Energy in Architecture

In 1932, Philip Johnson and Henry-Russell Hitchcock proclaimed the emergence of the international style. It is a style that emerged between 1920s and 30s. International style is the direct programmatic expression, with a famous quote: “form follows function”. Construction is industrialized mass-produced, thus it uses a lot of concrete, steel and glass. It is the simplification of forms, honesty of material and clarity of how building stands up that dominate the style. It emphasizes on three aspects. First is the volume rather than mass. In invention of reinforced concrete and skeleton structure system free the wall from load bearing to the only function of partition. Features of creating space focuses on horizontal elements rather than verticality, as well as continuity and integrity of surfaces. Second aspect is regularity rather than axial symmetry. Lastly, it is the avoidance of decoration. The old way of adding decoration only increase the mass therefore contradicts with the reality of modern architecture. 

Compare to the functionalistic of international style, some other people challenged the idea of efficient satisfaction of man’s physical needs. Man longs for the narrow streets and irregular squares of old town he came from, or he escapes into nature. Both tendencies indicate about the space conception which is growing out of functionalism. Architecture is a synthetic whole, and only recently has one tried to reduce architecture to a mere practical activity. It unifies factors of the most different kinds of moments. In other words, architecture is a composition of all the human senses. Synthetic activities are essential for human interaction and cultural development. The Gestalt psychologist Kurt Koffka once said: “The whole is different from the sum of its parts.” It is the balance between unity/wholeness and complexity.

What tights architecture together as a whole? I personally believe it is the energy force. Ralf Weber’s lecture also mentioned the world is a force field. Every object has its energy. The success of Italian piazza is because the force is flowing and dynamic in it, at the same time the enclosure of Italian piazza kept the force well inside. However, the typical American plaza is created usually be leaving out a block. Because of its loose corners, energy would flow away, and hard to maintain its dynamic. Italian piazza is formed by to enclose, while American plaza is by subtraction. In Fengshui aspect, in order to keep the energy dynamic and constant in a space, they pay attention to the location and size of openings, as well as inner arrangement. The development of Fengshui started with a quote: “Qi”(which means the flow of energy), flow and vanish with the wind, stop when meets water. How to concentrate without let it fade, how to use or even control its movement, as well as how it stop, all decide the spirit of the site, a place. It is the deepest meaning of respond to the context.

Energy flow not only decides the arrangement and layout of architecture, but also on proportional systems. Ralf Weber’s lecture mentioned the visual balance as well as eye movement pattern on a façade design. I think visual balance is achieved by the correct energy flow. Similar to Chinese calligraphy, it is all about energy flow in individual strokes, as well as how these individual energy relate to each other and become a balanced whole (as one character). To decompose the energy flow of calligraphy: firstly, how does the energy/stroke start; usually after the start, there is a slight pause for restoring/collecting energy, then to move; move for how long depends on how much energy it restored at the beginning, then the end; the end could a strong pause or fade depend on when was the pause taken place. If functionalism approach is a computer font; then the energy in architecture, how people experience the space, as well as the proportion systems is the calligraphy.

Energy flow is a story telling.

On non-orthogonal architecture approach, Zaha’s project has one of the most aesthetic forms. Her design has the energy flow, which gives the speed character when I perceive her forms. Quote from Ralf Weber’s lecture: “For non-architects, only form is accessible to the senses, when all judgments are based on perceptions.” Lots of contemporary firms tired to study her language. Nevertheless they just purely copy her form without understand the energy flow in the works. Before intern there, I was also intrigued and don’t understand why some of her works can have such strong energy flow, while other imitation’s form is too soft to hold the energy. When in there studying how people works, I could see her form has similar spirit from Chinese calligraphy. Instead of design from a random hand drawing curves, the curves in her design are generated from straight lines, then filet the corners in different degrees. There was never any random in a good work, everything is controlled.

Even though the elegancy of some of her forms still intrigues me, I just wish there is more humanity aspect within the form. Her forms look nice when the scale fit in the paper or computer media; when it is in human scale, I can’t resonate with her harmony of energy. The best modern spaces with great energy flow in human scale I have been to are: Ando’s museums in Naoshima and Awajishima, Zumthor’s Thermal bath in Vals, and Snohetta’s Oslo Opera house. Those buildings not only fulfill the aspects of human perception in all senses but also connect the spirit of earth and sky.