APPROACH TO DESIGN : HERITAGE TO RADICAL AND BACK
What happens around a centerpiece has to be ambient in nature. It is ambient by default, by the virtue of its existence as a surrounding entity. As such a cohesive approach towards designing the elements of the ambient volume is quite imperative.
So a sea of surreal ambience, an 'abbau' representation, is what accumulates around the existing volumes. This is a' particle-time' phenomena. All that is happening is not a sudden introduction of disparate and interfering elements but an invisible aggradations of particles through timeline, under different forces of varying magnitudes and equations.
The intervention, as an initiative, although, is seemingly an enforcement of extrusions around the heritage volume, at a scale previously unencumbered, is actually not so. What has been experienced as a forceful act is actually the physical representation of what has been accumulating since one and a half century, in a tercentenarian city.
Particles of degradation occurring on any solid erected volume, both in terms of its physics and metaphysics of its spaces, do accumulate somewhere. This was happening since last 150 years, just that no body realized. But it is as undeniable as the existence of the heritage volume itself. Kind of an axiom, one may call. The intervention, in very honest of its intentions, is an eye opener portal to what was happening to the city at large and would always happen so. These give the technocrats and the citizens a clearer idea, of at least what is unstoppable and unignorable, and take the city accordingly ahead.
Again, paradoxically, the logical contradiction and the sensory illusion of the fact that the ambient aggrading volume creates of itself being gradual in growth / development when it is actually an erection of enforced intentions and their interpretations. This is reason number one The invisible, previously unrealized, weathering of particles over time, degraded off the existing volumes, aggrading at the periphery of the volume and their declaration, is reason number two.
The fact that over a hundred years, the ambient volume will aggrade gradually (& simultaneously degrade also) to a heritage status. It will gradually gather layers of physical growth, which in many ways are attempting to multiply the minuscule degradation over these years this would thus generate a volume of layered growth, much like a geological cross section. The topography can again, in rhetoric, be compared analogously with the degradation-aggradations (erosion-accumulation) of the particulars engaged in buildings. This would be reason no. three These reasons, in light of their critical analysis, best declares, the intervention to be EMERGENT in terms of its architectural styling & ornamentation( which over again is an important but forgotten part of professional workmanship, question again arises over the practice of architecture & the architect as a technocratic fraternity).
EUCLIDEAN GEOMETRY is how we manage to visually explain the nature, follows its patterns bend it, & break it. But the one probable reason why nature is still the master of the great game of life is because its foundation lies in FRACTION or FRACTALISM (/ FRACTAL GEOMETRY) Golden ratio is perhaps the best, omnipresent proof of fractal geometry in nature. This allows nature to go to its required levels of building complexities through non-linear equations. It also allows one big fundamental scope, that which is almost impossible to achieve with Euclidean geometry
EVOLUTION, on the first hand demands a certain degree of non-linear flexibility in terms of the instantaneous slope, coordinates / polarity, following the multiple degree equation involved Thus, HIERARCHY of life is most suitably declared by the degree of the equation involved. Over a large period of time these degrees are also subject to change, thus explaining the great range of mutative changes that occurs in any single species e.g. horses, whales, birds and human beings (?).This again confirms the basic observation that a man, and hence his evolution process is much more complex than that of an ant and itself. This is applicable both in terms of the quality (degree of equations) and the quantity (the no. of variables, co-efficient and their magnitudes).
Thus a built environment both hard, soft & metaphysical-scapes can result a higher degree of intelligence and as such is more open to evolution or growth. This happens by default. So another analogy of EMERGENT nature can be eventually done & soon it shall so be formed that the analogies are not THEOREMS, but AXIOMS (atleast for now).
THE FIRST EQUATION IS WHAT STATES THAT THE ‘FUNCTION OF DESIGN’ (and the designer . . . . ) IS TO RAISE THE EXISTING ‘CONTEXT’ TO THE POWER OF ITS ‘CONCEPT’ AND THUS GIVE OUT THE RESULT AS THE ‘CONTENT’.
f(design)[CONTEXT^CONCEPT]=CONTENT ........eqn.1THE SECOND EQUATION IS WHAT STATES THAT THE ‘FUNCTION OF TIME’ IS TO RAISE (most cases it lowers . . or decays . . or demolishes)THE ‘CONTENT’ OVER A SINGLE OR
MULTIPLE SPELLS OF ‘LIFE-PERIODS’ TO GIVE THE RESULT OF THE ‘CONTEXT’ . . . .
This time its already some time passed . . . . Like a decade, half a century, a generation or a world war, or an
atomic bombing, or plane crashs into huge towers . . .Whatever the length of spell . . . )
f(time)[CONTENT^USE]=CONTEXT ........eqn.2Our architecture should be created solely to seek out the THIRD EQUATION that would generate these blobs of million possibilities . . . Not just through scholarly research, but also through a lifetime of thorough ‘BUILDING’ practice . . .
Through a constant waging battle of love, life and longing. . . .of building and breaking . . . .Yet an unending company with life , nature and people.
- So can architecture and life be related by a set of formulae?. . . . . .
Isn’t there a certain algorithm and equations that can generate lateral possibilities of generation of intelligence? Why is schrodinger’s cat and the royal bengal different?. . . Yet from a same family!. . What determines this separation & the connection?. . . . .If so, hasn’t ‘architecture’ or ‘act of conceiving a building process’ got to do anything with it? . . . . . Can only a mathematics philosopher decipher the language? . . . . Can’t a layman interpret it? . . .
What ‘Generative Computation’ software has nature been using since the beginning of life?. . When does it updates itself? . . . When it does it expire? . . . Or is it self updating? . . . What are the parametric equations of intelligent life? . . . . Too many questions, too many paths to reach the light. & the light is visible to all of us . . We all are the light . . .
This can be safely ‘realized’ that there is a set of equations. How does an architect make use of it to better understand life & thus avoid imposing his mere fantasies?. . . Or are they his after all? . . .
Lets start with Einstein’s iconic equations of energy-mss conservation, E=mc^2.the long accepted theory tells us that energy is always conserved, neither created nor destroyed, it just changes types. Which means, that ona a social scale if something si being built, the somewher something is getting demolished . . . Be it kingdom, or governments, or twin towers. . . Or for that matter anything. There is always the opposing reaction happening somewhere sometimes else . . Another revelation from newton’s theory. That ways , . . . An architect should look back in order to be able to project forwards into the future. What was destroyed that he is creating in place . . . Or what has to be destroyed, in order to create . . . . Back to the original sin of architecture, man’s relentless desperation to build n immortalize beauty in the built. . . . . . . .As soon as a project starts, the architect or the designer are in a position to start understanding what is there, in order to understand and appreciate the ‘EXISTING’ and the ‘BUILT’ so as to project his findings on to the ‘ UNBUILT YET’ . . . . .
So this backward projection is a funne-like blobbish plane, much like a TV picture tube, as in zooms into the place and time where the site is, maybe virgin open ground, or maybe a dense urban condition. And the site becomes the point of action . . . . The ‘ARCHITECTURE’ happens here and that time, the points of infinitesimal convergence of ideas, vison, art, business, construction catalyzed by dangerous secretions from intellectual orgasm and ethical compromise. Nota single architect escapes that . . & true .. . . Its near impossible. So the projection of what ‘WAS’ there into what ‘WOULD BE’ there becomes asymmetric (or symmetric, in case of near perfect projection, for a near perfect social situation, which it usually isn't . . .) COMPRESSED ROTATED SAND HOURGLASS MODEL. Gradually these model becomes a series of stacked model of varying asymmetries, each depending on its own gravity and purpose and the prospects, both social ,political and psychological. It resembles a series of asymmetric sinuous curves, of a plethora of amplitudes and periods depending on its individual strengths, rotated .And stacked together over the axis of time. Each equation can be applicable for one entity in concern only, and not multiple as of yet.
- “I learn my architecture by watching what nature does; in any case it is always the pragmatic and laterally evolving because nature does it. They don’t even employ builders,or for that matter . . . .architects, . . . . the living beings do it themselves. The job works. You can see it in the various manifestations of nature - the way a tree fractal structure works with a lot of complexities that arise from simple programming. I’m absolutely certain that . . . .
EMERGENT DESIGN is one of the ANSWERS.”
“…..As an architect I would hardly alter life; I just set the stage for life to unfold its merciless dance. How I set the stage is a product of my observation of its unpredictably ruthless, psychedelic dance steps…
All I need to appreciate is where it will step, ten moves from now….”