Cookie cutters and crazy quilts.
Well most of us know or can guess what a cookie cutter is, they are those shaped pieces of plastic or metal used to stamp out shapes from a sheet of rolled dough.
Of course the cutter shape can be almost anything but once decided upon, can not be changed. This gives us what we want or think we want, with little to no variation; rapidly and consistently. Cookie cutters are great management tools as well, especially for simple repetitive tasks and also for highly complex tasks involving many precise sub tasks. Cookie cutter management fails to give us options, once we decide what we need, we stamp out said desire from the dough at hand. This simplistic and “efficient” management style often fools us into a false sense of certainty and control.
Strangely enough if we focus upon ever reducing fragments of a chaotic system, we increasingly begin to see commonalities which we often read as order. This is one philosophical perspective of chaos based upon chaos is only based upon our lack of understanding of the complex. That’s another topic for another day.
Crazy quilt or a Muratore’s view.
Crazy quilting is often used to refer to the textile art of crazy patchwork and is sometimes used interchangeably with that term. Crazy quilting is not technically quilting per say but a specific kind of patchwork, lacking repeating motifs and with the seams and patches heavily embellished. A crazy quilt rarely has the internal layer of batting that is part of what defines quilting as a textile technique.
Crazy quilts also differ from “regular” quilts in other ways. In a crazy quilt, the careful geometric design of a quilt block is much less important, this frees the quilters to employ much smaller and more irregularly shaped pieces of fabric. This found freedom empowers crazy quilters to use far more exotic pieces of fabric, such as velvet, satin, tulle, or silk, and embellishments such as buttons, lace, ribbons, beads, or embroidery, when compared to regular quilting. Crazy quilting is extremely creative and free-flowing by nature, and crazy quilters will often learn as much about specific embellishments as they will about crazy quilting itself.
English: Tamar Horton Harris North. “Quilt (or decorative throw), Crazy pattern”.
15th July 1877. The Metropolitan Museum of Art.
So what’s the problem, why don’t more of us do quilting this way ?
Crazy quilts are extremely labor intensive. A Harper’s Bazaar article from 1884 estimated that a full-size crazy quilt could take 1,500 hours to complete. This means that with the increased freedom and creativity allowed there is a bottle neck for many, unless you have a Muratore mindset.
Muratore is an Italian term for a mason/bricklayer, it actually means someone who makes walls, which traditionally were of stone and later bricks. So why didn’t I just say bricklayer or mason. A bricklayer is a bit like a mason using a cookie cutter for speed and efficiency and the term mason can bring other distracting extraneous baggage. So I used the term Muratore because it caries little to no baggage to the english speaking readers and my father was one of the best Muratore.
So what makes a master Muratore, the ability to mentally visualise and order the materials at hand, on the fly and find a place for every piece; all while attaining your goal of a plumb, straight and solid wall, it’s like being good at playing Tetras with irregular shapes instead of blocks.
It is this type of organic and fluid management that, I believe we should all strive towards. It is this Muratore mindset that has given us the master piece sculpture by Michelangelo called David.
All the other sculptors rejected the piece of marble, that became the statue of David. In fact it was twice rejected. Agostino di Duccio gave up on a project using the flawed marble block, after which it sat untouched for 10 years. At that point, Antonio Rossellino took a crack at the block but decided it was too difficult to work with. The most famous statue ever carved was carved from a marble of poor quality filled with microscopic holes. So since Michelangelo could see what others could not we have this masterpiece. Michelangelo looked inside the marble and saw David. Michelangelo said that all that he had to do was chip away all of the parts that weren’t David to reveal him.
The interesting thing to take away from Michelangelo and the statue of David, is that he didn’t fight against the nature of the flawed block of marble or the fact a previous artist had already begun to block out the lower half of the block in 1464. In fact, he worked with what had come before and incorporated the flaws into the final design. It’s documented that on Sept 9, 1501, he apparently knocked off a “certain knot” that had been on the David’s chest. We believe this “knot” to be the flaw.
Sometimes people ask me “How did you come up with that ?” I have often responded “Step back, look, listen and it will tell you how it should be done.”
So which management style do you fall into most often ?