Top Architects in Velachery, Chennai DLEA Wed, 16 Aug 2017 13:42:16 +0000 en-US hourly 1 Top Architects in Velachery, Chennai 32 32 TECHNOLOGY AND ARCHITECTURE Sun, 08 Jan 2017 04:28:43 +0000


         In today’s context, everyone speaks of process oriented architecture, a new form of technological advancement. Radical thinking has helped architects break away from the norms and create masterpieces. These have been possible through contemporary processes such as motion kinematics, key shape animation, genetic algorithms, diagrams, cellular automata, shape grammar and so many others.World architecture has witnessed several imposing works produced through processes.

However,considering India, it seems as though the essence has still not permeated far enough. There is a dichotomy in that, on one hand, process oriented architecture values time – it evolves over time.

On the other hand,architectural practice has the challenge to continuously cope up with today’s fast paced life. Speed drives the society these days. This conflict needs to be resolved for enhancing the quality of architecture that we produce. Process oriented architecture does not develop overnight. It assimilates, morphs and transforms over a period of time. Again the basic disjoint between theory and practice occurs here. Process oriented architecture becomes more of the theoretical kind.

Considering technology and its advancements in the present day society, it is amazing how man has evolved, improved and sustained himself with his innovations. Although these have made life more complicated, technology has still become an indispensable factor. With high rise apartments adopting the ‘doka’ or prefabricated wall system, we have almost disdained ourselves from using conventional brickwork involving intensive manual labour. Technology aids speedier construction as well as it mediates expensive labour at the same time. The mindset of people also plays a major role in the acceptance of

technology amongst everyone. Who would want to do lime plastered walls and egg polished floors these days? They are more time consuming. Clients would rather prefer marbonite or vitrified tiles which are much easier to maintain rather than the traditional types.Commercial offices for instance give a lead time of just twelve or eighteen months for their buildings. Man does not seem to play with science, why then architecture? We wait patiently for ten months for a child to be born, but we anticipate completion of the next project a few months earlier than the previous one!

Talking of cyberspace, today the world is a totally different place with Internet and accessibility. We no longer have to go through strenuous procedures of approval to do things like publishing an article. In earlier days, articles could be published through limited sources, either in a book or in a newspaper.Considering we had to get it published in a newspaper, the credibility of the article would have to be assessed, its content and the impacts it would create when published would be scrutinized and finally the article may be selected for publishing or may even be rejected. But today, anyone anywhere has the freedom to put

forth their opinions though blogs, or upload any videos on YouTube and so on. Is this not the result of technology? It is fine, maybe even a boon as far as positive things are concerned. But with the good, the bad also comes,and the worst part is, it cannot be stopped. Imagine how much restriction would be there to publish a controversial subject in a newspaper, maybe something that stirs a riot amongst people. Today, a single individual can create a turbulence through his writings and the speed at which the information travels is alarming. Again, it may be constructive in terms of spreading a good message, but not all information is worthy.

In fact, today technology has become a threat to practicing architects, a form of silent torture in that clients have or rather think they have considerable knowledge of architecture even before approaching an architect for their project. In the past, not much of interdisciplinary knowledge had been existent. A client used to come to the architect to make a home for him and he completely relied on the architect. But today, with advancements in technology,clients get instant access to information and their minds are already overflowing with several ideas before meeting

the architect. It is not amazing to have heard descriptions from clients about their dream homes, of”having a traditional Kerala house” (given the context as Chennai!)”with long eaves, clay tile roofing and a huge lawn”(which is borrowed from the English landscape) “in the foreground and a spatious portico” (a British inspiration) “that opens into a huge double height lobby with a magnificent Italian chandelier hanging in the middle…” What would be the result of this? Obviously a collage. Earlier,an architect had the duty of educating his client with his expertise on the field. But today, with rapid information transfer, the clients feel they have gained as much knowledge or even more than that of the architect engaged in their project, by doing a few hours of browsing on the internet, as compared to our five years of hard earned knowledge. Technology has therefore become a”threatology” to us eventually!

     Considering how architects worked in the past, there would have been very minimal interactions between architects and the site or client and these were also made only when really necessary; the time of an architect was valued much. One would not dare to disturb the architect, seeking to change the colour of his compound wall to baby pink because his child likes it! An architect was respected for his works, his tastes, his commitment and finally his knowledge. Technology has made the client compete with the architect of today. Emails have become a curse to architects, as much as they are a boon. Every time a design is sent to the clients, there are alterations to it and the expectancy of modification keeps increasing. Design

is no longer the product of the architect; client becomes designer of his house too! Nothing wrong, but the cobbler makes boots, and the carpenter makes furniture, not the other way! Why then do people treat architects alone differently? It is fine if the client is actually knowledgeable and gives constructive inputs to the design; however, in most cases, it is sad that the slipper gets into the wrong foot! These are the people who fail to understand the difference between information and knowledge. And technology does not care about all that, which is the nature of technology itself!

Overtime, the home was a place which witnessed growth, in the sense that the home grew with the people living in it. Today, it only serves as a place to sleep and spend the night, with our busy schedules. This stringent attitude reflects in the architecture too. Think of the old Chettinad houses which were so vast and magnificent and compare them to how they have shrunk over the years into the single room apartments of today! With so many technological advancements, we have made life so sophisticated but failed to understand the fact that the beauty of life lies in the simple things that nature has given us. Technology through industrialization had led to machine driven architecture – the scale of the human is no longer significant. We started thinking ‘big’; however we lost nativity of the ‘small.’

Massive cranes and other state of the art construction equipments, waterproofing techniques, solar power generation, energy efficient buildings have all been possible with technological advancement. However, it is not in our hands to control the forces of nature, such as earth, water, wind, sky and fire. We can only design for an earthquake resistant building, but the probability of an earthquake occurring is not known to us.

We have created huge skyscrapers that compete with nature and grow like the trees that surround them. But whatever said and done, these are eventually made by man. These can never overthrow nature’s creation. It is like dressing up for a top level dinner party but not knowing to speak fluently. It is a literal form of imitation. Man was able to do a lot of things, but he has failed to understand the superiority of the environment in which he lives.

“We can only design for nature, we cannot design nature.”

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Case 1: Bernard Tschumi, Le Fresnoy – National Studio for Contemporary
Arts, 1991-1998

Aestheticsin the Adaptive Reuse of Le Fresnoy

The stark contrast between old and new creates a sense of visual tension, which is also an aesthetic perception. The richness of materials in terms of concrete, wood of the existing buildings and in the same complex, of corrugated steel façade and curtain wall facades, coexisting with each other, create “a new architectural and functional vocabulary” that gives a “contemporary and transparent image.” the fact that there is a vast array of materials that adds to the vocabulary in terms of quantity, age, and properties. Below is a quotation which best explains this situation:

“To achieve architecture without resorting to design is an ambition often in the minds of those who go through the incredible effort of putting together buildings”

While the Fresnoy is an example of a factory workers’ social complex, being transformed into a Post-graduate school for film and visual arts, the next case study is wof a totally different hue.

Case 2: Gasometer, Vienna.

Aesthetics in the adaptive reuse of Gasometer, Vienna

Vienna’s history shows that monuments are not sacrosanct buildings but vital elements of a dynamic city. Although from the point of view of monumental protection the historical Gasometers were considered not particularly worthy of preservation, taking into account they were a symbol for the development of the City of Vienna’s infrastructure, they had to be preserved. For originally the historical Gasometers were tanks for Vienna’s gas supply. They were emptied soon after their shut-down leaving the built shell behind that is only a camouflage of the actual monument, namely of the functional building.

The reuse of the gasometers, with no particular intention of conservation in the historical aspect, but as a documentation of the development that Vienna went through, is a depiction of aesthetics in a more historical manner, stating through its presence that it is an important asset to the city of Vienna.

The adaptive reuse of the gasometers into a mixed use development is totally a contrast when compared to the Zollverein, where the closed down coal refinery was dusted and remade into a complex public center. Both have the similarities of adaptive reuse at masterplan level and individual buildings designated to different architects.

Case 3 : The Zollverein Coal Mine Industrial Complex

Aesthetics of adaptive reuse of Zollverein

An interpretation from Fergusson “Visitors can now enter the building like the coal before them, trickling down through the floors under the force of gravity and soaking up experience along the way” puts forward the experiential aesthetics that was intended of the project.

Although the intentional segregation of old and new programs was done, and the reason stated was neither would lose its identity, there is still a visual competition between the two, and sometimes, one would even give the domination credit to the new addition.
The existing building stays for what it was, what it is, and what it will be. Its grandeur cannot be marred. However, the additions also seek equal attraction and do not remain hidden among the rest, which is intentional of the architect to establish his presence in the intervention.
In adaptive reuse, generally it is industrial buildings which suit most for remodeling and revamping into new uses. The Tate modern is also an industrial building converted into a similar function, that of a museum. However, the difference here is in the manner in which the reuse has been done.

Case 4 : The Tate Modern museum

Aesthetics of adaptive reuse of Tate Modern

Sensual aesthetics
Herzog and de Meuron’s approach to Tate Modern embodies an understanding of human experience that is contradictory, uncertain, strange and many-shaded. It includes the knowledge that things are not always what they seem, the possibility or rather certainty of imperfection, the co-existence of shadows and light, the intertwined relationship of hope and pessimism. Tate, after presenting itself
as something ordinary, reveals itself to be strange and beautiful. If it looks at first like a massive pile of bricks, the two-storey glass light beam on its roof and cutaways in its elevation make it fragile. It looks relentlessly symmetrical,but isn’t. The architecture of Tate Modern achieves to reconnect image and substance in an inevitably paradoxical relationship, which engages us with our surroundings in far less simplistic ways than those to which we are accustomed.

Minimalistic aesthetics
The minimalistic intervention was what got the project for Herzog and de Meuron, because they proposed the least drastic changes to the fabric of Bankside itself. This means that the original building will still be recognized and the new proposals will also be Appreciated. The extreme simplicity of their approach allows both artworks and the power station’s impressive form to speak for themselves.
Compositional aesthetics
Through the supplementary juxtaposition of old and new, without creating any conflict between materials and their age, yet maintaining the pride and uniqueness of each of them, Tate assumes a “Compositional aesthetics” in a very subtle manner.

Various facets that aesthetics plays
It is evident from the case studies that, whatever be the original use or the new use of the building, the
manifestations of aesthetics are diverse. To sum up, these are:
Visual aesthetics
Material aesthetics
Historical aesthetics
Experiential aesthetics
Sensual aesthetics
Minimalistic aesthetics
Compositional aesthetics

However, logically speaking, these may seem to overlap with one another or dissolve within another. Each manifestation listed is a specific tag to specific project.

The visual aesthetics is that which is perceived by looking, while it can also relate to material aesthetics. However the difference lies in the tactile / haptile qualities of the material, and hence the tactile aesthetics is another aspect to it. Compositional aesthetics is also a visual perception, seemingly evident, but with a mild difference.Similarly the perception could be associated with torching out a minimalistic aesthetics. It is impossible to draw a clear line between these very many manifestations, and a single project can still
have multiple aesthetic manifestations. What is evident however, in the analysis of these case studies is the varied manifestations of aesthetics, and hence their richness and importance.
The aesthetic is uniquely human. As aesthetics is a body of knowledge that is perceived with the senses, it could be of several manifestations, through visual, experiential, sensual, physical etc.,

In adaptive reuse projects, it can be interpreted in a way that the contrast, competition, harmony, amalgamation, assimilation between the old and the new, each one is a form of aesthetics in itself.

It is generally not a conscious decision of sensing an adaptive reuse project, and it does not need to be either; that is the beauty of adaptive reuse. Just as you go near a flower,without your knowledge you smell it and start analyzing the smell, whether it is good or not. Aesthetics, in an adaptive reuse project, is also similar to that.

Had each user understood this consciously from within, there would not have been any abandoned buildings today, but even now, this consciousness may have a possibility to create a change in the mindset of people to suggest and fight for adaptive reuse instead of demolition of our rich heritage.

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