of Kew. Fig 4 Illustrates the chippendale's influence, the maker is unknown. 

                       

Fig 5 illustrates a Chinese house in the Garden of Sanssouci Palace in Postdam. Fig 6 illustrates a Chinoirserie wallpaper hand painted with Rococo motifs in 1765. 

Fig 7 illustrates pinewood from Japan with Chinese landscapes and figures painted on it, designed by John Linnell, made by William Linnell, 1753, London.

Islamic Geometric patterns - 

Islamic Geometric patterns were influenced from antique Roman, Grecian and Sasanian periods. However, Islamic artisans would make key features more intricate to create new designs, which were further augmented by the aid of Islamic Astronomers and Mathematicians. 

The patterns exude an unlimited amount of growth as basic shapes such as circles, square, triangles are interlaced and repeated in sometimes a circular motion which may cause new patterns to form both inwards and outwards with the main ethos of illustrating unity and order. 

The array of intricacies, unparalleled in modern design but have now been classified under distinct mathematical principles, have a meditative power that draws the viewer in as its order exposes it self. 

For the design of my Folly, the inclusion of primodial circle may be used for geometry of the ceiling of the Folly. 

Pattern from the 15th century showing circles interlacing one another honing the concept of primordial unity and the optimum origin of all creation.

This illustrates the conjoining of polygons; hexagons, triangles, squares and dodecagons. This then creates the chance for new patterns to be created in every direction. 

These variants of Oriental design were for influence of what could be possible in the design of my folly and not all architectural approaches may be used for the final design. Other forms of Oriental design I have peered at and used mainly for my project design, would be Indian architecture in relation to the Vedas - and a type of Eclecticism in reference to Indo-Saracenic Architecture. 

Reference list - 

Cotswold Grey, (2020), What is Oriental design?
Available at: 
https://www.cotswoldgrey.com/blogs/news/what-oriental-design 
(Accessed: 22nd August 2021). 

Optima, (2021), Modernism and Japanese Architecture.
Available at:
https://www.optima.inc/modernism-and-japanese-architecture/ 
(Accessed: 22nd August 2021).

Driehaus Museum, (2017), Japonisme
Available at:
https://driehausmuseum.org/blog/view/japonisme 
(Accessed: 22nd August 2021).

Williams. D, (2020), Japanese Influence in Architectural Design: Predictions 2020.
Available at:
https://exterior.supplies/japanese-influence-in-architectural-design-predictions-2020/ 
(Accessed: 22nd August 2021).

Henry. R, (2008), Geometry  – The Language of Symmetry in Islamic Art.
Available at:
https://artofislamicpattern.com/resources/educational-posters/ 
(Accessed: 22nd August 2021).

Department of Islamic art, (2020), Geometric Patterns in Islamic Art.
Available at:
https://www.metmuseum.org/toah/hd/geom/hd_geom.htm 
(Accessed: 22nd August 2021).

Encyclopedia of Art Education, (n.d.), Chinoiserie Pseudo-Chinese Style of Decoration and Design,
Available at:
http://www.visual-arts-cork.com/definitions/chinoiserie.htm#summary 
(Accessed: 22nd August 2021). 

Victoria and Albert Museum, (n.d.), Chinoiserie - An Introduction.
Available at:
https://www.vam.ac.uk/articles/chinoiserie-an-introduction 
(Accessed: 22nd August 2021).