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Metamorphosis of Spaces: A New Language for a Futuristic Architecture

Conference Paper · November 2007

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Metamorphosis of Spaces: A New Language
for a Futuristic Architecture.
Dr. Khaled Mohamed Dewidar, Arch. Hazem Taalat El Daly.
Architecture Department, Faculty of Engineering Ain Shams University.
Cairo- Egypt.

ABSTRACT: Architectural history investigates the metamorphosis of

spatiality through time and suggests that each age is characterized by a
particular space consciousness. The need for a new space perception
that suggests a heightened sense of dynamism is a requirement for
future architecture. The spiral, as an architectonic form is capable of
producing novel spatial experiences. It is a gradual intensification of the
structure by new extensions in space, moving from a rigid concept to
dynamic rotation and finally to flexible flow of spaces. The spiral form will
be the new architectural language for future dynamic architecture. It will
break down the static lifelessness of classical match box architecture,
and thus signalling the approach of a new space concept. Purpose and
function are linked in a new space/time continuum. Just as the triangle,
as an image of equilibrium, was the best expression for the
Renaissance, so the spiral conveying a dynamic image will be the
language for a future dynamic architecture.

Conference Topic: Architecture, urban theories and criticism.

Keywords: Spiral, helix, pre-dynamic Geometry, energy, Tatlin,

Introduction
In the historical development from static to dynamic perception of space, there are
concomitant changes in the concept of architectural style. Materials become lighter,
structures are more kinetic and spaces less bounded and more energetic. Advanced
concepts of equilibrium and a new sense of weight (anti-gravity architecture), would
finally lead to a new concept of space expressing the essence of movement; yielding
to a new concept of beauty based on energy. Elementary themes from static
compositions arranged on the basic tectonic principles are significantly altered to
become a new theme for a new dynamic composition, where mobility and
immateriality are its new tendencies. Turbulence and explosion of architectural
volumes would become a recurrent theme in the flow of surfaces. This would lead to
the enfoldment of space, time and energy in one spatial continuum. Axes would be
charged with energy in all directions. It is a new architecture of exploded forms,
overlapping volumes and a new sense of instability and mobility.
Architectural history suggests that each age is characterized by a particular space
consciousness. The need for a new space perception that suggests a heightened
sense of dynamism is a requirement for future architecture. The spiral, is capable of
producing novel spatial experiences. The examination of various space concepts
shows that the life of the architectural form would begin a new cycle of spatial
awareness: from symmetry to rotational, from simplicity to complexity and finally, from
order to movement and animation. It is a gradual intensification of the structure by
new extensions in space leading finally to flexible flow of spaces. In conclusion, it is a
further strengthening of the sculptural tendencies in architecture, where the spiral is
the new architectural language for a future dynamic architecture leading to a new
futuristic space based on energy, dynamism and vibration. This new geometry would
signal the approach of a new space concept and thus a new architectural language
based on complexity and diversity of form. Energy is the basic element of this new
language. Such a new reading of space may generate new visual and kinetic
sensations.
The Spiral Configuration
The very numerous example of spiral configuration, which we meet in out studies, are
peculiarly adapted to mathematical methods of investigation. In general terms, a
“spiral is a curve which, starting from a point of origin, continually diminishes in
curvature as it recedes from that point, or in other words, whose radius of curvature
continually increases”. This definition is wide enough to include a number of different
curves, but at the same time it excludes at least one which is always confused with a
true spiral: the helix, which neither starts from a definite origin nor changes its
curvature as it process. The two most important spiral curves are: The Equable Spiral
or the Spiral Archimedes and the Equiangular or the Logarithmic Spiral. The former
could be defined in the language of vector mechanics, “as while the radius vector
revolves uniformly about the pole, a point travels with uniform velocity along it”. Here
the radius of curvature is made up of successive and equal whorls, and will increase
in an arithmetical progression. In contrast to this, is the equiangular spiral, the whorl
continually increases in breadth, and does so in a steady and unchanging ratio. Here
the radius vector increases in a geometrical progression, as it sweeps through
successive equal angles. While the first was known in ancient times and discovered
by Archimedes, the other was recognized by Descartes and discussed in 1638. Here
vector angles about the pole, are proportional to the logarithm of the successive radii,
from which the alternative name the logarithmic spiral is derived. One of the
fundamental and intrinsic properties of the spiral is the property of continual similarity
and growth, the very property of which that it is associated with the concept of
increasing by terminal growth, but nevertheless retaining unchanged through its entire
structure. Thus it deserves the name "spiral Mirabilis", that was first described by
James Bernoulli in 1691. The examination of various concepts of space, shows that
the life of architectural forms would begin a new cycle of spatial awareness; from
bilateral to rotational space and finally to a spiral motif (space/ time and energy). This
cycle proceeds from simplicity to complex and from a balanced axial bilateral
movement to the serpentine flow of the helix and finally to the animated form of the
spiral. Each stage reflects a transition from simpler form defining the outline of the
structure, to more complex architectural shapes. It is gradual intensification of the
structure by new extensions in space, moving from rigid concept to dynamic rotation
to flexible flow of the helix to a coiled resiliency of the spiral. Some modern architects
used the spiral for its dynamic spatial possibilities.
The spiral, theoretically scaled up to a full size structure, is recommended as a new
geometry for future structure. Existing tall buildings embodied in concrete, steel and
mixed structural systems all have inherited technical problems, especially the fact that
the load transfer is dependent upon the building material elasticity and not on the
inherent geometrical form. The dynamic spiral composition will break down the static
lifelessness of classical match-box architecture. This new geometry derives its
stiffness from the inherent geometrical inertia of its form, and is thus capable of
sustaining loads far greater than would otherwise be possible in pure static
architectural forms. This new geometry, signals the approach of a new space and a
new way of living. As the perfect line has no width, so the true space has no
boundaries. The spiral and the inclined plane, echo the image for a new age of anti
gravitation. Its complexity and diversity of forms had awakened the vision for a new
architecture and a new realm of space. The spiral, or the inclined plane, is the
geometric articulation of energy with form, embodying the concept of endlessness
and infinite growth. The spiral is a symbolic modernity, identified with different zones
of continual expansion; producing revolutionary new manners, new sensibilities and
new concepts of space perception. This idea recalls the ziggurat, with its spiralling
procession to the heavens. The idea of tower escaping and hiding in the sky dates
back to Leroy Buffington's Cloud scraper project of the late 19th century. Both were
convincingly realized with idioms reflecting vertically, a tension between stability and
upward thrust that was wholly appropriate to the skyscraper as a new building type. It
contradicted all horizontal expression at its time and reflected a new vertical
dimension defying all gravitational laws.
Every new meaning requires a support and a vehicle of expression. The spiral form,
as a starting point for a new dimensionality in space, would express a new law of
composition based on dynamic perception of space.

Vladimir Tatlin and a New Theory of Composition

Vladimir Tatlin produced the most dramatic spiral in his Monument to the Third
International. Similarly, Frank Lloyd Wright's design for the Sugar Loaf Mountain
project was his first attempt to create a spiral form for an architectural project. It was
also Wright's chance to design a building dedicated to, and indeed celebrating, the
automobile and its importance for modern culture. The modernist use of the spiral
form, had been pointed out by Umberto Boccioni, when he declared in his Futurist
manifesto (1913) that, "we have abolished all static structures, to arrive finally to a
new spiral architecture." This concept obviously overcomes the idea of a cube-like
structure offering a two dimensional facade. Our common denominator is a new
geometry of space, as Le Corbusier has described it, "que flotter dans l'aire," (to float
in the air without any anchorage to the ground). It is not the strict rectilinear geometry
but rather, it is the language of both horizontal and vertical, and in their conflict Arthur
Schopenhauer has located the very essence of architecture. It is dynamic versus
static perception of space.
Vladimir Tatlin, a legendary figure of the European Avant-grade, motivated by the
engineer's research into the relationship of forces, intended to contrast a 400-meter
spiral tower as a practical realization of the monumental propaganda set down by
Lenin. The tower, with its trellis work facade and metallic glow, expressed the effects
of dynamic forces instead of concealing them behind the facade. The structure itself
reflects its dynamic origin. On the other hand, to draw more on his kinetic
architecture, he achieved a dynamic tension through the precipitous balance of heavy
objects supported by taut cables from the main structure. Tatlin played a significant
role in securing the place of a new style in architecture by using new interventions of
space, energy and materials. The Monument to the Third Internationals, built on
entirely new architecture and spatial principles, represented the embodiment of a new
idea. The space was assigned to a material from. In fact, the Monument was the plan
for the first European skyscrapers. Tatlin, imagined it as an open spatial construction
inside which there would be four volumes made of glass: a cube, a pyramid, a
cylinder and half a sphere, all hanging form the main superstructure. The supporting
structure system of the tower consists of two spirals, resembling springs fastened at
each turning point on a diagonal axes. A grille structure, connecting the spiral shafts,
unifies the components. The use of the suspended construction system as a separate
system within a main structure, made it possible to take the weight off the supporting
main frame, and allowed the use of suspended wall units with column free interiors.
Here, space acting as a material form, is completely independent from the structural
system. Making the basic supporting elements inclined was an extremely effective
way to achieve maximum dynamism.

The monument to the Third International was an expression of a new artistic form
coinciding with Tatlin's idea for a new material culture. His aim was to present a new
interpretation of space, based on transparency, dynamism and energy. Tatlin wrote
his architecture in the language of mathematics. The symbols he used include
inclined planes, circles, and other geometrical forms, thus creating a new unity based
on the principles of dynamic balance. These ideas are very important, not only
because they point to the future but also because they are significant in the renewal
of the language architecture. Taking a spatial directional, comprising the four
dimensional limits (x, y, z, t), he was able to arrive to a new space concept built from
complicated geometrical shapes.

Calatrava and the Moving Torso Project

The Cubist treatment of reducing all forms to basic geometrical configurations and
figures are one of the most important principles of Santiago Calatrava’s architectural
design. The harmonious movement of the entire architectural form, in addition to the
dynamic functioning of the whole structure are Calatrava's motive behind his design
for the Moving Torso Residential Tower. It revealed a new perspective based on the
curved line and the inclined plane. He was presenting a new spatial environment,
based on the argument between new materials and dynamic structural systems, that
would finally lead to a new space perception. In the Torso project, a zigzag or spiral
motif could be easily produced around the vertical axes, by joining the pivotal points
of the toppling forces in the different horizontal planes. Connecting these points
produces a spiral structure in equilibrium, with stressed shifting of the vertical. It is a
new concept of equilibrium within the realm of motion. The shift from horizontal and
vertical to the spiral would lead to a new futuristic space, and finally to a new
architecture based on energy, vibration and dynamism.
Calatrava's aim was to energize the architectural form, and to endow the structure
with an expressive image of the apparent physical and mechanical forces at play.
This image provides the ultimate rational for the structure and imbues the building
with visually dynamic aspects. The main object is a new spatial concept, leading to a
new geometry for future architecture. It is the geometry of spirals and zigzags that will
reflect a new architectural composition based on energy and dynamism.

The architecture of Santiago Calatrava is the perfect case-study for this investigation in the
wonder of lightness. In his work the presence of an elegant technology concept is a reality and
a project at the same time. The constructions of Calatrava have the same elegance which we
can see in the wonderful vaulting of a great gymnast where the precision of the movement of
the exercises hides the stress and the need of precise supporting points. Calatrava's
architectural designs, reconciliate the art of thinking beautifully with the art of constructing
beautifully. The elegant concepts of technology in Calatrava's work are expressed in its highest
sense in his mobile expression of his structures. His designs either in steel or glass represents
a desire for a thoughtful lightness, the reality of unbearable weight. For him, engineering
concepts create surprisingly dynamic shapes, where the expression of the tensile cables are
the dominant characteristic of most of his designs. They represent the wonderful power of
elegant technology in its most complete form. He used conceptually and practically the notion
of movement, mobility and kinetics in his architecture. It can readily be seen that Calatrava's
taste for transgression or innovation pushes him to design unusual designs and unexpected
forms that creates a very dynamic form defying the laws of gravity.
Conclusion

Considering the present situation in architecture, it is a high time to restore the sense
of wonder in architecture within the world of tectonics. Calatrava, is not adhering to a
new kind of futurism that displays the visual point of organization from architectural
form. Rather, movement is a new imperative for spatial organization. One that
questions the (arche): the essence of architecture. The very ground on which the
relationship between architecture and space is based. Where space is viewed as an
infinite domain in which architecture can exist. He invented a new building typology
which is almost free from the obsession with metaphysics and phenomenology of
form. In his work, architecture is succeeded by a real tectonic, a logical process in
which the tekton enters a new age, where space is the new building material. It is a
dynamic process, where architecture becomes an act, creating and undoing itself in
the process of its use. It is a new form of aesthetics based on dynamic organization of
space, translation, and shifted axis. It is a new order of architecture based on
variation and a new formation of the tectonic creating a dynamic physical architecture,
varying between the picturesque and the elegant.

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