Bohm and Peat (1987) have described the notion of nested orders as a structure of orders, where each order is generated by other orders. To explain the formation of such structures they have employed the term ‘degree of orders’, where the lowest level of order is explained as the order of ‘first degree’, while the gradual levels are sequentially termed as order of ‘second degree’, ‘third degree’ and so on. Remarkably, they have further established a relationship between the degree of orders and the complexity of the whole. Providing a conceptual spectrum, Bohm (1987) AU88: The in-text citation "Bohm (1987)" is not in the reference list. Please correct the citation, add the reference to the list, or delete the citation. has suggested that as the degree of order increases, the resultant whole becomes more complex. Consequently, order of infinite degree leads to chaos, which is perceived as disorder.
Published in Chapter:
The Pattern of Repetition and the Quest for Creativity
Manalee Sunil Nanavati (Oxford Brookes University, UK)
Copyright: © 2016
|Pages: 27
DOI: 10.4018/978-1-5225-0029-2.ch019
Abstract
A common application of parametric design is observed in the field of generative processes. Offering the possibility of incorporation of variety along with multiplicity, parametric has presented new ways of creatively employing such repetitive patterns. However, the application of this creativity is often restricted up to formal characteristics, with a complete neglect of perceptual qualities of the composed space. In this reference, the chapter primarily questions whether creativity is only applicable to the formal attributes of the repetitive pattern in parametric design; and further aims to examine how parametric design can undertake a repetitive pattern to simultaneously achieve remarkable creativity in its formal as well as perceptual attributes. This aim is addressed here by proposing a particular approach of assemblage; an approach that can enable the designer to visualise the constant interaction between organizational qualities and perceptual qualities of the composition; and in turn to achieve the desired attribute of the compositional whole.