By Jane Dunnewold

ISBN-10: 1596681950

ISBN-13: 9781596681958

This information-packed instruction manual is acceptable for either beginners and skilled dyers yet assumes that readers have a major curiosity in fabric layout.

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Extra info for Art Cloth: A Guide to Surface Design for Fabric

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This is hardly a problem, for the work of design only begins when a stretch of this continuum is interrupted or divided, when its clear blue expanse is parsed into places that are distinct from one another because internal or internalizing boundaries have been made and an inside has been defined over against an outside, a terrestrial here distinguished from everywhere else. It is no doubt obvious to state that walls are what architects use to subdivide open space. Less obvious, perhaps, but no less significant is the observation that the whole effort of plan making results in the positioning of these elements in the midst of a structural frame, which means deciding their length, the angles they make with one another, and their overall pattern.

In fact, much evidence points to contrary interests. In his urban schemes he sometimes transformed the middle ground into fully comprehensive verdure, as if the “urban context” had become entirely overgrown. Other times the landscape’s middle ground was made to continue, extend, or prolong the intervals and measures of the building’s layout, as if there were no landscape, only cityscape, without limit. The first alternative presents the city as wilderness, the second as megastructure, giving us a choice of all earth or all art.

If not the same, can these materials and the elements that result at least be seen as similar, similarly enmeshed in the land, the climate, and the culture? That Fehn thought so is doubtless. 23 CHAPTER ONE Perhaps Fehn’s city section carries an echo of the survey work undertaken by Alberti and Le Corbusier. The other two, having practiced their different procedures of measurement, discovered (in themselves) a more or less melancholic “distance” from the landscapes they studied: Alberti’s horizontal sightings sailed over the sites he took for granted in the everyday life of the city, and Le Corbusier’s aerial perspective, his “oversight,” caused him to long for anchorage in prosaic affairs, outside of which he found himself unable to act.

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Art Cloth: A Guide to Surface Design for Fabric by Jane Dunnewold

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