Mash Up

Members of today’s technologically oriented societies have increasingly diminished contact with natural form. This is probably due to a combination of reduced contact with real nature and exposure to architectural settings devoid of reference to natural form (e.g. minimalist architecture). Humans however evolved in natural environments and among the most common criticisms of modern urban developments, one acknowledged even by architects, is the absence of a sense of place hence architecture should adopt the processes of natural morphogenesis, the process of evolutionary development and growth, which derive polymorphic systems that obtain their complex form, organisation and versatility from the interaction of system intrinsic material capacities and external environmental influences and forces. In doing so creating place, environments with a distinct sense of place, that cultivate a sense of place, thus embedding architecture more fully in the world as an experience that goes beyond buildings to articulate and resonate more intensively with wider human concerns and ideals. Alternative approach to design that entails unfolding morphological complexity and performative capacity without differentiating between form generation and materialisation processes, as one striking aspect of natural morphogenesis is that formation and materialisation processes are always inherently and inseparably related, should be embraced by architects in order to build architecture that result from the response to varied input and environmental influences. This consequently having positive implications for various aspects of human functioning and could provoke subtle shifts in certain areas of human thinking, so that such architecture can enrich the human relationship to the built environment.

References

Achim Menges, Computational Morphogenesis, Architectural Association AA School of Architecture, London, http://www.ascaad.org/conference/2007/057.PDF

Yannick Joye, Cognitive and Evolutionary Speculations for Biomorphic Architecture, Leonardo 39 no. 2, (Jan 2006): 45-152, http://www.jstor.org/stable/20206187 (accessed May 14, 2014).

Peter Buchanan Peter, The Big Rethink Place and Aliveness: Pattern, Play and the Planet, The Architectural Review 232 no.1386 (Aug 2012): 86-95,4, http://search.proquest.com/docview/1033636419?accountid=13902 (accessed May 14, 2014).

(White text is my own writing)

Valley in Country of Origin

Seorak-San (South Korea)

Seorak-San in summer

Seorak-San in autumn

Lumion Environment

FINAL SUBMISSION FOR EXPERIMENT 2

“Why still speak of the real and the virtual, the material and immaterial? Here these categories are not in opposition, or in some metaphysical disagreement, but more in an electroliquid aggregation, enforcing each other, as in a two part adhesive.”

Architects

Kengo Kuma

Kisho Kurokawa

Axonometrics

Kengo Kuma: Poetic flow and journey of space
Kisho Kurokawa: Raw and honest materiality

 V

 V

Kengo Kuma: Architecture as a frame for nature
Kisho KurokawaL Devil is in the detail

 V

V

Kengo Kuma: Strong relationship between indoor and outdoor
Kisho Kurakawa: Architectural impermanence as a challenge to the idea of monuments

V

 V

Custom Textures

The 3 Textures I Chose

Dark

This texture was influenced by Kisho Kurokawa's concept of metabolism and is inspired by Kisho's Nakagin Capsule Tower. The form and repetition of the building is used in this this texture to enhance the concept of impermanence.

Medium

This texture is inspired by the idea of a 'frame', from Kengo Kuma's concept of architecture being a frame for nature. The texture mimics the rectilinear form and interconnecting planes of the monument.

Light

This texture consists of straight lines, however when projected onto the curvature form, resulted in a very different texture. It was chosen as when it was projected, the texture created on the curved form, was reminiscent of the pattering of stone layers, as well as grains in wood, hence alluding to the concept of nature.








Lumion Model

Concepts Chosen

Kengo Kuma - Architecture as a frame for nature

Kisho Kurokawa - Architectural impermanence as a challenge to the idea of monuments

The idea of a shadow as a refuge inspired this 'space between'. The surrounding mountains shade the space and create a 'refuge' for students to meet and exchange ideas.

The idea of a 'frame' was transformed to created these, chairs, benches and tables in which students use to interact and exchange ideas. The interconnecting forms also reflect the shape of the monument itself.

Unlike the rectilinear part of the monument that is sheltered by the surrounding terrain, the curved form which protrudes out explores the concept of impermanence. This form being exposed to the elements, reflects transformation that occur in nature, just as a rock would be weathered by water and wind to become a smooth pebble. Thus being a physical representation of the impermanence in nature.

The idea of a monument, and the concept of impermanence, as well as the monument being a frame for nature (which in can be seen as something impermanent), was an intriguing subject as they all challenged each other, However through the process of Electroliquid Aggregation it was possible to harmonize these opposing notions and create a unique form that satisfied each concept.

The monument evolves with nature as the monument is essentially a frame that captures the ephemeral landscape and changes in its surrounding. Hence the notion of impermanence is reiterated through the concept of architecture being a frame for nature, as the environment which the monument frames is never stagnant.

Night view as the lights lit up and highlight the monument

 Winter Environment

It integrates seamlessly with its surroundings as it almost camouflages in the snow 

Links

Dropbox

https://www.dropbox.com/s/yz3jxqh1gewpstm/Experiment%202%20-%20Monument.ls4

Sketchup

https://3dwarehouse.sketchup.com/model.html?id=uc53699b8-0239-4bf3-836d-182fb3a4d1af