There are so many things in nature that are fascinating. When we used to go out to select locations I would spend hours by myself… I used to find out the time when everything looked most fascinating, when it has character and style, rather than shoot in a flat light. Hillier photographed I Know WhereContinuar lendo “Centenário de Erwin Hillier”
Starting with a consideration of the basic sequence of stripes that distinguishes one tartan design from another, known as the sett, this paper will take this basic structure as a means to consider tartan’s design possibilities to individuate and define, and yet suggest open-ended ness and infinite possibility for adaptation and reinterpretation.
Material from tartan’s architectural, fashionable, colonial and military histories will be utilised to consider how the immediately recognisable visual element of a tartan pattern – a grid in effect – when mediated via the design process is implicated in a variety of narratives; conservative and radical, oppressive and liberating.
Tartan’s narratives of contagion will reference the spatial ‘tartanisation’ of Balmoral alongside the temporal influence of cinematic fictions such as Minnelli’s Brigadoon and Powell and Pressburger’s I Know Where I’m Going! Narratives of oppression and identification will examine tartan’s utilisation in uniform and its ability to ‘brand’ the wearer, whilst its similarity to the prisoner’s stripe will introduce research into tartan’s utilisation as uniform within the slave trade. Tartan’s inspiration for figures such as the architect Dom Hans van der Laan, who based his sacred architecture on the spatial ratios contained in the sett of ‘Grey Douglas’ tartan will access the pattern’s spiritual and in some cases supernatural manifestations.
Due to tartan’s complex and often violent history its grids continue to provide many possible design trajectories that enable this ubiquitous and often derided pattern to transcend its clichéd perception, and constantly re-mythologise itself as part of its intrinsic function. Utilising cinema, painting, architecture and interior design, the paper will propose that tartan’s formal structural qualities, when combined with its distinctive socio-cultural significance, provide models for ways of thinking concerning the fluid, unstable and often contradictory nature of contemporary design.
Shadow Sites: Photography, Archaeology, and the British Landscape 1927–1955 (Kitty Hauser)
Em tempos de fotografar Um Conto de Canterbury (A Canterbury Tale, Michael Powell/Emeric Pressburger, 1944) Em tempos de fotografar As Sandálias do Pescador (The Shoes of the Fisherman, Michael Anderson, 1968) Em tempos de fotografar Sei Onde Fica O Paraíso (‘I Know Where I’m Going!’, Michael Powell/Emeric Pressburger, 1945)