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All elements in the landscape are composed of patterns. Patterns
are not random events but are the result of an interaction between
materials and processes. If we can learn to 'read' patterns we
can then understand the interactions between materials and processes
that are taking place and be better informed about the elements
we are designing. Therefore, working with existing patterns is
an important factor in developing new patterns. Pattern making
with a purpose is design.
Natural patterns include waves, streamlines, cloud forms, spirals,
lobes, branches, scatters, nets and webs, crystals and fractals.
We can observe patterns in nature, in art forms and in aerial
photographs. In addition to visual patterns we may identify sound
patterns such as surf, drips, drones and clatters. While visual
patterns are the stuff of visual arts, audio patterns are the
stuff of music, and their combination is the stuff of dance. We
see that pattern is already present and pervasive in our lives.
The importance of pattern to design is expressed well in the article
"Nature's Geometry" (Van der Ryn and Cowan, Whole Earth
Review, Fall 1995, pg. 112);
".... by matching the flow on a landscape to its inherent
geometry, we allow ecological patterns to work for us. We can
use natural drainage instead of storm drains, wetlands instead
of sewage treatment plants, and indigenous materials rather than
imported ones. We can work toward a steady convergence of dwelling,
design, and the geometry of place".
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The most comprehensive general reference on pattern in design
is Christopher Alexander's Pattern Language. In this text Alexander
looks at the nested relationships of patterns from regions and
towns; to neighborhoods; to clusters of buildings; to buildings,
rooms and alcoves; to final details of construction. He recognizes
that no pattern is an isolated entity and that all patterns are
embedded within other patterns, a truth recognized and developed
in Nature's Geometry as well.
