The Grammar of Matter

the grammar of matter

Every material has got a set of specific characteristics and qualities resulting from its nature, that defines its limits and potential as well as its range of possible transformations, reversible or not. It is what I call a kind of “natural grammar”, meaning some inner rules that can be empirically investigated. How? Observing and transforming the material with a friendly approach, remaining attuned to its nature, with the curiosity and discretion of a guest. If we do not want to impose a shape but are in a respectful interaction, the material itself will suggest us what to do. Take for example a sheet of paper.

all the possible ways to fold a sheet of paper
Pictures from ” Folding Techniques for Designers: From Sheet to Form ” by Paul Jackson

Just taking it in your hands, you immediately understand it can can be rolled or folded. But how many ways? The exploration of this simple action opens up a world of variations: different dimensions, inclinations, proportions, forms of the starting sheet, and so on. Could we have imagined all these possibilities without a thorough investigation? Likewise, many other actions can develop (rubbing, piercing, cutting, rolling, wetting …) and be combined. The richer this inventory will become, the more possibilities you will have available to creatively transform the material.

some possible ways to transform a sheet of paper
Pictures from “Il gioco creativo – 1 La carta” by E. Rottger and D. Klante, Il Castello Edizioni

Paper is a material we can find in several shapes, weights and textures: each kind has got its own grammar, with some characteristics in common and other unique, specific ones. Let’s think, for example, of a toilet paper roll: the actions of folding and cutting are still possible but influenced by the cylindrical shape and the weight of the cardboard, thus effecting different results.

all the possible ways to transform  a toilet paper roll

The same goes for whatever material, artistic, waste or everyday, from the simplest to the most complex and structured, to some objects (like newspapers, magazines, old books and catalogs in the case of paper). But why should we study this “grammar”? Won’t it be boring using a material just for the sake of knowing it, without the goal of creating a specific product?

all the possible ways to transform  a magazine

In fact, dividing the search process from the product, as if they were two completely distinct phases, may seem unrealistic, since they usually go hand in hand. However, this sort of “forcing” can improve our awareness. A previous, intensive exploration is a very useful exercise, both manual and cognitive, to discover all the potential of a material, as well as its limits. Thus we will be able to make the most of its technical and expressive possibilities, as we can see in some artistic works.

Art works by Stefano Arienti
Art works by Stefano Arienti
Art works by Zbigniew Salaj
Art works by Zbigniew Salaj

In the case of some classical artistic materials, such as clay, the “grammar” can mostly coincide with the “technique”: the set of rules and coded informations handed down over time, that we should know in order to avoid wasting material or for some complex works. For example, as far as clay: before cooking a piece, we need to know how to prevent air bubbles from forming, or if we want to attach pieces to each other, we need to know how to create the “slip”, and so on. But, in addition to this academic knowledge, it is still important to directly explore the material by our hands, to understand how it can be transformed: through what actions? With how many variations can each action be modulated? How does the material react? With what results?

some possible ways to transform a piece of clay
Pictures from “Il gioco creativo – 3 La ceramica” by E. Rottger and D. Klante, Il Castello Edizioni

Following a gradual increase in complexity, our exploration could go on with the encounter between two materials: what possible dialogues between two languages? The encounter with “diversity” and the search for possible interactions highlight the two (or more) specific identities of the materials – as well as the creator’s one – and suggest unexpected solutions. Maybe here there is an interesting connection: can the materials represent significant metaphors of our relational patterns? There are not simplistic and linear interpretations but subtle correspondences between external and internal world, between materials and interiorities, which constitute the core of art therapy. You can find more about this in the post “Dialogue with a sheet of paper”.

some possible ways to use clay and cardboard together
some possible ways to use clay and other materials together
Atelier of the Loris Malaguzzi Center, Reggio Emilia

At all levels, from the educational field to the industrial design of an object, using a material with a respectful approach towards its nature generates a more authentic, ecological relationship with it, as well as a more pleasant and coherent aesthetic result. As Bruno Munari explained in his book “Da cosa nasce cosa”, a good way to learn this approach is by observing nature. Simple shapes like a drop of water, or more complicated ones like that of the praying mantis, are all built according to laws of constructive economy. In a bamboo cane the thickness of the material, the decreasing diameter, its elasticity, the arrangement of the nodes, all of these respond to precise economic laws: if it was stiffer it would break, more elastic it would not bear the weight of the snow. There is a limit we cannot go beyond, in the sense of constructive simplicity.

The orange fruit as example of perfect packaging by Bruno Munari

For example, the traditional blown glass bottle has a logical form in relation to the material: in fact its shape is nothing but the shape of the drop of molten glass, dilated by the blower. This means that it is a logical form, where the thickness is uniform over the entire surface, such as in soap bubbles. You can’t make a square bottle with blown glass, because the square shape is unnatural compared to the expansion process of this incandescent magma which is glass.

Picture from “Da cosa nasce cosa” by Bruno Munari, Laterza

Thus, it seems that an “exact” thing is also beautiful. This is why the observation of natural forms is very useful to designers, who learn to use materials for their technical characteristics, according to their nature, and not to use iron where wood would be better, and so on. I would like to add that it will be very useful to anyone interested in discovering the grammar of matter: the natural laws that allow us to use materials respecting their limits and enhancing their potential.

how to represent trees with a string
Picture from “Saremo alberi” by Mauro Evangelista, Artebambini

If you would like to share experiences and discussions about this topics, you are very welcome to join the Facebook group the grammar of matter. You can also subscribe to the neswletter in the footer below to keep updated on the latest posts.
See you soon for the next chapter of the grammar and enjoy your exploration!

#thegrammarofmatter

Playing with Loose Parts in the Atelier

Unstructured materials composition

How finding the right balance between rules and freedom, in order to support the creative process?
The image above is part of a 100 x 70 cm composition made by three five-year-old children with some loose parts. How do you think the creation process has developed? What was the proposal (if any) and the role of the adult?
First of all, consider it was the last of a series of atelier sessions dedicated to these materials. This is quite significant, since the first time need children meet a new material, they like to is freely explore it for a long enough time, knowing its potential and limits. So it’s better to postpone more specific proposals. But let’s start from the beginning.

I would have liked to offer an experience with loose parts – small pieces of plastic, metal, wood, cardboard, buttons, stoppers, scraps from industrial and artisan processing – all collected in various containers. But how presenting theml? As a completely free exploration? I could imagine that inebriating wealth and multiplicity became a confusing jumble in a few seconds… So how to “contain” children’s activity and stimulate a rich personal research at the same time?

My solution was a kind of game with a few, simple rules: a small group of children at a time, the materials neatly arranged on a table. Every child had a small container which he/she could use to “shop”, putting there the chosen materials. On other tables, there were white cardboard bases, where children “played” with their materials. Once the game (and the composition on the cardboard) was finished, the children could optionally take a picture of the final composition and gave it a title. Then they put all the used materials back into their personal container and divided them in the different respective containers. At this point, children could start the process again and again.

Another solution I tried is putting all the containers in the center of a large table, where the children could take the materials they needed from time to time. Maybe it was my need of order… Anyway, it worked. The rules were gladly accepted as part of a game and allowed children to manage themselves independently, respecting individual times. Even the final step of “destruction” of the work was “naturally” welcomed by children, that were immersed in a fast and intense research, without needing to “hold” a result. A demonstration of how the “attachment” to the product is more frequent in adults than children.

As children liked it very much, we repeated the same activity several times and I gradually introduced some variants: for example cardboard bases of different formats or a selecion of a certain range of materials (according to tactile, chromatic or other criteria). Some variations were stimulating for children, others were not. So I chose the next variant observing children’s responces. It was also interesting to observe how different materials influenced the composition and, at the same time, how the personal style of each child was recognizable through the diversity of materials: personal style and material characteristics are elements that are always intertwined in every work.

This image has an empty alt attribute; its file name is comp-finale-costruzione2-1024x425.jpg

As last step, I proposed a group work: three children at a time, on a large format of 100 X 70 cm. Of course I knew that the format was too big to be “controlled” and organized with a shared project a priori. So I invited the children to start individually, from the side they preferred. Then each group followed process that organicaly unfolded, bring the various contributions together. Inspired by the forms that were gradually created and by some questions of mine, children gradually connected the three parts, both aesthetically and narratively. In this case, I proposed to fix the final composition on the sheet with glue, as a tangible conclusion of a long process and enhancement of a collective work. Product and process are both important: it’s up to us to understand when it’s time to focus on one rather than the other.

Every game has got its own rules, which are willingly accepted by who freely choose to play. Sometimes the rules “allow”, sometimes they “limit”, as well as total freedom can be an obstacle or an impetus for the creative process. There are not solutions that are always good. Each time we have to look for the right balance, taking into account the context and the objectives. It is a flexible dance between two necessary opposites. The empathic listening of children can help us to be attuned to their rhythm.

Are you interested in the creative use of materials for developing the unique potential of children? You are very welcome to subscribe to the newsletter and join the Facebook group The Grammar of Matter for continuing to learn together.

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