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JUBILEE COURT – a visual joy

This Art Deco block of flats, situated on Seventh Avenue, Morningside, on the Berea in Durban, is a visual joy. Living up to its name, it is a celebration of the Art Deco style. Every aspect of this structure has visual interest – that of form, line, texture and decoration. Jubilee Court fortunately falls within a high income area of Durban and has been spared the indignity of neglect and abuse apportioned for so many other Art Deco buildings in my city.

The three storey structure is built on slightly sloping ground, and is viewed from three sides. The leading corners of the building are anchored by two handsome 4 storey stair turrets that are decorated in beautifully pointed basket-weave brickwork that contrasts smartly with painted plaster and fluted concertina-like motifs. They hold at their base the original wood and glass doors with typical Art deco detailing. The parapet of the building which hides the roof – is decorated with fan motifs made of red brick, and is topped with several brick finials.

All the 3^rd floor windows are crowned and shielded by 3 architraves that project from the facade. Sadly though, the closing in of balconies, has had a flattening effect to the facade.

Graham Leslie McCallum

My grandfather Alexander Ernest McCallum (called Ernest McCallum) was badly wounded at Delville Wood while serving with the 1st South African Infantry, 9th Scottish Division, World War 1. While researching his participation, I came across the name of another South African with the same surname and who perished at Delville Wood. His name was Cyril Fidelis McCallum. At first I thought he might be related to my grandfather, but was later to discover that Cyril was a descendant of a separate branch of McCallum’s who settled in South Africa in the 1800′s. Two years after first learning of Cyril I got to know David Malcolm McCallum, a fellow South African who was researching this branch of the McCallum’s. David’s Grandfather, Vincent Mannix McCallum, was  Cyril’s brother. Cyril had 4 brothers, all who served in World War 1. All returned, bar Cyril who was killed in action on the 15th of July 1916, aged 17 years and 11 months. My grandfather was wounded on the 18th, two days later. Cyril’s body was never found, and his remains lie lost, somewhere on the battlefield. No doubt Alexander and Cyril knew each other, if not personally then by having shared a common name. Alexander came back; Cyril did not. Today I want to draw attention to Cyril, who was never able to live out his life, also his parents, Alexander Frederick McCallum and his mother, Matilda Pope. Fortunately, an old and well worn photograph of Cyril survives. He stands proudly, dressed up in his 4SAI Transvaal Scottish kilt and tam-o-shanter. Cyril’s mother had named him after Saints Cyril and Fidelis. His second name, meaning faithful, is most appropriate.

Cyril Fidelis McCallum. Born 16 August 1898 at Alice, Cape of Good Hope, South Africa. Occupation – Draper. Private 3918, 4th SAI, A Company, 9th Scottish Division, WW1 – Died 15th July 1916 aged 17 years and 11 months, Missing in action. Memorial – Thiepval, pier and face 4C. Siblings – Norman Sebastian McCallum/ May Dympna Ann McCallum (Stirk)/ Gordon Alexander Hugh McCallum/ Eileen Emily Bernardine McCallum (Sinclair)/ Vincent Mannix McCallum/ Kevin Angus Stanislaus McCallum/ Ismay Lorna Reginald McCallum/ Joyce Veronica Gonzalva McCallum (White).

Graham Leslie McCallum, 5th May 2011

I don’t know if this art deco house in Glenwood, Durban, has a name, but I think it so deserves one. May I suggest Palm House, for a large and imposing palm gently hugs the side of the structure and explodes into a fanfare of fronds in the Berean sky.

This residence stands on a strangely shaped site that is somewhat like a raised peninsula. Its location no doubt determined the narrow dimensions of the house, but elevates it above the roadway, like a fine artwork on a pedestal; and furthermore, allows one to survey the house from three sides.

I noticed renovation work was in progress with the insertion of several new matching portholes, probably to bring additional light into the interior. Most of the windows are smartly framed and are shielded by beautifully-slim projecting slabs. The owners have cleverly refrained from building security walls that would block admiring, perhaps envious glances. The only blight to this gem is the horrid wrought iron security gate at the main entrance.

Lawson Mansions, a smart 3 story Art Deco block of flats, with a delightful creamy face; rests comfortably on the corner of McDonald and Stella in Bulwer on the Berea. The body corporate and residents deserve praise for taking such good care of this handsome structure. I am sure the flats are as well maintained.

Surprisingly, all the windows appear to have their original wooden frames, stained a deep mahogany and in dramatic contrast to the light paintwork. Large windows pleasantly wrap around the corners of the building and are shielded by thin projecting slabs and moulded plaster frames. The building sports two entrances, one centrally located on its McDonald frontage and the other set to the right side of the Stella Road frontage. Their vertical windows break the predominating horizontal lines of the building and cast light on the stairwells. Perhaps, at the next corporate meeting, a decision will be made to replace flag poles to the extent posts. They are indicative of a more patriotic time. Such a lovely building deserves to wave its flag proudly.

MOUNT ROYAL

I have driven past this 5 story block of flats in Congella many times and took note that it had some Art Deco detail. This week however, on impulse, I stopped and with my camera in hand took a closer inspection. The name Mount Royal belies the rather humble flats that lie behind a pleasant facade of coloured brick and contrasting plaster, made dramatic by several tall palms. The front face of the structure is now somewhat lacking in dimension since residents closed in their balconies. (Note. the balcony water spouts). This flatness is somewhat relieved by a centrally projecting, and unusual brick structure, that rises above the entrance. I initially thought a flight of stairs was located behind this structure, but there are in fact flats. Above this projection is a large and imposing art deco winged motif with a central shield, that at a glance, looks like a large bird is alighting on the building. The top line of the building steps back in a typical art deco fashion.

The foyer still sports much of its original wooden panelling, now crying out for a waxing and a shine. Flanking the entrance are two surviving brick and tile gate posts, the construction method familiar to many Bereans whose fireplaces were similarly built.

This Art Deco Building in Umbilo Durban, just above Congella was marked for Demolition about a year or so ago. When I saw the Demolition sign go up, I cursed all the authorities that be for alowing this lovely building to be torn down. Sure it was in a deplorable condition, in desperate need of some love and care, not to mention a lick of paint, but surely I was not the only Durbanite who thought it worth saving. Well, I am charmed to say I was not, for the Demolition sign came down and the renovators set up their scaffolding, and who do we have to thank for this - a gentleman called Louis Vryenhoek? Prior to the renovation, the roof of Marseilles tiles sloped down to the road side with gutters. Wood borer had damaged the wooden beams of the roof to such a degree that Mr. Vryenhoek got permission to reverse the angle of the roof, as Louis told me during a telephone call I made him - managing gutters on a sloping tile roof on a structure four stories in height was problem enough. The solution – he raised the facade just short of a story. This addition now conceals a roof that slopes towards the rear of the building. Careful and clever thought was given to matching the Art Deco detailing on this addition. I think what the building lost in its mediterranean styled roof, it gained in a stronger Art Deco facade. Note the interesting letter ‘R’ from the building’s name.

 This handsome art deco lion crouches ready to spring in front of the Cenotaph in Durban. When I was working on 400 Art Deco Motifs I sadly missed out on this local example. Perhaps when it comes to bringing out a new edition of 4000 Animal, Bird and Fish Motifs, I will turn the sculpture into a motif for everyone’s benefit. In the meantime, anyone is welcome to try their hand at it.

You will though, find a motif above, that I snuck out of 400 Art Deco Motifs, the source of which I can no longer remember, as a bonus. Oh yes! in the one snap, that ring in the sky is not a UFO descending, it’s only ABSA Bank’s new swanky structure, no doubt paid for by our soaring bank charges. I trust a strong wind does not blow off the Indian ocean.

Graham McCallum

 Art Deco styled Cenotaph – Durban

On the 11th of November last year at 11 o’clock, I took myself off to the memorial that commemorates those Durbanites who fell in the First and Second World War. That evening an event by the Moths was planned, but that morning the monument was deserted, but for myself and a bunch of white lilies that I placed soulfully on the chest of the sculpture of a dead soldier. The bronze soldier lies prostrate on a stone altar, covered by his trench coat and helmet. At the top of the edifice, two angels in lapis lazuli robes and with feathered wings, gently raise the soul of the dead soldier heavenward, symblolised by a white dove. The imposing and remarkable memorial, styled in the Art Deco Style, with its coloured tiling, shone brightly in the clear November Durban sunshine. Some have criticized the monument as too colourful, but I think it is strangely appropriate for its tropical setting of blue skies and plumed palms.

Among the dead remembered, is one John McCallum who died of his wounds on the 11th of August 1918, aged 22. His name also appears on the Caestre monument where he is buried in the Caestre Military Cemetery in France. John had enlisted fresh out of school as a Private in the 2nd South African Infantry (men from Natal and the Orange Free State) and served as a member of the South African Brigade, a Group within the 9th Scottish Division. As a result of the frightening casualties within the 3rd SAI, this Regiment was disbanded on the 18 February 1918, and on the 24 April 1918 the remaining 3 regiments (1st SAI/ 2nd SAI and 4th SAI) were amalgamated following further heavy casualties. The South Africans were then termed the South African Composite Regiment until the end of the war. On the 5th of August 1918 the South Africans were back in action, having taken up positions along the Meteren Becque and Le Waton front. The following 2 weeks were mostly puntuated with patrols along the Becque. It was in this time span before the 18th of August when the South African lines were being heavily shelled by German Artillery, that John McCallum was sadly killed, only 3 months before Armistice. His father was James Niven McCallum and his mother Helen Jane McAndrew. John and his sacrifice is not forgotten, for each year the pupils of Glenwood Boys High School take occasion to remember those former pupils who fell in battle.

I took myself off to John’s old school this May, and was kindly escorted to the World War 1 and 2 memorial. I was able to take several photographs of the memorial and a brightly polished brass plaque near the foyer, inscibed with our soldier’s name. On the way I walked past several dozen school boys, who addressed me politely with a greeting. Many plush-cheeked, and certainly no older than John was when he headed off to France.

Graham Leslie McCallum

 When I was 13 years old, I fancied this image of a horse and rider so much that I kept it. I do not know who the artist was, but I dertermined then to work at my drawing in the hope that one day I too could capture something similar. It appeared on the cover to the Natal Junior Horse Show programme that was held in the city of Pietermaritzburg in 1979. I have kept this programme for 32 years as a momento of that commitment. For those acquainted with horses and in particular dressage, you will almost sense the movements of a horse on the bit and going steadily through its paces. The artist achieved this by making use of beautiful and expressive line that flows fluidly from the neck of the horse to its tail, but marvelously contrasted by the rigid and controlled vertical form of the rider. The stop-endings created by the horses hoofs, also emphasize the horses smart and measured gait. Altogether, an arresting image.

Graham McCallum

 INTRODUCTION

If we were to take a single motif, even the most simple of motifs, for example, a black dot and then placed several similar dots together, evenly spaced along an imaginary line- we will have created a linear pattern. There is something so visually pleasing in this most basic pattern, not only beautiful, but psychologically satisfying too. Extend that collection of dots vertically and you have amplified the pleasure effect.

This is precisely what our ancestors did 30 000 years ago.  These cave-dwelling men and women discovered this aesthetic effect and carved this pattern onto their bone implements and painted it onto the walls of their rock shelters- and here we are, in the twenty-first century, still appreciating that very same pattern, only now, we call it the polka-dot pattern.

That you have picked up this book and taken the time to page through the patterns and motifs- is proof that you have an appreciation for patterning. Many scholars have theorized endlessly about the reason for mankind’s fascination for design, but like most of our desires and passions, the reasons lie deeply buried and locked-away within the complex psyche. However, I would like to think that as you explore through these wonderfully decorative pages, that you unlock that mystery and discover the secret to your personal passion for decoration.

In truth, the creative mind is not the only source for decorative patterns; the Natural World has pipped us to the post, producing some of the most beautiful and varied delights. Even our very finger and palm prints are Nature’s unique patterns imprinted on our hands. Taking a closer look at several wonderfully decorative tropical shells or the fascinating pelts of wild animals- is a humbling experience; indeed, you’d find it tremendously difficult to improve on nature’s originality.

Fortunately for us, thousands of talented artists and craftspeople, have preceded us and left an extraordinary wealth of motifs and patterns. The cultural creativity of the past not only provides a generous source of design and decoration, but also a wealth of motivating inspiration. It is like unlocking a chest and finding it brimming with jewels and finely-wrought treasures in gold and silver.

Within these pages, I have catalogued the many arrangements that we find pleasing, from mankind’s earliest Stone Age attempts, right through to the modern Art Deco style.

This volume contains many types of patterns: the chequered, the stellar, the scale-like, the spiraled, the arabesque, and many, many more. Some of these decorative styles were championed by different cultures and at different times. Greek design is a fine lesson in a restrained styling using a set number of design models, while the Gothic style is a good instructor of creative exuberance and the Japanese style a tutorial in simplicity.

These special and distinctive designs have been taken from many sources. Some are from the age-old pottery of the Neolithic Period- so bold and assertive in their dark brushstrokes. Others are from the intriguing jewellery of the Egyptian Dynasties, like those golden and enameled treasures discovered in the tomb of the Pharaoh Tutankhamen. Yet others were collected from the exquisite images painted on the walls of Minoan palaces. The mosaics of the Byzantines, the architectural friezes of Romanesque cathedrals and the maze-like relief-work on Chinese bronzes were the source for many more.

This wide field of motif and pattern sourcing, affords the user of this book many and varied applications.

In this age of digital cameras, personal computers, graphic software and colour printers, it is easy and quick for you to take a snap-shot of a flower in your garden and to print out as many images of it as you would wish for. Why is it then, that with all these electronic aids at our disposal- we still find the simple patterns and motifs, made up of basic shapes, lines and forms and executed by hand, to be more satisfying?

Here lies the crux of the mystery and the value in this book: we have a compelling drive to manipulate, extrapolate, redesign and re-interpret from nature. We are not content to simply photograph natural images for our decorative purposes, rather, we desire to leave the mark of our hands and to reveal our thought-processes for all to see and appreciate.

This book caters for this well-defined, enduring and classic creative tradition. Something of the life force, the movement of the designer’s hand, the passion, even the very soul of the artist, is forever captured in these motifs and patterns.

Fortunately, for those of you who want to simply capture a pattern for a project from this fine tradition, modern copying methods are quick and effective. All the artwork has been executed in fine and exacting detail for your visual enjoyment, for your inspiration and to assist you in your many creative pursuits. The black and white images in this publication, facilitates their accurate reproduction. The line-drawn images make hand-reproduction that much the easier. Many of the complex patterns have accompanying registration marks to help the user locate the beginning, midpoint and ending of pattern sequences. The reference dots indicate the scale to which the patterns were drawn and therefore will help with grid and hand-copying.

Please note- that you may only copy or adapt designs for your personal use.

I am certain that within this books rich heritage, you will find the style, the look and the type of motif and pattern that you are searching for to complete all your projects and I trust that the many beautiful images- will be the key to unlocking and releasing your own innate creativity.

Graham Leslie Mc Callum