Theoretical Framework _ Primitive Future by Sou Fujimoto

In his text “Primitive Future”, Fujimoto questions the notion of locale and unintentional spaces. He relates architecture to the idea of a cave that allows people to spontaneously adapt to its various contours and hollows. As to re-introduce this theoretical format into physical terms, a spacial intervention is proposed in a way to suggest improvised means for inhabiting public spaces.  Mis-using urban objects creates a sense of disturbed relation with the context, questioning our conformity to conventional habits.

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Mies Van Der Rohe

Relational logics helped shape the critical analysis of the Barcelona Pavilion. There are 3 fundamental aspects that describe the relationship between the existing resources of the site, their environment, thus their response to built form.

First, the existing resources can be found within the Context which includes vegetation and landform.  Function and Aesthetics respond to the flat morphology, secluded area of the site within the urban framework. The former includes circulation and spatial organization.

The roof structure is supported by slender columns that make it appear like it is floating, it is also the most important part of the building giving it its hierarchical value. It is a building with glass walls which allow natural light to penetrate through.

Repetition is evident only in its horizontality whereas it is unique in style. There are framed view sets that allow occupants to circulate in a specific way.

It is made up geometrically of four squares comprising a grid structure, it is a rectangular whole made up of individual square or rectangular units with two reflecting pools, where balance is achieved through addition and subtraction of masses.

Meanwhile the latter deals with rich, natural material choices and the design of elements.

The Barcelona Pavilion appears to evoke Tranquility. Overall, can the characteristics of a place define and shape its energy?

toaa final – click to view pdf

² Picture.

“Our geometrical analogies weigh heavily against Darwin’s conception of endless small continuous variations; they help to show that discontinuous variations are a natural thing, that “mutations”—or sudden changes, grater or less—are bound to have taken place and new “types” to have arisen, now and then. Our argument indicates, is it does not prove, that such mutations, occurring on a comparatively few definite lines, or plain alternatives, of physic-mathematical possibility, are likely to repeat themselves…” ¹

Since ancient times, the use of mathematics has been a boon for man, for the understanding of natural phenomena (physical, chemical, mechanical, etc.), but this resource has not been used to understand why the forms of natural world around us are how they are.

What D’Arcy Wentworth Thompson poses is to explore the extent to which it could describe the relationship between the forms of some living things through the use of basic or simple mathematics, specifically through the Cartesian plane; using several case studies, like the leaves of different species of trees, bone structure of different species of crocodiles shows as part logic is applied and indeed are formal relationships in these case studies.

One of the most important aspects of this thesis is the questions on the theory of Darwinian evolution, arguing that the question of how birds descended from reptiles is still not yet answered in those days (1917), suggesting that the role of evolution has been overrated and therefore mathematics as a tool to study these relationships has been underestimated. Even today it seems that this thesis is still quite advanced and effective, since even supporters and detractors find these ideas.

If we focus on the basic idea of this thesis, it can find a close relationship with what is currently happening in the world based on the use of computers and failing in the use of algorithms for the development of the design, so therefore it is vital to understand the potential of understanding of this thesis and how this can help us to work on a range of endless possibilities, but in turn, controlled by the use of mathematics.

However, a question comes to my mind when D’Arcy Thomson raises this thesis, which is that do men perhaps, in his eagerness to control everything that is around us, manipulates the resources that calculates everything that is around us, especially nature? Is nature really something you can calculate, evaluate, measure, etc. therefore control it?

¹ D’Arcy Wentworth Thompson, On Growth and Form, 1917.

² Picture:  http://spatialpixel.com/generative-design-variants/

In his article “The Shape of Energy”, Sean Lally advocates for a new architecture that is based on “material energies”. We are constantly surrounded by different energies – thermodynamic, electromagnetic, acoustic, chemicals – and we take them for granted, but in reality the role which they play in our lives and in influencing our behaviours are just as, if not more important, than our concrete environment. Material energies create boundaries that are fluid and responsive, resulting in a vernacular that is intimately connected to both regional and climatic conditions.

So how would one apply these intangible energies? Unfortunately, while he brings up some very interesting points, Sean Lally has failed to address the practical application of his ideations. One cannot just take energy and build with it. Humans exist in the physical domain, and we do not have a physical grasp on energy. In order to use something as a building block, one must first gain an intimate understanding of the material at hand, and while we may have an intuitive sense of different energies since we are surrounded by and interact with them on a daily basis, we are a far cry from being able to control them, not to mention manipulate them for careful study and experimentation, and eventually incorporate them into our architectural realm.

What I find fascinating is the physical manifestation of energy. Every energy somehow influences the physical environment. Tree wells form because heat generated by trees melts the surrounding snow, and compass needles point north because of the Earth’s magnetic field. Paying attention to changes in the physical environment provides information about surrounding energies as well as changes in energy conditions. A person putting on a sweater might signify a drop in temperature, while the same person, now reading a book, moving from one room to another might suggest an increase in noise or a decrease in light in the former space. By observing such changes in our environment, one can gain much insight into the invisible forces that surround us.

Another compelling thought is that architecture based on material energies would be able to adapt almost instantaneously to changes in the environment or in social programming. Through a feedback relationship between material energies and existing climatic context, an active dialogue would emerge between a building’s environment and its building blocks, with architecture that can either “dissipate on command” or respond accordingly in its shape and configuration. Of course, such a fluid reality is still far away.

It is interesting to view Sou Fujimoto’s House N in light of material energies. The house itself is purist and minimalistic, and in the physical domain it might seem like a purely spatial exercise – that is, three shells nested one inside the other. However, it is not just the walls that create an increased sense of privacy and separation as one moves deeper into the house; the change in light, sound, view planes, temperature, bodily sense of enclosure, etc. all contribute to the gradient that exists through the spaces.

I am of the strong opinion that so long as we do not transgress the physical nature of our corporeal existence, neither will our architecture. However, this does not mean that we cannot study and become more in tune with the forces that we cannot readily control, because we can certainly shape existing energies with solid-state building materials. An example that comes to mind is Philippe Rahm’s Convective Apartments, in which the architecture is designed according to the principle of convection. In this case, it is the existing thermal landscape that has shaped the resulting configuration of the building’s solid elements. Even though the architecture remains static and potentially iconic in its form, this is the first step towards an architecture informed by energy. I would be interested in examining such basic physical and climatic principles in order to generate systematic, vernacular designs that directly reflect their environmental conditions.

http://cloudatlas.wikia.com/wiki/Neo_Seoul

In this subliminally predictive text, Sou Fujimoto lists a series of words that relate to qualities of architectural design, with regard to the practice of architecture in the future. The author does not organize the ideas in a particular order or in specific categories. This reveals how Fujimoto expresses the intertwined connections and links between the ideas discussed, where an understanding of this can be appreciated as the text develops.

Fujimoto makes a prediction. In the future places will allow people to discover them despite the fact that topography is not a possibility in the urban framework. A factor in this envisioned future must be defined in order to allow people to seek out opportunities in urban realities. Re-humanizing urban space through a quality such as light, and exploring ways to maximize sustainability and improve livability in the city, driving awareness and interest in city dwellers, urban planners and developers.

Architectural possibilities exist in-between different places, different times of the day, different sizes and scales of environments, and different periods of motion. This idea demonstrates a merger of functional and recreational spaces in architecture.

Locale is finding opportunities in a place that has qualities that promotes desirability but is not yet prepared to inhabit in. Essentially it is a place found in natural (or urban) realities as they are, thus connecting desirability to other somethings (or nothings). These ideas fall under the umbrella of the realm of possibilities, the unspecified qualities of a promising nature that is within the scope of an architect to design and develop.

The idea that objects of spatial and temporal dimension are mutually intertwined in various relationships. Different fields of investigation come together and connect to form common ideas, yet diverging and involving themselves with other concepts, ultimately finding and establishing connections due to the exponential growth of information.

Architecture is a single space, where all things are connected and detached in a network of concepts relating to and with spatial and digital parameters. The idea that the small scale is connected to the big scale and vice versa. For example the smaller part strives to impose its ideas with the whole, and the whole is contained within the part.

The notion of how things were connected together before the divide involves deciding upon the elements that divide two qualities or more, and defining the way in which those specific elements came together before. It forces a sense of connectivity in order to offer a basic level of comfort and efficiency. Furthermore the relationship between uncertainty and lucidity co-exist, thus this notion of in-between forging ties of connection.

A tree diagram represented as a simple childlike drawing contains many regulated things. This idea of using a lot of information to create simple structures, frameworks to fit all the information in a tree like diagram. Here, common ideas introduce the notion of simplicity.

The ideas discussed above  relate to connectivity, the state of being connected or interconnected. This is when two ideas are brought together to form a real link, in addition to physically providing lines of access and communication.

The sum of architectural possibilities and connectivity results in this idea of interaction, where reciprocal actions work together in such a way that two or more things have an effect on each other.

Inside and outside as an approach to creating contrasting spaces considering beauty and comfort. The definition of enclosure without having a physical barrier, yet playing with dense and concentrated environments, such as trees in a forest. It contributes, brings awareness and also creates open and closed spaces.

On top of that a house is a place for people to live. This typical object interacts with outside spaces through the use of tricks, transforming nature to connect with the city. This idea of fusing inside and outside results in the creation of in-between spaces known as gardens, verandas and intervals in architecture. These are places of scenic views and diverse environments that are manipulated by people, designers and architects primarily. This is very apparent in Japanese architecture, Fujimoto observes.  Fundamentally the exterior envelope establishes the relationship between inside and outside.

Interaction is thus the practice of designing products, environments, systems and services. It is interested in form but the main focus is on behavioral traits. The synthesis and imagining of things as they might be, and what they could become in order to satisfy the needs and desires of its users, occupants.

Relational logic provides a systematic framework, where the exploration of site physical features are observed and quantified. This approach allows the establishment of links between the various features to be defined, thus leading into the stratification of proposals considering spatial (and temporal) solutions.

Personal Interest (Line of Enquiry) 

A research inquiry to find lines of interaction between density and spatial notions of poverty in the struggle to diminish poverty in Luanda’s metropolis.   The qualities of density refer to lack of space and too many people in a given area. Spatial compensation must be offered. This can be done by observing what an area lacks and what an area needs in order to secure the necessities of life, becoming a place of social meaning. In addition, the resources that are offered in a particular area (may) facilitate the notion of self sufficiency via architectural solutions regarding the management of local resources.  Meanwhile, poverty occurs in remote rural areas and spatial poverty traps. The latter is related to marginal areas which are less favored politically, or areas which are weakly integrated into the urban environment.

http://amassingdesign.blogspot.com.es/2010/03/view-house-johnston-marklee-diego.html

The main idea of the View House by Diego Arraigada & Johnston Marklee is clearly the views. They are framed vistas of the surrounding environment, they are projected on the building, with selected visual connections along its continuous façade that wraps the house, which concentric position has carefully chosen to control the view and the privacy using proximity and visual directions. The volumes of the cylindrical shape are substracted in a way to create an exterior skin that fluidly follows the openings, to simultaneously add metaphorical emphasis on the frames of views; a clear analogy between geometry and views. This idea can also be linked to atmospherical relation for its bare and pure architectural language visually trying to interact with nature around it. Moreover, through its geometric manipulations, the considerations in other relational logics are observable. The choreography of internal spiral sequence can be narrated from the outside appearance, an observable correlation between the internal flow and the architectural design. It also leads to the environmental aspect where the internal air flow and natural light intake are considrered as well as the volumetric substractions are helping in reduction of the ground footprint and of the internal air volume for energy reduction matters, where form and function meets.

In the critical reading, Mark Wigley’s essay “The Architecture of Atmosphere” explains in multiple manners how the control over atmosphere and its representation in architecture have generally resulted in struggle, in a way; illusional due to its intangibility and individualized responses. Atmosphere cannot indeed be measured, definitely a subjective sensation and personal experience of a built space. Nonetheless, some people can feel the same way and if this can be considered phenomenorological, where experience and consciousness can be meticulously studied and structured into informations, it may lead to some sort of measure and control over users reaction and, perhaps in new future, predict how people live the capture of the atmosphere through control over specified architecture.
In an era where architecture, nature and digital coexists, the complexity of the relationship between these elements demands for a structural rules to govern it. I believe in using these Relational Logics, for the potential of advanced architecture is expanded and more efficiently rendered through them as fundamental communication tools and patterns. They are systematized and interrelated entities that help architecture foster and advance rationally and methodically.

As for my topic of research, my interest lay on the true potential of this relationship: how can we further explore architecture by extracting the essence each from architectural experience, nature/environment conditions and inspiration, and digital exploration/fabrication; how can each of them interrelated with each other will yield to another dimension in architectural design. Performing along with these evolving techniques and expanding technologies, exploring geometries and new typologies that nature can teach or environment direct our way of making architecture, the multiplication of these fields results in exponential products and possibilities. Orchestrating all these elements with given time and the incoming knowledge, I would really like to put hands on research that would carefully balance out the emerging digital field and tools combined with the current architectural methods, for a rational transitional implementation and sustainable application.

View House by Gustavo Frittegotto.

Case study: View House, by Diego Arraigada and Johnston Marklee

Text: The architecture of atmosphere, by Mark Wigley

Built in a suburb surrounded by vegetation in Rosario, Argentina, the View House form is the result of a conflict imposed by the clients two main requirements: integration with landscape and privacy from neighbors. This sculptural house have 300 square meters and was designed by the architects Diego Arraigada and Johnston Marklee in 2004 and concluded in 2009.

With no primary façade, the house is composed by a rough concrete curved form that contrasts with the smooth, calm and delicate interior. The basic mass is shaped by four geometric and distinct subtractions, and through positional logics system, the architects designed generous windows that connect interior and exterior, flaming the landscape and leading the owners to contemplate the nature. The spiral circulation leads to the roof terrace, where the users can enjoy the sun and the lull.

The architects concern about the environment and the technique of atmospherical system can be notice by the house minimal footprint and the care about void the artificial light use. Carefully guided, the big windows provide indirect sun light and cross ventilation, creating thermal zones and more than that, incredible light effects on the peaceful and white interior.

The Architecture of Atmosphere is an article publish by Mark Wigley in the book Daidalos (1998) where the architect points that atmosphere is everything that surround the building, and independent of the intent of the architect can’t be controlled. As an abstract environment created by the users’ behavior, nature and architecture, the atmosphere can’t be measure or delimited.

A proof of how architects always tried to control this atmosphere can be founded on Frank Lloyd Wright sketches, where he used to draw the sky and the environment with straight lines, as if the building would interfere on this atmosphere. Nowadays it can be seen on the renders full of ornament and special effects.

Comparing both texts is possible to notice how architectures, using different systems (logical or structural) attempt to create buildings that are able to change the atmosphere and the relation between users and environment, but that is something that (even with a big help of the design) depends of the users, society and nature, that can accept the proposed project, denied it or mold it.

As a personal research topic, I am really interested about integrate man, building and nature in a directly way, transforming the construction in a living building that breathers, perspires and transforms, not just reducing the impact on the environment but also improving life quality to the users and citizens.

Case Study : STUDIOHOUSE-F451

Text: The Conditioned Outdoor Room-BERNARD RUDOFSKY

The contemporary world, perpetually urbanizing and transforming as it is, calls for a holistic approach to the pertinent issue of the relationship between the natural and the built environment by architects and urban planners. No one can deny that the recent trends and developments in technology have resulted in complex relational logics that connect nature with the urban context.

Studio house by F451arquitectura aims to explore the connections between architecture and landscape, particularly by merging the site’s landscape with architectural design, forming positional, metaphorical and environmental relations between them. The landscape is integrated with the house, as it’s different volumes unfold from the sloped topography in different ways; alignment with the terrain in the middle, emerging from it in the volume of the studio and detaching from it in the side of the house. Nevertheless, this integration appears to be investigated in the design only in a spatial/visual manner rather than a functional one (e.g. absence of patio). With reference to the metaphorical relational logic, Studio house develops a hybrid design that is based on the combination of the modern house typology and the industrial house typology, which is accomplished by spatially distributing the different functions that it accommodates (house, studio, guest house, garage e.tc.) in autonomous, but interrelated volumes. In addition to this, the design implements energy efficiency solutions, through  a green roofed corridor, which provides the structure with  thermal insulation to the structure, as well as with double orientation, lighting and ventilation to  all featured spaces­.

The relational logics formed between the natural and artificial environment are also evident in The Conditioned Outdoor Room by Bernard Rudofsky. In this text the author underlines the dangerous trend of disconnecting the living environment from nature. People have always attempted to conquer natural phenomena, by creating a climate controlled inner environment that is almost unattached to the natural environment. Using various examples of the architectural elements of the garden  and in analogy to the Pompeii ruins, the author indicates the urgent need to shift the architectural and climatic focus on the outdoor environment. Thus, the courtyard archetype calls for a revision in the contemporary urban environment.

As a future research, I would be highly interested in researching the new relational logics that are established through advanced architecture, as well as exploring these in a broader scale, focusing on the notion of glocal, a new term that refers to the integration of the global and local environmental aspects in architecture.