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S U R F A C E  /  P A T T E R N

God is in the detail
                             —Aby Warburg, 1925

editorial / SUSAN HEDGES,             
TINA ENGELS-SCHWARZPAUL 
AND ROSS JENNER

Surface / Pattern: a pursuit 
of material narratives

Fig. 1 James Turkington & Tibor 
Donner (1957). Parnell Baths mural, 
Auckland. [Photo, Susan Hedges, 
2017]

The tie between surface and ornament is a long one. The patterning of surfaces 
in accordance with the latter has been extensively reviewed, admonished, and 
discarded, only to re-emerge more recently as a rehabilitated and indeed press-
ing arena of inquiry, in part due to the plethora of animating possibilities arising 
with digital technology and image-saturated life. Concomitantly, there has been 
a renewed interest in the writing of Aby Warburg (1866-1929) and Alois Riegl 
(1858-1905). Warburg, German art historian, ethnographer and cultural theorist, 
recognised an afterlife of images arising from antiquity during the Florentine 
Renaissance and pointed to the potency of ornament and decorative motifs in 
cultural interpretation. Riegl, Austrian art historian, attended to the decorative 
arts, until then routinely unexamined in art historical canons, and found in or-
namental details significant historical resonance and elucidation. Numerous 
studies have addressed these issues relative to Gottfried Semper, Adolf Loos, 
Hermann Muthesius, and Le Corbusier. They have recently become relevant in 
questions concerning demarcations between the animate and the inanimate 
(see, for example, Papapetros 2012, Payne 2013, van Eck 2014) given digitalisa-
tion particularly (see Spuybroek 2008 and Schumacher 2009). If, as Alina Payne 
(2013) has suggested, ornament shifts from being a nineteenth-century surface 



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concern in architecture, to become in the twentieth a matter of detached objects 
carrying an already highly mobilised ornamental impetus (as décor), this impe-
tus achieves extreme mobility and detachment in the twenty-first century. At 
this stage, objects themselves increasingly provide a focus for image repertoires 
(‘lifestyle’-indexing), which are simultaneously hollowed out in ‘smart’ networks, 
enchained in stretched vectors of production, distribution, and accelerated 
obsolescence.  

Architecture, left to find its own course after the eschewal of ornamentation, 
faces the continuing “problematics of appearance” following the division be-
tween an aesthetics expressive of (modern) production and one of (traditional) 
representation, as David Leatherbarrow and Mohsen Mostafavi (2002: 1-6) 
have argued. In twentieth-century modernism, façade design—a hangover of 
representation—gave way to a certain “autonomy of the surface”, a façade in-
dependent of structural frames that could be viewed as ‘skin’ (8). Enunciative 
concerns favouring volumetric over rhetorical effects came to define multi-faced 
compositions (13-14), leaving behind the relative representational freedom of 
nineteenth-century architectural expressionism—rich in physiognomic and 
moral/therapeutic implications (10). Yet, in the tension between building tech-
nology and expression, as Leatherbarrow and Mostafavi insist, a more or less 
generic logic of production remains seemingly at odds with a singularizing will in 
architectural figuration (20). The former has previously been seen as indicative 
of repetition (at times in an anonymising and alienating way) and the latter of 
identity (itself assumed to respond to immediate locality, climate, and social mo-
res, etc.; 7, 22). Yet, repetition—itself intrinsically caught up in continuities but 
also in breaks and irregularities—offers one way of understanding how produc-
tion and representation might commingle in complex ways (23). This complexity 
is perhaps better understood as patterning. Over the past decades, emerging dig-
ital fabrication technologies have certainly offered an avenue for a new profusion 
of patterning, shifting the previously site-less and substance-less ‘stuff ’ of digital 
design into varied, non-standardised material manifestations (Pell, et al. 2010: 
11-12). The result: incrustations, protuberances, textured expressions, smoothed 
surfaces, surfaces enlivened as screens—all, in their own ways, erasing the dis-
tinction between ornament and cladding. 

This is the territory contributors to Interstices 18, Surface/pattern: a pursuit of 
material narratives explore: the tension between ornament, adornment, object 
enlivenment, cladding, surface and pattern, and the strange animations inherent 
in surface-pattern continua. Etymologically, surface accords with the revealing 
of an upper or outward layer, but it also points to things that receive a surface 
through polishing or finishing. Pattern suggests the imposition of a plan or de-
sign that models or leans on exemplars for its form and rhythms—an underlying 
principle taken up materially. So, what might their continua potentiate? Thought 
in one direction, the smoothing of surfaces, particularly territorial ones, is indic-
ative of a prevailing politic and policing, as Paul Virilio (1986) has emphasised, 
with speed and frictionless transfer made a global ideal—if a contested and 
problematic one. Thought in another, pattern imparts rhythm to surfaces, po-
tentiating deceleration, awareness and contemplation, even deviation and delay. 
Hence, the journal issue is motivated by the renewed fascination with the sur-
face of things and the expressive effects and underlying patterns they mobilise 
materially. 



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Any anatomy of pattern soon runs into repetition. As Gilles Deleuze and Felix 
Guattari (1987) have argued, repetition, far from a surface-effect, is what makes 
a patterned (and therefore recognisable) world possible. From the encoding of 
milieus founding territoriality and place-specificity to social behaviours and cul-
tural distinctions, concretisation and mobilisation of rhythms consolidate and 
release the very differences through which life assembles itself. Performative 
and plastic arts in the Pacific, like those elsewhere, use repetition as an aesthet-
ic device. However, they also use it “to symbolise and effect relations of mana” 
(Tomlinson & Tengan 2015: 17), to channel affective force and to represent mem-
ory and knowledge to those who understand (Clark 2006: 12; Nepia 2013: 133, 
197). Hence, pattern and rhythm run free of, and extend beyond, all planar fixi-
ty. Surfaces are not simply seconded within the hierarchies of built place; they 
also open onto insistently moving and shifting states (Taylor 2009: 47). Far from 
keeping an outside apart, architecture, then, can be rethought to transform and 
crystallise the radical rhythms of an outside at large (Grosz 1995: 135). Patterning 
answers to this chaos, providing environments rich in repetition, difference and 
affect. Seen this way, the decorative and the detailed, the immediate and the su-
perficially apparent, all partake of domains of repetition extending into the very 
ontological depth of things. Contributors to this issue have sampled some of this 
complex continuum.

Invited contributions

Preceding this issue was the Interstices Under-Construction Symposium held 
in June 2017. There, the first keynote speaker, Spyros Papapetros (Associate 
Professor in History and Theory of Architecture at Princeton University), ex-
tended his work on the historiography of art and architecture, the intersections 
between architecture and the visual arts, as well as the relationship between 
architecture, psychoanalysis and the history of psychological aesthetics. In his 
address, Papapetros reminded us that animation, in architecture and design, 
starts with little things like ornament, accessories—things we might consider 
marginal, but which, nevertheless, are at the very core of the visual and material 
culture of their and our times. A recording of the address is available here, and 
we provide a summary in the following. 

Beginning with the image of a Kaffir chain necklace from South Africa, made of 
heterogeneous artefacts perforated and strung together in a chain, Papapetros 
raised the seemingly self-contradictory notion of a “portable ecology”, which 
became the core of this paper. Moreover, before Adolf Loos banned it, ornament 
was already buried by the very weight of ethnographical and archaeological lit-
erature that had been piled upon it. From this point of departure, Papapetros 
raised a succession of issues.

1/. Atrophy by decoration examines headgear, in particular, the spiked helmet 
and accoutrements of Kaiser Wilhelm II, the last German Emperor and King 
of Prussia, which veer between pageantry and a military attachment. Here, 
Papapetros refers to a primaeval relationship between ornament and weaponry; 
arms, he quotes Gottfried Semper, are “the true adornment of man”. 

2/. Regressive evolution refers to Evolution by Atrophy in Biology and Sociology 
by Jean Demoor, Jean Massart and Emile Vandervelde (originally in French 
1899), who argued that certain organs atrophy to the point of becoming mere 



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accessories, there being no progress without recoil. Papapetros draws attention 
to the strange case of the senators of the city of Hamburg who, when the lower 
classes challenged their authority, reverted to sixteenth-century costume.

3/. Ornamentation through rudimentation refers to three main texts: anthropol-
ogist Alfred Cort Haddon’s Evolution in Art (1895), in which ornament is seen as 
organic, Richard Clazier’s A Manual of Historic Ornament (1899), and Semper’s 
Lecture of 1856, “On the Formal Principles of Adornment and its Meaning as a 
Symbol in Art”. The last was one of the first to use evolutionary terms to describe 
ornament, specifically in the earplugs of the Brazilian Botocudo, which, Semper 
speculated, could have represented rudiments, or the origin, of archaic Greek 
ear pendants and, by extension, those of today. In this lecture, Semper defined 
three “axes of formation that correspond to the three extensions of space” from 
which “three spatial characteristic qualities of beauty emerge”: Symmetry (mac-
rocosmic unity), proportionality (microcosmic unity), and direction (unity of 
movement).

4/. Warburg reads Semper unravels Warburg’s analysis of Semper’s lecture in 
terms of cosmic forces of both attraction and repulsion. Warburg articulates 
three universal categories of ornament: one to do with movement and oscilla-
tion—the macrocosmic; one to do with the ring—microcosmic radial movement 
of expansion; and one to do with direction—projective, regimented space. 

5/. World Histories of Adornment treats the legacy of Semper’s theory of orna-
ment in J. Matthias’ The Human Ornament (Der menschliche Schmuck, 1871).

6/. The Ornament of People pursues the theme in Michael Haberlandt & Martin 
Gerlach’s Völkerschmuck (1906), Emil Selenka’s Der Schmuck des Menschen 
(1900) and the ethnologist and zoologist, Carl Semper’s (nephew of the architect) 
Reisen im Archipel der Philippinen (1868-1916) and Palau-Inseln im Stillen Ocean 
(1873).

Papapetros concluded by returning to Selenka’s study of the minutiae of hair in 
apes, where direction is grafted into the layer of the skin—as in an expanded an-
imate field. Here, hair is still a cosmic directional ornament, which undergoes a 
regressive evolution into its origins, according to Selenka. It is no longer a figure 
in front of a background, but the background itself. Ornament has not disap-
peared but turned into landscape, forest, sea, coral reef or sky. If Selenka’s wish 
to limit ornament to nature eventually allowed Loos to extricate ornament from 
modern civilised culture altogether, Papapetros, nevertheless, encouraged us to 
rediscover ornament in an afterglow, in a mediatised presence, “where there are 
no rays, no pendants, no directions, but only an animated field of constant yet 
variegated extension …”

The second keynote speaker, Tēvita O. Ka‘ili (Associate Professor at Brigham 
Young University, Lā’ie, Hawai’i), has ancestral connections to Samoa, Fiji and 
Tonga and is a long-time member of the Tā-Vā theory group in the Moana-Nui re-
gion. His keynote, Hoa patterns: binary, repetition, symmetry, kupesi, and mana, 
demonstrated the application of an area of the Moana-Nui (Pacific) theory of Tā-
Vā (Time-Space) that is relevant to design generally, and to the key theme of the 
symposium, Surface / Pattern, specifically. Opening the Pacific Spaces panel of 
the 2017 Interstice Under Construction Symposium, Ka‘ili asserted that all things 
stand in relations of exchange, through intersections/connections or separation, 



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in relations of order or conflict. His presentation focused on a concept that is 
common to the entire Moana-Nui region: hoa. With over 40 cognates in different 
locations, the term refers to the relations between two or more entities: compan-
ions, friends, but also adversaries (hoariri in Māori), involving complementarity, 
duality, harmony, equality, but also tension and conflict. Ka‘ili presented this 
field of connotations primarily from a Tongan perspective but often considered 
variations prominent in other areas of the Pacific. He showed, for example, how 
the very notion of pairs recurs in many Moana-Nui ways of thinking about the 
world: in cosmogonies, there are primordial and cosmic pairs, ancestral twins, 
and pairs of plants and fish. This duality also underpins kupesi (patterns) and 
heliaki (poetic, metaphoric comparisons: fakahoa). Well-established patterns 
are Manulua (two fish) and Kau-ika-lilo (Hidden School of Fish), for example, 
with the latter also featuring in the Fale Pasifika in Auckland. Mathematically, 
patterns rest on binary numbers systems—in use, for instance, in pre-contact 
Mangareva and in Tonga, where the system was called Nga‘ahoa.

Mata and ava are crucial elements of kupesi. Mata (eye, point) is the point of in-
tersection between two or more kohi (lines), while ava is the symmetry of mata. 
Kohi themselves are collections of two or more mata, and vā (space) arises out 
of a collection of kohi. These elements are deployed across different forms of 
symmetry (radial, bilateral, spherical and fractal), which mediate their levels of 
energy, order and conflict. Energy is most dense and intense at the mata, which 
is the location of, or/or creates, mana—which itself is constituted as a surfeit of 
energy. As a basis for plurality, the duality of hoa is in principle dynamic—and 
thereby in important ways different from binary marked–unmarked oppositions 
in contemporary Western thinking, which assume the dominance of one term 
over the other. On certain occasions, though, as in the Tongan kava ceremony, 
order is tapu (sacred)—preserving the state of harmony, order and beauty.

Tēvita O. Ka‘ili’s keynote is available here.

Reviewed papers

John Ruskin offered a different angle on the debates concerning construction-
al polychromy in Victorian Britain, according to Anuradha Chatterjee, who 
considers their larger context and Ruskin’s place within it. Ruskin, she argues, 
favoured the decorative use of materials’ innate colour to achieve concealment of 
a building’s structure. Though his theory of polychromy, especially his attitudes 
to colour and pattern, remains far from obvious, Chatterjee offers insights into 
them through the lenses of gender, body, soul and dress. She presents his triadic 
theory of architecture: a) architecture is a combination of painting and sculpture; 
b) it is feminine; and c) it is analogous to a dressed body. In this light, she revis-
its an ambivalence between colour as pattern, and colour as effect, arguing that, 
for Ruskin, simultaneity and vacillation, not singularity and stability, essentially 
characterise the visual field. Ruskin’s writings, she proposes, undermined po-
larities prevalent in contemporary understandings of polychromy and rendered 
them more complex, since he not only refused to resolve the difference between 
pattern and effect but also to the settle the difference between sculpture and 
painting; canvas and textile; and flatness and texture.

In “On territorial images: Erewhon, or, chiastic desire”, Andrew Douglas explores 
a surface-pattern nexus by way of what he terms territorial images. Arguing that 

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there is no territory without repetition patterns, which in turn inscribe a semiotic 
generating images, he draws on the role of ‘picturing’ to account for the posses-
sive and demarking dynamic implicit in territorial assemblages. Crossing Hans 
Blumenberg’s (1985) thinking on “existential anxiety” and its mythical rework-
ing of horizons of unknowing with the work of Gilles Deleuze and Felix Guattari 
(1987) on repetition patterning and the refrains of territoriality, the paper looks 
to modes of imagined place-solidarity emerging with nation states. Drawing on 
Andrea Mubi Brighenti’s (2010) call for an expanded territorology—itself building 
on Deleuze and Guattari’s (1987 & 1994) notions of territoriality—Douglas empha-
sises the extent to which territory, usually regarded as a spatial phenomenon, in 
fact rests on temporal and psychical geneses consolidating differences in modes 
of repetition—in the case of the nation-state, as Benedict Anderson (1991) has 
proposed, spanning commonly imagined daily routines, memorialising, and re-
fashioned futures. In particular, the paper draws on the role of utopian discourse 
in the transition to Europe nationalism and, in turn, to the transmittal of utopian 
aspirations and imaginings to colonial places. Central is a reading of a novel in-
fluential in a range of Deleuze’s writings: Samuel Butler’s Erewhon, or, over the 
range (1872/2013), a utopian satire set in Aotearoa/New Zealand’s Southern 
Alps. Developing links between the novel’s philosophical uptake; its deploy-
ment of topography and modes of imagining specific to Aotearoa/New Zealand; 
and Butler’s deployment of a Neoplatonist empiricism more broadly, the paper 
plays out the significance of chiastic desire—a criss-cross patterning that draws 
surface configurations (landscape picturing, textual place descriptions, topo-
graphical delineation, perceptual routines) into deeper relations of grounding, 
imagination, and the drawing of place sensibility out of the imperceptible. 

Sébastien Galliot, in his essay “From ritual efficacy to iconic efficiency: ritual en-
coding, surface/pattern and global perceptions of Pacific tattoo iconography” 
draws on fieldwork conducted between 2001 and 2013 in Samoa, New Zealand and 
Europe, as well as his curatorial activities involving Pacific and Samoan tattooing. 
Building on previous research on ritual efficacy and ritual transmission, the paper 
examines changes in the mode of reception of Samoan iconography and ques-
tions the changing status of Pacific tattoos. Galliot first establishes the context of 
production and reception, discussing the emergence of what he terms a tattoos-
cape in Pacific tattooing. Theoretically, he takes a pragmatic, rather than Kantian, 
approach to the interpretation of images in their field of practice, by exploring 
Charles S. Peirce’s semiotic categories, index, icon and symbol. The dual nature of 
iconicity, where surface and depth interact to produce iconic power (Alexander, 
Bartmanski, & Giesen, 2012), is particularly relevant for tattooed images since 
iconic power gives the mark inscribed on the skin both effect and meaning—both 
ritual efficacy and visual saliency. In their original practice context, completed 
tattoos index primarily a well-conducted ritual, in which two parties (the re-
cipient and his or her family on one side, and the tattooing expert on the other) 
managed to maintain respectful and caring interactions throughout the process. 
From that perspective, tattooed images index good relations and the physical 
and psychological strength of the wearer. When looking at the elements of tattoo 
patterns in detail, though, their iconic aspects come to the fore. In a multimodal 
reading of Samoan tattoo iconography, juxtaposing primarily indexical and iconic 
aspects of tattooing and tattoos, Galliot reworks Peirce’s own realisation that icons 
and indices are always partly symbolic, and that the icon/index/symbol trichoto-
my is an abstraction. Tattoos, like any sign, combine all three characteristics and, 



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depending on the context, any one aspect can dominate. While tattoos can be 
seen as being detached from their original destination (the human skin), they re-
tain some iconic power even in branding campaigns that deploy them to connote 
Samoan-ness or Pacific-ness—or, more generally, to convey notions of authentic-
ity. Ultimately, Galliot demonstrates how the global (re)appropriation of Pacific 
designs has caused a change in their mode of production and reception.

In “Binding and arresting: surface and pattern in a contemporary traditional 
Pacific building”, Tina Engels-Schwarzpaul considers modes of patterning evi-
dent in the University of Auckland’s Fale Pasifika. The Fale is a gathering place 
intended primarily to connect the university with Pacific communities in the re-
gion, but it also appeals to wider audiences and is often used for the reception 
of international visitors. Recognised as iconically Pacific by the university, it 
draws mainly on Polynesian traditions, with its lalava (lashings) also referenc-
ing Micronesian and Melanesian patterns. Engels-Schwarzpaul proposes that the 
Fale owes its iconic power (Alexander, Bartmanski, & Giesen, 2012) to a fusion of 
surface and depth, mediated by the very materiality and meaning of those pat-
terns, which provide diasporic communities with shared histories and a starting 
point for trans-Pacific identifications. In the right constellations, lalava is able to 
bind together ancestral knowledge and present practices, despite many conces-
sions to alien regulations and rules of production. Tongan tofunga (expert) Tohi 
asserts that lalava is “deeper than just the lashing”, more connected to a chang-
ing world and cosmos-in-motion than given credit. Patterns extend, indeed, into 
cosmological, social, technological and subjective realms. Over time, they can 
engender relationships between people and things (Gell, 1998). Such relation-
ships between arresting figures, ensnaring ground and viewers are founded on 
mimetic experiences (Rampley, 1997). The paper explores the conditions under 
which arresting patterns on refined surfaces can both symbolise and effect rela-
tions of mana and channel affective force (Tomlinson & Tengan 2016). The paper 
suggests that iconic power could be a valuable strategic resource for Indigenous 
trans-Pacific concepts, integrating aspects of materiality, performativity, at-
mospheres and non-human agency with more traditional, structuralist insights 
generated in cross-overs between architecture and anthropology.

Reviewed postgraduate creative design research projects

In “Interiors of memories: A study of personal memories based on the works of 
Luigi Serafini and Georges Perec”, Joanne Choueiri, in a project undertaken at 
the Piet Zwart Institute, Rotterdam, utilises personal memories as an oneir-
ic foundation for the creation of new forms of interior. Drawing on the work of 
Italian illustrator, Luigi Serafini’s Codex Seraphinianus (1981) and French writer, 
Georges Perec’s Species of spaces and other pieces (1997), memories are recon-
figured as narratives, which themselves form the prompt for the production of 
fantastic interiors. Room by room, domestic typologies and their programmatic 
functions are called into question via an appeal to the fantastical, a genre merg-
ing the imagined and the real—in a manner, in fact, coextensive with French 
philosopher, Gaston Bachelard’s (1994) claim of a psychically dense layering 
found in the dwelling places of childhood.

Building on David Leatherbarrow and Mohsen Mostafavi’s (2002) consideration 
of surface in architecture, John de Manincor, from the University of Queensland, 



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Australia, devised “Whethering station: Thin surface, thick surface”, a pavilion 
project exploring parametric modelling and novel fabrication processes. This 
doctoral research project plays out the implications of the undefinable thinness 
of digital lines to rework the notion that drawn lines connote a surface indica-
tive of a volume coming into being. Manincor unpacks a suggestive reading by 
Andrew Benjamin (2006) of Gottfried Semper’s thinking on the wall as a paradig-
matic element—both harbouring and concealing depth—in order to articulate a 
pavilion of acute thinness, both conceptually and technically: a pavilion whose 
materiality is nought but surface. 

Reviews

As series of reviews draw this issue to a close: a book review by Sean Flannagan 
of The Auckland School: 100 years of architecture and planning, edited by 
Julia Gatley and Lucy Treep (2017); John Walsh’ exhibition review of The 
Auckland School: Celebrating the centenary of the University of Auckland School 
of Architecture and Planning (2017); and book reviews by Jonathan Hale of 
Atmospheric architectures: the aesthetics of felt spaces by Gernot Böhme (edited/
trans A-C Engels-Schwarzpaul, 2017) and by Jan Smitheram of The Baroque in 
architectural culture 1880-1980, edited by Andrew Leach, John Macarthur and 
Maarten Delbeke (2015).

Papers and projects presented in this issue show, across a considerable range, 
that surfaces are anything but ‘surface-affairs’. No surface—even the most aus-
tere—can absent itself from the work of patterning, punctuating and spacing. In 
short, no surface is ever shorn of the implications of repetition and, with them, 
enlivening rhythms and echoes that carry on into the very constitution and 
depths of what is surfaced.



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