The Diversity Of Mother Nature Philosophy Essay

Published Date: 23 Mar 2015

The diversity of Mother Nature has through evolution always surprised by giving many intrinsic forms which still continue to emerge. Intact nature provides not only dynamic and unusual organic shapes but also delivers liquids which are essential for our existence and have been a challenging inspiration in architecture and design. These organic materials can dictate the shape of an environment and a form of a design. Liquids can be metaphorically interpreted as continuous curved lines which adapt to fluid materials where in the built world the complexity of curvatures remains intact but the materials used are mostly solid. The result of such forms is an organic, nonlinear composition whether it is applied to the interior or to the exterior.

The term organic denotes a living entity but in terms of architecture may sometimes refer to dynamic, curved or fluid designs although it should really mean the type of architecture that relates or consists of living matters. This dissertation will mostly convey terms such as fluid, liquid, curvilinear, curved and complex curvatures in terms of a shape in the fields of design and architecture. All of these in relationship with solid materials can have different and unrepeatable experience of a space. This fluidity deviates from straight lines and right angles, forms which we are used to in everyday life, therefore fluid spaces might bring innovations in the perception of architecture and interior spaces.

There are many important factors whether such fluid architecture inspired by liquids and organic forms will be tangible in the future, these factors are technology, knowledge, concept, but the most important feature will be the acceptance of these new forms. The initial idea for this dissertation sources from the fact that the evolution of the human species started in a liquid. As this theory has become more applicable in the past decade with extravagant designs it could be extensively developed and may even become a solution in the future of architecture and design. Complex organic forms, underwater hotels, liquid materials etc, are becoming a challenge for architects and an interest for the people. There are some creative architects who are discovering new areas of such complexity and materiality throughout a design and their works will be explained in the following chapters. Some architects actively participate in the progression of design and some remain at making conceptual statements only. If the latter becomes a reality it will also depend on the perception of an individual. This perception and emotions together with functionality will be introduced with curvatures in relation to materials from primitive men, ancient Greece to current architecture. On one hand, some tendencies of using curvatures in a space came naturally because of the endless organic environment but on the other hand, it still feels unnatural. It seems that a straight line has always dominated and has become universal in architecture, therefore the interest lies in curvilinear spaces and their effect on its users. Some spaces can be so exaggerated with complexity that they can give a melting effect. This illusion has also brought about new ideas of a space where rigid furniture coincides with solid architecture, therefore blurring the lines between unusual and traditional lives. Uncertainties and challenges in the human perception of such spaces could be potentiated with real liquids. Perhaps strong, utopian and futuristic ideas will force technology, design and architecture to stop mimicking liquids and start controlling them.

CHAPTER 1

Importance of materials in relationship with nonlinearity

Curves and the inspiration from curvatures come from nature, which deviates from straightness and existed on Earth long before a straight line. Curves could be found in the shapes of mountains, trees, shadows and also of the human body. Evolution has created organic patterns and natural formations which can be seen for example in clouds, sand dunes and animal markings. These nonlinear structures were also in an important relationship with materials such as stone, water, wood, etc., and were never a result of a straight line throughout evolution but have often been an inspiration for architects.

However, an interesting shape is in fluids such as lava or water which have both contributed to the existence of life. It can be said that the shape and the movement of a liquid can be presented as numerous uncontrolled curvatures in a three dimensional space. This fluidity was depicted in prehistoric times when prehistoric men tried to have control over a graphical presentation of it. Curves were made on different materials which were chosen on the basis of how manipulative they were. Aesthetics did not matter because the importance was based on the consistency of materials. Some were easier to control than others and the crucial aim was to get the inspiration for the image from the curves of nature. One can say that this link and the control over curves and materials was fundamental for the evolution of human confidence.

The theory of confidence as a natural instinct in space can be explained with the idea of human inception. As we are conditioned with curved, warm and liquid space even before birth with the uterus being an enclosed curved space that secures the fetus and its curvature is most of the time parallel to the fetus's back. This phenomenon can be taken into everyday observation of the unsecure feeling we get when our back is exposed. According to Valentine (1989) this fact can relate to numerous factors in our lives. Valentines gives as an example a fear women get in public space which is psychologically conditioned with a place and a memory. The author relates women's feeling of insecurity in open space to a missing shield, a protection which a female gets from a male in a natural environment. Nevertheless, the insecurity and awareness that there is no shield to protect our vulnerable side of the body are strongly conditioned with our inception. Furthermore, this protection, according to Valentine, is conditioned with hugging a baby in order to transmit a similar feeling as it is in the uterus where the primary curved environment begins.

This primary environment also consists of liquid, a material in the uterus strongly linked with its curve, with the abandonment of the fact that liquids are materials which dictate shape because they work as one. Although there is ambiguity whether the liquid is in its shape because of the outer curve or is it the other way around the truth remains that together they have the influence as one. It can be argued that they are in synthesis therefore in control over the fetus. It is believed this common power of a curved control comes naturally and should be used more often in architecture. The use of curvatures varies from discipline to discipline. The curves can be simple or complex, and loose or tight to the body if referring to fashion industry which similar as architecture gives the protection and shelter to a body.

This discipline has played an important role in our lives throughout history. Although its biggest progress started after WW1 where fashion became a profession, the clothing source itself started with ancient cavemen. The skin of aboriginal inhabitants needed to be protected, therefore they found the source of clothing material in nature. Animal skin soon became a warm clothing to protect the human skin from unpleasant weather conditions. But what is the rough, protective fur from a mathematical point of view rather than a complex curved mesh. The natural organic shapes of the animal's skin became the second skin for cavemen. Looking at it as a curved mesh the animal skin was, at some point, a controlled line deciding how to cover a certain part of a prehistoric human body. The link between naked skin and the warm memory of a home became essential in creating clothes. Moreover, these also gave a connotation to a home which at the time of homo erectus was a curved cave. Later in prehistory cavemen started to have control over the cave by decorating it with paintings and more importantly cladding it with fur. Even if it was hard work the control over the curves in relationship with the material had a useful outcome.

In everyday use of our homes it is safe to say that we like to have control even on the smallest of details which are usually unnoticeable. Such objects can be corners which we like to comfortably curl up. According to Bachelard (cited in Pallasamaa, 2005, pp. 27) to curl up belongs to the phenomenology of the verb to inhabit, and only those who have learned to do this can inhabit with intensity.

For all of the above factors, this dissertation aims to question awareness of these conditions in everyday use. As the control over the curved material was essential in the past it is not challenged in the present. Furthermore, why should the unbelievable and vast knowledge of complex curvatures not be related to liquids. Materials which are primary on Earth could be used more often in the new era of architectural philosophy which tries to imitate nature in its original form by introducing liquids on a larger scale.

2. Chapter

Curves of the past

Although it seems that the understanding of organic forms and curvatures combined with materials is treated with high attention in contemporary architecture for example the works of ZHA, Kapoor, Gehry, Decq, these new age forms remain predominantly poorly used in practice of architecture and interior design. Should internal spaces be more adaptive to a human body so that its users would live in deeper synthesis with a space.

It can be claimed that primitive men lived homogeneous with their environment because nature gave them limited options. The caves were considered as raw material full of strange curves ready to be inhabited. However, apart from naturally shaped caves which came in existence through various erosion processes the ones that are of interest in this chapter are man-made.

Geographical position played an important part for cavemen in choosing the settlement of their tribe. It depended on sun orientation, security of the terrain and the majority of the settlements were directly linked to rivers. Water brought the natural source of fluid, and it is possible that the same water source shaped that rock or mountain which was appropriate for inhabitation.

When primitive man shaped the space in the rock aesthetics did not play an important role, what mattered was the skill in relation with material. The density and texture of the stone were crucial to make shape by using a hammer. The technique of flaking resulted in random curvatures, here it can be argued that this was a controlled randomness of complex lines because the spontaneous moves were based on the organic structure of muscles and bones in the body. Therefore it can be said that the principal skills of making a living space were evoked by muscular and textile senses. Furthermore, this observation was also in interest to Vitruvius (taken from Dodds and Tavernor, 2002) who compared the human body directly to the body of space which is a result of human proportion, symmetry and harmony. Furthermore, it can be argued that Vitruvius's belief was that curvatures were made through the sequence of controlled movements which incepted from the practicality of homo erectus and not from theory.

Ancient cave dwellers were in control of their space because of practicality. Firstly, there was the role of fire where heat spread more evenly in a round space compared to how it spread in a right angle space. Secondly, there was a special "shelf" lifted from the ground, a place to sleep, which took the advantage of the fact that hot air travels up and at the same time the elevated position offered security. Thirdly, the round corners of the cave also adapted to the shape of the spine when sitting, giving comfort and security to the vulnerable back.

For the above factors it can be claimed that the curvatures in pre-historic caves did not play the part of aesthetic value but the part of performance and practicality. It seems that the ergonomics of the cavemen's home came naturally through their body and most importantly through the material used. These two factors were later used when building bivouacs. A type of a shelter which spread from Asia and Africa to Europe, which was made from materials which were manageable and curves which were functional. Managing materials in a curved manner could have meant the lack of knowledge or indicated ignorance of the aesthetics but it was highly effective. It seems that this philosophy of that time could have been applicable in the following civilisations, yet it did not catch on because as Fine (1983) states, the ancient Greeks were in high control over the materials by using straight lines and right angles.

3. Chapter

Spontaneous fluid forms, such as in man-made caves, may visually represent effortless work. Neither organization nor structured manipulation is needed to get simple curved formations. Even nowadays the simplicity of curvatures seems to make a statement on their own. Objects of such forms tend to be more interesting because of the shape rather than materials used. Albeit the elegance of fluid design almost feeling spontaneous it is undeniably thought through as the design makes sense and evokes feelings of unity. If the spontaneous curvatures had been an architectural element in cavemen's homes, the straight line would have been controlled element in ancient Greece. So how was it possible that ancient Greeks, before them the ancient Egyptians, skipped the organic forms when they were never-endlessly surrounded by nature.

Dodds and Tavernor (2002, p.51) discuss where the rectangular organization of the plans in ancient Greeks architecture came from. They answer this predicament by suggesting it may have been a result of the structured political mentality of their society. Greek military (phalanx) also adopted this philosophy. When soldiers were aligned and together they had the power as one. This similarity can be for instance seen in Greek temples in the structural order of columns support the pediment. Their temples were dedicated to their gods which had control over people. Therefore a straight line in architecture presented a controlled worship of their gods.

The imposing architecture such as was used for the Parthenon may have a strong effect on an individual because of its 'serious' shape regardless of the material, Biagio di Parma (taken from Dodds and Tavernor, 2002) writes about the influence of linear structures on individuals. He also writes that judgment of senses when standing in such buildings gives the feeling of hierarchy. One can sense in the importance of a straight line a grandeur of the object. Di Parma also thinks about how an individual understands ones emotions which had been evoked by the linear building. On the other hand, buildings with straight, flat, vertical and horizontal elements are predominately less dynamic and are therefore easier to read and moreover, the purpose of the building is clearly conveyed. Ancient Greek architecture was also sacred and dedicated to higher forces, this religious dedication made them consider the elements of the building, which immediately communicated with the users. Predominantly right angled elements, such as the roof meant security whereas columns presented strength. These round objects, signatures of ancient Greek architecture deviated from orthogonal buildings. Timber made columns, used at start of Greek architecture, were later replaced with stone which represented durability, force and expressed imagination. The material became illustrative by adding ornaments, and organic forms were inspired from nature. It can be said that neither straight nor curved lines were important at the time because the materials gave opportunity to express worshiping of gods.

New Doric style was precise and disciplined and the straightness of lines presented order and unity. However, later organic shapes appeared on the upper part of Greek columns. First ancient Greeks depicted simple spirals and then leaves represented a control over the material. This was later emphasized by replacing the columns with bodies. The invention of the hammer brought about a materialization of gods. The embodiment of gods was again inspired from flora and fauna and different hammer techniques made that interpretation on stone possible. The forms seen in stone evoked the aesthetic created by the hammer and therefore evoked power and a feeling of control. This view has been supported from the work of Dodds and Tavernor (2002).

The control of thought derived from the proportions of the human body. Ideas on how the material together with shape would perform around the user were taken for granted. Such an environment did not have just a spiritual importance but also a functional one. Aristotle (Dodds and Tavernor, 2002, p. 32) explains "If a thing (body) is not separated from its embracing environment, but is undifferentiated from it, it is indeed 'included in' it - not however as in its place, but only in the sense in which a part is said to be 'included in' its whole." It seems this meaning of the unity in a space is intertwined with straight and curved lines. Nevertheless, organic forms do wrap around the human body in a stronger synthesis than a right angled wall does.

In ancient Greece organically shaped objects such as ships, defensive walls, wheels and wine pots, played an important part in the development of a craft because they were challenging. The challenge seemed to be more effective if it brought a visual experience. According to Dodds and Tavernor (2002, p. 46) prima facie means bonding with real experience. It is not the state of mind which is based on assumptions but rather the functions that are evoked in the neural system by a visual matter. Visual acceptance is based on individual perception therefore it can be generalized that both a straight line and a curve performs differently. The function of both depends on the connection of the material. It does not however mean that if visually fluid spaces are complex the materials must be primitive or aesthetically ignored. On the other hand it also does not mean that simple, clean and straight lines need complex materials. It seems that the ancient Greeks achieved a powerful meaning with vertical and horizontal stone.

Nowadays the curve has a similarly strong effect as the straight line had in the past. Complex mesh is harder to control and fewer materials can be applied but there is a difference. These unusual multi directional shapes can be visually stronger than a straight line because of certain factors. Natural light, shadows, texture, material and colour applied on a curvature may have a stronger impact on one's perception compared to the same factors applied on a straight line.

 

4. Critical evaluation / understanding of relationship between curves and materials

Psychological ascertainment over the years has delivered numerous facts about the human brain and how it perceives the world around us. The brain is divided into two hemispheres where the left side is rational and the right irrational therefore more artistic. But there is still ambiguity about how lines together with materials are perceived because this action involves both sides of the brains. Space is a compound of both where the lines are perceived in a rational way because they can be expressed as mathematical formulas, whereas materials are a sensational and a subjective matter which activate the right part of the brain. Taken from Mallgrave (2010) "This fact becomes doubly important in that neurons and their circuits are highly specialized in the stimulation to which they respond.  Not only are neural circuits continually processing the inputs of touch, colour, form, motion, smell and sound in different areas of the brain, but some neurons respond only to individual colours, while others only to vertical or horizontal lines". However, this is mostly applicable for straight lines, whereas curvatures present in a space cause ambiguity and doubt concerning the depth of a space itself. Most assumptions on nonlinearity are unusual because they are rare. Since ancient Greece straight lines have dominated in architecture and organic shapes have been forgotten despite the human origins. Moreover, even if we are conditioned with curved space before birth and although the primitive man used such spaces, this was not upheld through the history of architecture. Curved spaces are not in our everyday presence and if a liquid material or at least a liquid affect is added to a space then the assumptions these curves make are even more complicated and consequently become multi-perceptive.

Perhaps one of the leading sculpture artists of the 21st century, Anish Kapoor, can deliver such complex emotions. His works explore the nature of materials and their behaviour. His pieces deliver a story and a concept, and express materiality in a manipulative way so as to influence the observer. His numerous projects consistently explore the relationship between curves and materials and what affects those two can have on people. This synthesis makes characteristics of such projects hard to describe as they offer new forms of visuality. Ineffable feelings, when one is present in a space or near a piece that has a biomorphic shape, make a counterintuitive spatial effect. These are the reactions which Anish Kapoor evokes throughout his works.

By adding more complex materials or unusually processed materials to a complex mesh a design can become fluid. An almost liquid effect becomes an illusion to a user's eye as the space or object dissolves all physical limitation. For instance Kapoor's Cloud Gate, an organically shaped project in the gridded city of Chicago, combines the above mentioned emotions. When one stands under the curved opening of the Cloud sculpture and looks out the clear line of the edge becomes evanescent. This effect is achieved by curved and polished metal which reflects the sky and therefore the object and the sky almost become one. It can be said that a common material such as polished metal becomes dematerialized because of this illusion.

In the interview for BBC (Tusa, J. 2012) Kapoor said "The eye is incredibly quick instrument....The eye gets it immediately - seconds. And I'm interested I think in that moment of immediate recognition or misperception". From this statement it is blatantly obvious that the artist intentionally provokes multiple emotions by using a variety of materials and shapes.

A fluid shape embodies nature and the surrounding architecture and as a whole these make it dynamic and misleading for a visitor's perception. Delivering a liquid effect arises extra questions out of the form itself. This phenomenological experience establishes a new rhythm in space. It also educes from the spectators the use of other senses rather than just sight. The touch becomes important as the surface is hard to read with the eyes only, so all human senses could be involved in the presence of such objects but the perception is after all still based on an individual's opinion.

Due to the fact that art and architecture can be subjective critics often question Kapoor's objects whether such expensive materials must be applied in order to deliver the affect which the artist wants (Higgins, 2008). The Cloud Gate would not be the same without the concave shape and it would certainly not deliver the same atmosphere without the proper reflective material. Therefore the combination of the two is crucial for the piece to perform as one, although there are also other factors that influence the piece such as texture, light and colour. The latter is the dominant factor when perceiving a space because research (Luo, et al., 2004) shows that colours in a space also evoke feelings such as excitement, energy and calmness. Therefore colours in a space cannot be negligible. If before it was mentioned that curved spaces are hard to perceive because humans are not used to them it can be said that it would be impossible for the wall to be colourless because colour together with light gives reflections, depth, emphasises a texture and evokes emotions.

However, the experience of the Cloud is not regarded as aesthetics but rather as a palpable and a multi-sensorial experience achieved by the fact that it deviates from the right angle. Looking at the Cloud from a macro scale it can be observed that it is a curved object placed in linearly paralleled city. On the other hand, the micro scale, the most reasonable use of right angles in our homes is when furniture is parallel to the walls.  Nevertheless, the atmosphere in linear spaces is arguably comfortable, summarized from Mallgrave (2010) the comfort in such spaces origins from two hippocampi in the brain which have control of spatial orientation and navigation. Again, it can be argued that something organic causes the confusion. On a smaller scale disorientation around a curved wall or a sculpture, such as Kapoor's Cloud Gate, can evoke doubt but disorientation in an organically shaped city evokes fear. This feeling is rare when a straight line dominates in the environment or is drastically smaller if the nonlinear is intertwined with the linear.

Chapter 5:

The behaviour of individuals in organically shaped spaces.

The synthesis between curved and straight lines may establish a new rhythm within a space. A mixture which is not often used in residential architecture, because it is mostly based on straight lines only, yet can result innovative if applied to everyday homes because curvatures can evoke a different life style in terms of functionality, furniture and behaviour. This is a trademark of the Canadian - American architect Frank Gehry who distorts linearity by twisting in order to get more curved shapes. When this process is realized, one can feel the movement of the manipulated straight line when in this space. Although the use of software programs pushes the boundaries of such twisted spaces, the intelligence behind this lies in materials. Firstly, the materials are explored by computer software and then brought to a higher level of complexity with the help of automobile industry and aerospace manufacturers. Because of Gehry's complex understanding of curvatures in relationship with materials his work is multidisciplinary, a bridge between technology and sculpture which explores materials. Metals as most commonly used materials are despite their stiff properties well manipulated by Gehry. Stretched metal, compressed titanium and aluminium are adapted to the wire frame's curved geometry which can be seen throughout the architects work. Gehry (cited in Lindsey, 2001, pp. 8) calls his approach a skin in, a process where the outer skin shapes inner spaces and makes a paradigmatic change in architecture, basically making a new rhythm to the overall experience from inside out. If Le Corbusier, the father of modern and organic architecture, exposed 5 fundamental points of architecture Gehry tries to distort and relate them.

The connection between exterior surfaces becomes so multi-layered that it affects the interior space. Although the outer experience is wavier with a futuristic carpet look it is not used inside. One cannot perceive the fluidity of the interior spaces as it is achieved from the outside due to the lack of natural light and the shadows which it creates.

The outer dynamically wavy appearance creates a movement, distorted by gravity, which can be seen from afar. Together with shiny materials it creates another illusion which makes a building look like a model or a sculpture, where on the inside the abstract's simplicity becomes a complex reality. A mixture between straight and curvilinear allows users to have multiple interpretations and many points of view.

According to Lindsey (2001, p. 29) Gehry tries to provoke individuals creative instinct throughout his work.

If the outer looks of his works are fluid and metal the interiors are calmer as the curvatures are softened with straightness. The space becomes more rational and perhaps the reason lays in functionalism. Commonness of Gehry's architecture is achieved by different textures and light, and if a building dominates the area from the outside the inside seems coherent. This mostly relates to Gehry's signature work, Bilbao Guggenheim Museum, Spain. The shape of the museum was at the time irrational and made a landmark on Bilbao. Moreover, critics agreed that the building is on the edge of technology because of its complex curvatures and costly materials. Rhythmic shapes of the building establish new dynamics in the surrounding area, although critics often describe Gehry's work as disregarded to architectural harmony. Holm (2006) an architectural critic, writes that such architecture has functionless forms, and continues to claim that it is a structural waste and that the buildings do not seem to fit the location.

However, if such futuristic design is considered as bad urban design, most individuals are affected by Gehry's spectacle. As the architect ignores numerous factors such as climate, sustainability and surrounding area the "wow factor" is mostly delivered. It is perhaps so because of the peculiar shape a form which is orthogonal and fluid at the same time and yet bold and soft. The softness in Gehry's work is a metaphor for the continuous harmony which can be found in mathematical algorithms. These can also express the movement of liquidity and digitally transforms it into a facade. An element which has become the architect's signature to provoke a new movement. It can be said that this fluid design, inspired from organic forms, mimics reality. Although the design will remain at mimicking the liquids as the architect's intentions are to visually present fluids with hard and constructive materials while real fluids, for instance lava, water, wax and chemicals, are flowing and melting. The latter pushes the boundaries of conventional architecture and delivers an extra factor to a movement in architecture. 

Chapter 6. Surrealism

The interest in new and extraordinary shapes brought about a new movement called Surrealism which aimed to bring new fluid forms in order to express the subconscious mind (J. Hočevar and K. Hočevar, 1996). It can be said that work created in that era was playful because of its dynamic forms which manifested direct thoughts on paper. Art work was mainly characterized by liquid forms and these bold new statements were criticized at first. Introducing soft, curved lines throughout art was undeniably a bold new statement at the time. Surrealism started in the early 1920s and was innovative mostly due to the use of curvatures.

Salvador Dali was the most effective artist and perhaps the leader of the Surrealist movement. His work is formidable as his paintings were more different than ever before. His works are predominantly distorted objects on flat bi-dimensional background which indicate movement. This creates an effect of moving objects that give rhythmic patterns to the overall composition of a painting.

One of the most well-known works of Dali is the Persistence of Memory. If the artist's work before was fluid this painting brings an even deeper impression of organic fluidity. The clocks on the painting are distorted with a clear intension to depict melting, a natural process which was a metaphor of the time. The liquid melting of clocks also brings ambiguity concerning materiality presented on canvas. If the clock is supposed to be made from brass, a solid material, then the distortion of the object overtakes the importance of material. It can be said that it is ignored as the shape matters more because of the defamiliarization. Such illusion forces the individual to focus on the melting objects despite them being in the background.

However, it can be seen that in many of Dali's works this melting effect was applied in order to get organic shapes. It can also be claimed that the materials and colours did not dominate because the focus was on curved lines. Whether these were created to deviate from the ordinary or to imitate natural melting they nonetheless brought a formidable factor.

Later in the history of architecture Surrealism was applied and according to Mical (2005) some architectural forms from LeCorbusier, Gaudi and Gehry were a response to works by Dali, and the melting effect was enforced in many structures of the built world. It seems that the artists and the architects were interested in liquid as well as in fluid design, which can be seen in Gehry's Dancing building in Prague in FIGURE but nonetheless the vast majority of their works remain solid.

The imitation of melting leaves a strong impact where the actual melting of the ice is more powerful. This extraordinary process has been transferred in architecture and art and it can be argued that it has established juxtaposition as it has with the Dancing building where the metaphor of two dancers is expressed by a melted curved building which seems to be interspersed in a typical block of flats. Firstly, it has made a contrast between linearity and fluidity secondly, it has brought about the unexpected factor of surprise and thirdly, it has evoked new guidelines for the movement.

Anyway, if such strong complexity in curvatures has created a visual line between the old and the new and if it remained at the imitation of melting it can be questioned if this daring movement was in fact moral as it did not uphold to traditional design of that time. Moreover, if the redundancy of new fluid forms is imposed, the reason behind it can be the challenging aim in the artist's mind which makes the idea unethical.  

CHAPTER 7: Morality toward materials

Unethical design is nowadays an almost forgotten term because the limitations of what is acceptable and what is not have become softer compared to the past where architects had to follow pre-established guidelines which were in accordance with a certain architectural era. Contemporary design in architecture is tolerant of juxtapositions which were once considered conflicting. Such an example is Casa Mila, a house made by the Spanish architect Antoni Gaudi who made this unique wavy building in a gridded city of Barcelona. As Zerbst (1988) writes "it is a building that looks like an African tribes' building a cave from beach sand adding industrial yet modern look with ups and downs in the middle of a cultural city." Combining the hard and the soft, the small and the big, the straight line and the curved line, the new and the old has in fact become a challenging design in architecture as it was for Gaudi in his time. However, because architecture and related disciplines are subjective such professions are still judged according to these deep rooted factors. Factors of interest in this chapter are the new and the old, the curved and the straight lines in relationship with materials which create contradictions. And moreover, what effects modern curved materials in relationship with usual or original design have on people.

Zaha Hadid Architects is perhaps one of the leading designer companies that create fluid forms which contain innovative materials throughout a design. For instance ZHA has designed the Roca Gallery, a shop for global bathroom brands in London, which shows a unique design from inside out, by showing contrast between the old and the new as well as between the hard and the soft. The juxtaposition in Roca Gallery between the original building and the new formed innovative space is sceptical as the unusual curvatures create illusion and the original structure precludes the realism from a concrete response to human needs. Moreover, the space itself is transformed by a strong curvilinear touch which seems to be true for the exhibition only, instead of delivering a synthesis between the users and the objects. Hadid often establishes a respect between her anarchistic aspirations and the iconic architects who she looks up to, where in the case of Roca Gallery it can be said that the original space was not old enough to get that attention through her design in regard to morality. As Celant (2006, p. 17) said "She puts her trust in the image, which theoretically implies a cultural project, conceivable and realizable, whose roots lie not only in economics and functionalism but also in fantasy and the dream".

The gallery space is multiperspective, as many of ZHA works are, and that effect is accompanied by weightless and directionless conditions, which are established through the curves and the predominant whiteness of the materials. Frequent white bumps in the middle of the wall distort the views through the space and at the same time when a visitor approaches the perception of the depth of this space is lost. It is the light together with the colour that spreads evenly on the bulge, casting no shadows, which makes it uncertain as how to avoid that physical object. As people spontaneously avoid angled corners every day, this space leaves one free to explore its distinguished forms and forces one to think about the flow through the space. The interior of Roca Gallery is incoherent with the original building. As it can be seen from the plan, Hadid disguises the original orthogonal plan of the existing building with one continuous curvature. Therefore the new fluid space makes users forget about the bigger picture of the space. Moreover, when one enters the Gallery the reality seems to be less important. As the inspiration for the Roca Gallery was in water droplets the wrapping fluid space delivers a sense of being in a 'sink'. Nevertheless, due to the fact that the purpose of the space is to exhibit bathroom furniture, the effect of a 'sink' remains dry. Furthermore, the mimicking of the water droplets stagnates at the solidity only. When establishing such a bold dialogue between the angled original building and a fluid new space, the liquid should be present. For one this relationship can be unethical and this controversy could be eradicated by real water.

Hadid also established a new rhythm on the exterior, as the perpendicular glass and tiles sit on the curved, more aesthetical than structural, concrete. This relation is again debatable whether or not it is for a purpose to make a visual statement because it seems to over dominate in a context with the existing building and consequently on the surrounding area. On the other hand, Hadid has established an interesting contrast in the sense of shapes and materials. Some of the details are almost in paradox as the architect reversed the heavy vs. the light mass. As it can be seen from a figure, the reinforced grey concrete opening sits in a visually lighter white reinforced gypsum. Although the variety of innovative materials creates juxtapositions the design is coherent. Some combinations between them and relationships with curvatures create a fluid design in the gallery. 

A slightly contrasting example is the Phantom Garnier Opera's restaurant by Odile Decq. This award winning French architect seems to be more respectful to the old building. Although the brief is different as it is a restaurant the architect still uses new techniques involving fluid mass but nevertheless remains moral. From a street level there is a clear intension of introducing a double height fluid sculpture into the existing space and yet remaining minimalistic, as the original Opera's arcades are still dominant. It can be said that the new curved shape is in synthesis with the original building. Decq also introduces a variety of materials such as gypsum, steel, glass and fabric in the restaurant. Despite the difficult manufacture of the curved glass which effortlessly embrace the space it again remains minimalistic to the existing columns. These got slightly more attention from Decq in the interior compared to Hadid. As her white renovation gently bypasses the sand stone columns the dialogue between the curvature and the linearity becomes elegant. Regarding the colour of the two structures, the old and the new, Odile Decq's intention was to worship the original building. Materialiste (http://www.materialiste.com/en/delices/opera-restaurant-opera-garnier) states that Decq "envisioned 'an indescribable and really modern' place. It is almost like a ship, gliding under the huge dome of the palace, with a cloud-like shape that has been built around the existing features of the legendary building, without changing them at all".

The interior architecture of Decq's restaurant is seemingly a hybrid which Hadid is known for inventing. There are parts of the functional sculpture which are multiperceiving. From a juxtaposed sculpture to a leaning wall and from a higher to a lower sitting area. A continuous liquid line seen on the plan wraps the existing space and forces the users to walk through fluidly.

On the other hand Decq introduces red furniture which psychologically triggers hungriness but is seen from the inside only. The architect has carefully disguised the intense red colour and showed the attitude at the same time. Whether it was the architect's intention to make a statement or not, the dialogue between the existing and the new speaks of morality. In contrast to the red furniture the walls are painted off-white and according to Materialiste (http://www.materialiste.com/en/delices/opera-restaurant-opera-garnier) give more presence.

The white architectural sculpture was inspired in the elegant ice. The natural element of ice was an inspiration for Odile Decq as water was for Zaha Hadid. Both architects transfer natural shapes into a design with continuous curvatures. Materials are only visually presented as the natural liquids create a current design. Both examples juxtapose the shapes and materials which question morality. And morality itself is mostly regarded to the existing architecture and to the surrounding area. Whether it is questionable or not it nonetheless establishes a new dynamic between the old and the new through curves in relationship with materials. This concept, seen more in contemporary architecture, blurs some boundaries in design.

Chapter 8

BLURRING THE LINE

Nature as a continuously evolving matter with its diverse realm is constantly increasing the complexity of patterns and showing its power through them, ironically some architects tend to mimic this form throughout their work. This can be recognized in the Water table a design by Zaha Hadid seen in figures ?-?. It imitates the complexity of water through a fragile and delicate glass design. The transformation of water in the design is effective therefore the process of making such a product involves the aid of computer programs. Albeit the software in architectural industry have increased the frequency of nature's complexity transferred into them, where the power of the digital era can deliver the aesthetics, the interest of this chapter is from a practical point of view. Moreover if nature's liquid complexity is transferred into reality, what are the possible benefits of it and as a counter argument what are the limitations of it?

Zaha Hadid's ability to produce an object which creates multiple aspects deviating from the standards of architecture and interior design. In the last decade evolution within her design has also grown because of the development of software. These can generate the complexity of curvatures and distort materials that are not yet fully understood in practice. These two factors combined and used in an imaginative way in order to establish new perceptions blur the lines between space and rigid objects. Hybrid objects can be named 'furnitecture' where an innovative product design becomes a part of the wall and therefore part of the space. The connection between the two visually brings a melting effect, a liquefied integrity which softens every day's entity.

The early stage of ZHA's designs was seen as a set of draperies, a soft material digitally presented as numerous mathematical functions. With twists and twirls the softness starts to cut the air so that it fills the void. Taken from Sartarelli (2006, p. 22) the negative space starts to embrace the body a mobile shape which shifts and displaces in order to discover the total perspectives of the object. This philosophy brings about ambiguity for a user, because one cannot be fully convinced how to practically use the object. Albeit some of Hadid's designs tend to show the softness through the curves, the complete fluidity was never fully achieved due to a lack of adequate software. Later with the progression of a digital world ZHA's studio used its full power to generate logarithmic complexity applied to materiality and translate this into a reality. Liquid forms which can be found on Earth such as ice, water and lava began to interest Hadid more than soft drapery. Moreover, the fluidity of natural materials became an inspiration for her design, where the knowledge of curvilinear forms and materials such as ice were combined. Such example is the Ice-Storm project at the MAK in Vienna, displayed in 2004. A liquid shaped object which mimics the ice and all its softness in nature. It can be perceived as a self-transforming foam sculpture, multipurpose furniture or an aesthetical object intertwined with walls. Opaque gentle blue coloured moulded blocks were so omnidirectional that the overall appearance was that of an ice block floating in the cold sea.

Patrik Schumacher, the digital brain of Hadid's practice, (2004, p.31) states that "this project is the extreme example of organic fusion, where a series of discrete elements
are interarticulated by means of morphing them into a larger encompassing structure. In
this fashion, everything becomes literally continuous - a semles form that is modulated and transformed to join the exact sectional profile of the embedded furniture pieces or to establish something akin to key to keyhole relation".

 

 

With this it can be argued that Hadid reconstitutes the function of territorialisation, enclosure and interfacing etc. by means of boundaries, fields, planes, volumes, cuts and ribbons. Ergo the utility of such reconstructions of a space is on one hand questionable and on the other provoking. The question of the usage arises due to numerous factors. Firstly, the surfaces are smooth, highly reflective, hard to maintain, and please the eye under certain light conditions. Secondly, a cliché housing standard in contemporary architecture does not adapt to such a complicated curved mass.

 However, the benefits of such products are in the elegance, a mass that speaks effortlessly as well as interactively. This phenomenon besides pleasing the eye also pleases the touch. Objects are often misunderstood in terms of materials because they are not made of everyday materials, therefore they force the users to touch the solid product which at first sight does not appear solid. Nevertheless, the question is to what extent does Hadid consider functionality in her design or does she just want to push the boundaries of architecture and design? As Cellant (2006, p. 30) states "We are at a point of originality where conventional language fails the object it attempts to define and describe."

This project is an innovation with many smooth transitions where changes in geometry never coincide with the changes of surface and material. Although the idea was created behind the computer the execution itself was a result of human precision, nonetheless the use of such spaces remains questionable. Time will show how these multiple curvatures inspired from an ice cave's stalactites and stalagmites become useful in reality.
Why would people in this big fluid mass occupy a space where they have to change their posture? It seems that the wrapping shape aims back to elementalness of human inception. Albeit the cave was useful for the primitive man it nonetheless had dead spaces. However, nowadays creating curves which have no reasonable functions, and are not convincing enough to reinvent ourselves in terms of demeanour and life style, is debatable. Therefore it can be summarized that some of ZHA designs do not only blur the lines within architecture only, but they also interfere with one's privacy.

 

9 chapter:

Liquid architecture for the future

Water has been a significant factor in the urban morphology of culturally influential coastal cities such as Venice and various cities in the Netherlands. It is likely to become more important to urban centres with the rising level of the seas necessitating a new connection between water and buildings. Many architects and designers have been inspired by water and other liquids trying to incorporate the design in our lives.

Because water and other liquids are in fact a complex creation of nature it was, in the past, relatively hard to use them in design. Since the acquisition of the architectural and modelling software, in the late 1980s and beginning of 1990s, the complexity of liquids have become a solvable depiction and therefore more understanding is used in the transformation from reality to design. As it was known that liquids and their movement could be mathematically written with functions, the inspired design from these was unreachable in architecture. With software and technology it became more understood and challenging. The complexity of such fluid shapes was developed in order to bring something new. Fluid shapes in architecture meant new complex structures, daring curved facades and they also aimed towards new materials. The combination of innovative materials and fluid shapes has brought new visual effects and spatial atmospheres which all inspired in liquids.

Nowadays, there are various architects and designers who search inspiration in the complexity of liquids. Some mimic their movement and some integrate liquids with solid design. The latter was achieved with the Blur building for Expo 2002 in Yverdon by an interdisciplinary architectural studio called Diller Scofidio. Dull scaffolding look-a-like structure is sits on a lake which is intertwined with a water sprinkle system.  The first creates the structural stability for the users and the second creates a blurred atmosphere. The water system creates a fog which hangs around the structure and completely covers the building. The result seen from afar is a giant formless cloud in the middle of the lake that constantly changes its shape. According to Hill (http://www.archidose.org/writings/blur.html) it was a project to induce a psychological impact on its visitors. The fog creates a humid and quiet environment which forces people to use their hearing sense and to trust their instincts.

It can be said that simple and yet complex water has interfered with the design leaving a strong impact on visitors and at the same time blurring the meanings of architecture, installation and art.

However, there are numerous similar projects aiming for future solutions and trying to break the boundaries of conventionality. Some products involving water have become so commercial that they can be seen in many places these are for example rain curtains, water walls and other water features meant for the public, with the aim to entertain people from a visual aspect. On the other hand, as exemplified in previous chapters, there are solid projects inspired from liquids. Architecture which involves software capability, intellectual design and fine manufacture can aesthetically please the eye and can also have functional performance. This concept could evolve in the future in order to include even more complex curves in relationships with materials and therefore have an even stronger impact on people. The question is if the remaining complexity seen in contemporary fluid design can be transformed onto unknown liquid materials in the future. The answer may lie in the hands of users whether such drastic changes will be accepted or not. The use of consumers sometimes dictates the progress therefore a factor which will have an impact on acceptance might also be innovative liquid materials such as aerogel, liquid magnet, resins and artificial gels. The combination of curvilinear design with new materials may first result in blob design, this term refers to a bulging multi directional form which overall works fluidly. For example, conceptual liquid furniture a proposed project seen from FIGURE . This is a product with the outer curved skin made from semi-transparent thermoplastic rubber and the internal resin gel filament. As the internal filament is liquid it dictates the shape of the outer configuration. Such combinations can visually evoke different behaviours because users are actually interacting with real liquid. This liquid furniture could be multipurpose where users could sit or lie down and the liquid mass would adapt to their body figure. The inspiration for this project was taken from waterbeds but the idea was also developed because of its functionality. After all, such products could benefit in the rehabilitation, for instance of people in long-term static trauma who get decubitus because this liquid furniture also has a moving effect. This technique can be, for instance, transferred into walls if some liquids would have at least a semi-structural stability. It could give privacy in the space, it could be transparent to transmit light and it could have some thermal properties.

Anyway, if before it was mentioned that liquids surround humans they can be used in the future design. The mimicking of liquids could become actual liquid materials controlled by curves. Such realization could also establish a new meaning of hybrid architecture where the difference between architecture and interior design can become eradicated. Between rigid furniture and solid architecture a controlled curved liquid material may soften the static aesthetics and add the value of functionality and sustainability. After all some natural fluids on Earth are renewable sources which can contribute to the future of the human race.

It can be said that liquid as a material has potential in terms of functionality and sustainability. As liquids are powerful materials that dictate shape they could be controlled in the future with the help of software, technology and knowledge. If these factors are successfully combined it is only a question of time and human acceptance. 

CONCLUSION

In conclusion it can be said that curvatures in architecture are inspired from nature and its organic forms. Beside unrepeatable curved shapes it has offered us ever interesting liquids which can be presented as complex curvatures in relationship with materials.

Having in mind that before birth humans are in a curved liquid environment should nowadays be used as an advantage in architecture and design. Studies mentioned show that, to some extend, primitive men naturally understood their inception through their behavior. Moreover, liquid was an important factor as the location of primitive mens' tribes and caves was near rivers.  Furthermore, even the shape of their caves was a curve because the process of shaping came from their body where muscles and bone structures were a result of nature.  Therefore the curved technique of flaking came naturally and yet it was a controlled process. The feeling of control over a material gave confidence which had a functional purpose. Aesthetics did not matter, as the space was a result of cave men proportions, symmetry and harmony.

Later in history the use of curvatures offered only aesthetic value. In ancient Greece the control over materials was potentiated with the use of straight lines. Because of the incredible shift from organic forms to straight lines and right angles it is believed that the idea behind such architecture was in the political mentality of that society. Such order, as seen in ancient Greek architecture, where a straight line gives an imposing and dominant feeling establishes a strong hierarchy. It seems that they achieved a powerful meaning through vertical and horizontal straight lines and left an effect on an individual's perception.

Paraphrased from Mallgrave (2010) straight lines make a visually clear understanding because our brain perceives them as rational whereas curvatures include irrationality and therefore cause ambiguity when in such a space. Such doubt is well presented throughout the work of the artist and sculptor Anish Kapoor. He combines complexity of curvatures with materials to influence the observer. Because his works explore curvilinear forms the materiality of them evoke ineffable feelings. Moreover, the illusion makes a counterintuitive spatial effect where his pieces dissolve physical limits. They provoke individuals in having a palpable and a multisensorial experience.

Such feelings of a space can be smaller if the fluid forms are intertwined with a straight line. The synthesis between the two establishes a new rhythm within space. This is often a result of Frank Gehry's architecture, his twists of orthogonal forms cause fluid shapes which are achieved with the help of software which also analyses various materials. These are applied to a complexed curved mesh on the exterior of a building and together affect the interior of a space although the interior is calmer as the use of a straight line still dominates. Overall, such spaces seem to be distorted by gravity and a walk through might cause confusion and disorientation. The process of twisting gives the impression of a melting effect. Inspiration for such design lies in liquids which are successfully transferred throughout architecture and they cause a formidable feeling because of the sense of movement.

The inception of expressing a movement throughout a design to visually show a melting effect started with Surrealism. Curvatures of the objects being liquefied in this era brought ambiguity of materiality. Because the melting effect distorted the objects to such an extent that the forms became defamiliarized. It can be said that curvatures dominated over materials and yet gave a melting effect. Duality between materials and curvatures also created juxtapositions.

Differences between materials or straight and curved lines may evoke confusing emotions or as seen in ZHA's Roca Gallery in London may even preclude one from another. The dialogue between the old orthogonal and the new fluid space should be established respectively because on the contrary it visually disguises the original building and therefore makes it unethical.

 

There are many projects such as the Roca Gallery where the design is mimics real liquids. Because these are materials that dictate shape but because they have no structural stability the current architecture and design remains solid. It is only a matter of time when the complexity of curved forms is adapted to real liquids and therefore makes a fair result. Liquids surround us and because some are considered to be renewable sources they should be more involved in everyday life. Some architects try to incorporate water in their works but even though water gives a positive psychological effect their works are still considered as conceptual and experimental projects. The use of real fluids in architecture should become a reality in order to blur the lines between rational and irrational perceptions. Together with curvatures fluids could give aesthetical and atmospherical value, they could challenge behavior patterns around such elements, they could offer functional properties and all of this could mean a start of real adaptions to liquid environments and furthermore indicate embracing of liquid architecture in the future.