Presentation Video :

http://www.youtube.com/watch?v=HV4Or5mmOfw&feature=youtu.be

( Image Ref :http://www.timeout.com/newyork/attractions/civic-action-a-vision-for-long-island-city )

Logic, System and adaptive variations and differentiations broadly define our society and parametrics. Architecture has always been a speculum of the prevailing conditions in our society, which has led to various ‘isms’ that exist. Isms are defined as a distinctive practice system, or philosophy, typically a political ideology or an artistic movement or style. In Patrik Schumacher’s text of Parametricism – A new Global style for Architecture and Urban Design, the author has referred to Parametricism as a modern ‘Style’ which takes us back to the paradox of an ‘ism’.

An ism generally has a time line and charisma which fades off with time. But, Schumacher has defined ‘Style’ as epochal phenomenon, where materials analogues that are able to self-organize into relatively optimized solution. Although its been mentioned that it particularly satisfies large scale urbanism but personally I think that ‘parametricism’ is scale less. As parametric logics lie on the fact ‘from a unit to the whole’, which is not scale bound. In fact the roots of ‘paramtericism’ are based on strong logics concerning nature which scale less and aesthetic, which is another paradigm by the author in the text. Although there is this fuss about the how digital simulations could contend natural logics.

One such example is the Yokohama Terminal by FOA architects /F.Moussavi, where they have used the most aleatory natural pattern into their thorough functional project, that of ‘human movement’. There was a particular topological logic which was apt to cope up with the seismic movements of the topography. The terminal rather than being an object or a figure, is produced as an extension of the topography in the context as an urban ground. This project has adopted the analogous and the digital tools to such an extend that they overcome their limitations.

The logic behind a parametric adds to the aesthetic aftermath which has been used since the past two decades but has been formulized briefly in the past 5 years. But the fact that ‘parametricism; has this open loop that enables customization makes it epical. With subjective perception on common topics amongst people, parametric design can shaped up according to the context of its existence. The constant find towards something new with the roots of primordial reality requires to be characterised in an intuitive way where the process is weighed more than its actual event. This intuitive process when merged with earth bound logics would ensure this dialogue between modern logics and primordial knowledge, which inturn will give us a path for designing in the present.

Seen and Unseen

Architecture is the duality between the seen and the unseen, but transition between them is profound. Transition is highly perceptional and a suitable example of it is the WALL HOUSE by FAR Frohn & Rojas Architects and the Sou Fujimoto’s writings on Primitive Future.

The Wall house articulates the word transition to a more evident character where, the journey from inside out towards the nature which is soft and the reverse towards the core which is substantial. The house also displays a climatized environment that depicts nature in terms of diffused light, translucent surfaces which culminates to a ‘comfortable space’.

Primitive Future is a smooth assessment as to how architecture should be, ‘a Cave or a Nest?’ A cave is a space which is beyond purpose and nest is a space which is built out of necessity yet in controlled natural environment. In a way, asking the question,’ can something without purpose or beyond purpose be built intentionally?’

The gradation of Sou Fujimoto’s writing could well be correlated with the varied layers of light and space of Wall House. The energy screen wrapping the Wall house is contemporary to the ‘cloud’ (Ref: Futuro Primitivo, pg. 137) which shows different facets of nature through different time, aiming for timelessness. The unexpectedness of nature blending with architecture brings us back to the phenomenon of seen and unseen. Since life cannot be perceived without seen and unseen, how can architecture be?

In my research for relational logics I would like to involve the constant tussle between CONTEXT-DREAM-REALITY. Every reality starts with a dream and shapes up with surrounding context. So if the contextual quotient changes, the dream would shape up an entirely different process for reality. This would involve, starting with working on the process of design (dream), then introducing this process to site and requirements (context) and finally what the process driven end product (reality).