Parametric Architecture in Performance
This study was completed as part of the BA(Hons) Interior Architecture degree at the University of the West of England.
The work is my own. Where the work of others is used or drawn on, it is attributed to the relevant source.
This dissertation is protected by copyright. Do not copy any part of it for any purpose other than personal academic study without the permission of the author.
With thanks to Fidel Meraz for the guidance and support in writing this dissertation.
Theatrical Architecture is a typology that aims to nurture the relationship between architecture and performance – it includes many disciplines extending to scenography, performing arts, musicians, and designers (Filmer, A, 2019). Sensitivity is essential in this category of architecture as it pertains towards movement of artists and performers and how they are experienced (Filmer, A. 2019). Andrew Filmer proposes that this attention to design and sensitivity towards experience and performance leads to spatial designs that deviate from historical norms (Filmer, A., 2019). Theatrical Architecture plays with the “performativity of objects” (Filmer, A. 2019. pp 162.) and how they contribute to the role of atmosphere within live performances, leading to abstract forms found within Modern Day Auditoriums.
This dissertation acts as an exploration into Parametricism as spatial design and its role in the realm of performing arts - the leading hypothesis being that the spatial qualities of Computational Architecture and Parametricism - as defined through Charles Jencks’ Theory of the New Paradigm (Jencks, C. 2002), is significant in producing unique atmospheres that enhance the quality of experience within performance spaces. It proposes that by studying the relationship between Parametricism and experience in performance centres – we can produce new ways of sensing architecture, which can be used to create more delightful spaces.
This dissertation is an inquiry of the relationship that Parametricism has with architectural experience and atmosphere - within the realm of Performance. It aims to draw conclusions through thereotical framework and logical reasoning.
Firstly, this thesis will define the philosophy behind Parametricism using Charles Jencks’ Theories of The New Paradigm, where he proposes that a New Paradigm of Architecture is emerging in the modern day (Jencks, C . 2002). His theory is interested in how designers interact with programs to create spaces that unfold, self-organise, and emerge (Jencks, C. 2002).
Then, this thesis will cover on how Parametricism impacts spatial design – covering the design conventions seen in Parametricism and what spatial quality they bring to Architecture whilst also linking these design decisions back to Jencks’ theory of the New Paradigm and how they correlate. Relevant designers of Parametricism and their philosophies will be introduced: such as Zaha Hadid, Benoit B Mandelbrot, and Peter Eisenman (Jencks, C. And Kropf, K. 2006)
Afterwards, the review of findings on the realm of Experience and Architecture and how spatial design affects the experience of users will follow - covering topics such as senses and atmospheres as this will act as a baseline to judge how Parametricism fits into Architectural Experience.
After reviewing all relevant literature – this thesis will discuss how Parametricism affects spatial quality in performance spaces and how this affects user perception and experience of performance. Including examples of design proposals in performance spaces that demonstrate the relationship of Parametricism and experience and relate these designs back to the theories of Charles Jencks, drawing connections between the philosophies of Parametrics and Performance
Charles Jencks – an American Landscape Architect, and a significant architectural theorist of the early 2000’s, proposes that architecture is moving into a new stylewhich he refers as “The New Paradigm” (Jencks, C. 2002). He defines this style as one grounded in science and technology – which would help Architecture to reach new heights, creating environments that are cheerful, articulate, and sensuous (Jencks, C. 2002).
The New Paradigm is a movement that involves the ideation of self-organisation, an approach that aims to justify design decisions through emergence and morphogenesis – which is the natural development of forms (Jencks, C. 2002). This is done through the collaboration of designer and program - rather than a mechanistic approach that aims to justify decision through physical processes and theory (Jencks, C. 2002).
This idea of “self-organisation” gives the New Paradigm notions of emergence, complexity, and chaos (Jencks, C. 2002). It is not a movement that is linear, or predictable (Jencks, C. 2002). The Process of “Cosmogenesis” is mentioned often in Jencks’ philosophy – defined as the origin or evolution of the universe, or as Jencks defines “A process of unfolding and sudden emergence, a surprisingly creative universe” (Jencks, C. 2002. pp. 1). This process of Cosmogenesis and Cosmology relates to the self-discovering, unfolding nature of The New Paradigm – where forms are birthed through parameters set by designers and software in cooperation, thus creating Architecture that “self-organises” itself with directions from its user, the Architect. It is both, a process of discovery and design for the architect – often resulting in spatial design that embody chaos and complexity.
In fact, Jencks proposes that the New Paradigm is complex in nature – and that spaatial design in this New Paradigm is situated in a state between Order and Chaos, thus creating “Complexity” (Jencks, C. 2002). Jencks argues that achieving a level of complexity can produce a greater quality in how environments are experienced (Jencks, C. 2002). We can see this theory of Complexity being integrated in the forms that are produced through Parametricism – creating structure that appear to be spontaneous, overlapping, and non-Euclidean (Jencks, C. 2002).
“Value and a greater degree of freedom are all positively associated with greater Complexity” – Charles Jencks, The New Paradigm (2002) pp. 208
The forms seen in this emerging architectural style are often fractal in nature –where similar, or identical, elements are repeated to create Architecture that is “highly repetitive” and to play with the “nature of perception” (Jencks, C. 2002. pp. 2). Jencks also states that Fractals are “Closer to nature” in form rather than linear/ rational forms diverged from architectural theory – leading to forms that are organic, or non-Euclidean (Jencks, C. 2002. pp. 2). Geometries such as “curves, blobs, folds, crinkles, twists or scattered patterns” are common characteristics found in this new Architectural attitude (Jencks, C. 2002. pp 2).
Fractal geometry is a common trope seen in the Parametricism style of Architecture – it employs the use of simple, similar repeating elements to create a bigger complex system (Mandelbrot Benoit, B. 1983). These forms are based off observed patterns of nature – which are described as irregular and fragmented by Mandelbrot (Mandelbrot Benoit, B. 1983).
The geometries of these forms do not follow the patterns of geometry set by Euclid and Newton (Jencks, C. And Kropf, K. 2006), but instead introduce newer forms that Architecture has not utilized before. By using fractal geometry –Architects can create spaces that are more representative of nature (Inns, T. 2007).
Jencks states that this design approach can bring new ways of perceiving Architecture (Jencks, C. 2002), therefore by basing the geometry we use off the geometry we observe in nature – we can refine spatial design and attune it more directly to how we see, feel, or perceive spaces (Jencks, C. And Kropf, K. 2006). This idea of connecting fractal geometry to natural design links back to Jencks’ theory of how Parametricism can bring more convivial and sensous attributes to spatial design (Jencks, C. 2002).
The individual elements that compose a fractal system can take on various forms – such as curves, surfaces, separated segments, panels, beams, or non-Euclidean shapes (Mandelbrot Benoit, B. 1983). We can see an example of a fractal geometric roofing system in Figure 1.
By looking at this example -we can see the fractal properties that Architecture could adopt – such as the simple squares/ diamond segments that create the complex roof structure.
The Chhatrapati Shivaji International Airport terminal roof is just an example of how parametricism employ geometric nodes to create a wider complex system – which reflects the Theory of Complexity that Jencks’ discusses (Alazzawi, T. and Al-majidi, Z. 2021). Where Architecture can be placed in a state between order and chaos to create complex visual languages that convey rich visual material for people to experience and perceive (Jencks, C. 2002).
The manipulation of curves is also an attribute that Parametricism displays in its typology (Jencks, C. 2002), where designers utilise curving forms to create space that constructs itself. We can see this design attribute coming into use in figure 2 – a photograph of the Walt Disney Concert Hall (2003) designed by Frank Gehry - where he utilises multiple curving geometries to compose a larger, more complex building.
We can see the manipulation of geometries to implement an aspect of curvature to the spatial dimensions –resulting in an Architecture that seems to point in all directions. The use of curves in Parametricic Architecture is a very common trait amongst designers – as the manipulation and distortion of dimensions will always involve a sense of curvature, or fragmentation, or an abstraction of geometry (Alazzawi, T. and Al-Majidi, Z. 2021).. These parameters often lead to “free-shapes” demonstrating properties of fluidity and continuity with the use of curves in its design (Al-azzawi, T. and Al-Majidi, Z. 2021).
The idea of representing continuity and fluidity in spatial design was first brought up by Peter Eisenman – where he questioned the cultural value of these spatial attributes and what they mean culturally. (Jencks, C. 2002). This interrogation of spatial form led to design proposals that involved the morphing of normal conditions that defined a room – where the floors would continue into the walls, and the walls would morph into the ceiling, creating what seemed to be a space that continuous throughout itself or a room that would be constructed from one seamless surface (Jencks, C. 2002).
We can see these theories of fluidity and continuity coming to life into the design language of modern Architects such as Zaha Hadid’s JS Bach Chamber Music Hall – where Hadid creates a continuous shell that envelopes the performer and observers (Hadid, Z. 2009). It’s clear to see that the designers behind this space manipulates curves to create forms that direct and answers to the program of the performance (Hadid, Z. 2009).
Curvature is an aspect seen across the forms of Parametricism, it can be used in compression and expansion, or through folding - allowing for a sense of continuity and morphing of shapes, a characteristic most associated with folding features of parametricism. (Jencks, C. 2002).
Figure 2: Walt Disney Concert Hall – Frank Gehry (2003)
Inspired by Origami, the Japanese art of paper folding, parametric designers have incorporated the dimensional quality of folds into spatial design (Majeed, A.M., Alawan, H. And Oukaili, N.A.Z.A.R. 2021). This design language embodies continuity in the sense that folding Architecture involves using one surface to cover multiple dimensions – by adopting this design ideology, designers can utilise parametrics to create a variety of expressions with only a single surface (Majeed, A.M., Alawan, H. And Oukaili, N.A.Z.A.R. 2021).
This design characteristic can be very functional as the properties of the folds can be altered easily (Majeed, A.M., Al-awan, H. And Oukaili, N.A.Z.A.R. 2021) – for example in Figure 4, we can see that the parameters used in the design determines that the folds are rigid, sharp, and segmented. There is a clear hard edge and observers can easily make out the geometry in which the folds take place. These types of folding architecture is very reminiscent of Origami (Majeed, A.M., Al-awan, H. and Oukaili, N.A.Z.A.R. 2021).
A related parametric characteristic is proposed by Zaha Hadid, where she defines this characteristic as “Explosions” (Jencks, C. And Kropf, K. 2006). As the name suggests, Hadid developed this typology based off explosions of matter, where she focuses on the representation of geometry being expelled outwards from a source – leading to perspectival representations of floating forms (Jencks, C. And Kropf, K. 2006). This design feature also includes sharp angles in its geometry, often pointing away from a central source, invoking instability and movement in its design (Jencks, C. And Kropf, K. (2006). We can see this attribute at play in Figure 4 – where the geometry folds and moves away from the entrance of the auditorium.
Folding as a characteristic is not only limited to hard edges, points, or sharps – folding can also take on the form of organic geometries, often displaying attributes of flexibility and fluidity – much like the formalism of curvatures (Majeed, A.M., Al-awan, H. And Oukaili, N.A.Z.A.R. 2021), an example of this is shown in Figure 3, where the curvature folds into and out of itself – creating a sense of fluid motion (Majeed, A.M., Al-awan, H. And Oukaili, N.A.Z.A.R. 2021). I would like to add that this shares similarities to the “Formlessness”
Characteristic of Parametricism (Majeed, A.M., Al-awan, H. And Oukaili, N.A.Z.A.R. (2021). We can see that the different characteristics of Parametricism tends to overlap – creating forms that display multiple attributes at once, resulting in dynamic spatial designs.
The next parametric characteristic to be covered is the ‘blob’, where the geometry of an object appears to inflate and expand in different regions of the shape (Jencks, C. and Kropf, K. 2006) creating bubble forms. According to the Article covering Freeform geometries in Contemporary Architecture (Majeed, A.M., Al-awan, H. and Oukaili, N.A.Z.A.R. 2021), it is stated that blob architecture tends to be utilized as ‘shells’ acting as a covering for an interior space – such as a pavilion.
This blob ‘shell’ is most often created through the use of a grid system –where there is a underlying grid that warps and provides the structure for the shell, which is then filled out with panels of glass, metal, or plastic cladding – creating what is known as a ‘grid-shell’ (Majeed, A.M., Al-awan, H. And Oukaili, N.A.Z.A.R. 2021). This development of a grid-shell to create blobs in architecture is an evolution of the conventional wall and roof – it becomes a combination of these conventions resulting in a continuous shell that merges the dimensions of interior space together (Majeed, A.M., Al-awan, H. And Oukaili, N.A.Z.A.R. 2021 / Jencks, C. 2002).
Zaha Hadid also proposes the idea of compression form – originating from the demand of saving space in high density urban contexts – Hadid developed a formalism that involves itself with the verticality of spaces (Jencks, C. And Kropf, K. 2006). Compression form involves the stretching, expansion and bloating of space – with the opposite being thinning and smoothing in other regions of the same geometry (Jencks, C. And Kropf, K. 2006).
Hadid played with the balance of distortion – where expansion would happen, an act of thinning would also occur in another part of the building (Jencks, C. And Kropf, K. 2006). This resulted in a morphology that challenged the conventional thinking behind verticality – creating space that did not contain itself to the standard orthogonal planes of XYZ (Jencks, C. And Kropf, K. 2006). Blob architecture allows for space to exceed the habitual 90-degree angles – but rather it allows for space to take shape in the form of bulging and recesses (Jencks, C. And Kropf, K. 2006), with a variety of curvature and intersects being implemented in order to create a more organic and free flowing design – In other words, Parametricism composes itself with the use of ‘free-shapes’ that don’t conform to conventional spatial thinking (Alazzawi, T. An d Al-majidi, Z. 2021).
It could be a mistake to consider this movement of Architecture as incomprehensible Chaos – this thesis suggests that there is a certain atmospheric quality that is discreetly communicated with this design language that can be found in no other era of Architecture. An opportunity for a unique quality of interiority and experience has been discovered that this thesis believes could pose useful in the realm of Performance and the Arts.
In order for us to understand how Parametricism impacts experience of performance – It is important to first understand how we, as humans, experience Architecture. Rasmussen describes Architecture as a form of theatrical setting in which architects construct and direct the stage that people find themselves inhabiting (Rasmussen, S. 1964). In this sense, Architecture does not become merely a physical space that shelters people – but instead it becomes an experience that envelops its inhabitants, much like how theatrical play acts as an atmospheric experience (Rasmussen, S. 1964).
Rasmussen states that ‘it is not enough to see architecture’ and that ‘you must experience it’ – therefore, we can infer that architectural experience is not solely based on visual perception and that there is a sensory component in how we read spaces (Rasmussen, S. 1964). It is not to be mistaken that visual perception is irrelevant in architectural experience.
In fact perception plays a significant role in how architecture is felt, Rasmussen talks of how physical attributes within a space act as a method of conveying feeling and mood (Rasmussen, S. 1964) – Hauskeller also defines that experience is an act of perception that involves emotive inference (Hauskeller, M. 2018) – we can see that perception does play a big part in architectural experience.
However, there is much more to architectural experience than just focused visual perception and that we must delve deeper into the nature of atmospherics within spaces (Pallasmaa, J. 2016), starting by defining what exactly is an atmosphere within Architecture (Hauskeller, M. 2018).
Hauskeller suggests atmospheres as nonphysical – they are not objects or things that can be visually observed and quantified (Hauskeller, M. 2018). He also proposes atmospheres are not sensory, as atmospheres do not give stimuli that attunes to our senses i.e., colours, smells, or haptics (Hauskeller, M. 2018) nor are they something internal – for example thoughts or emotions (Hauskeller, M. 2018). although factors such as emotion, cognitive perceptions, and sensory stimuli can help add to the effect of an atmosphere (Hauskeller, M. 2018).
Instead, Hauskeller defines atmospheres as tempered/ tempering spaces that are felt and experienced, that atmospheres are everywhere no matter where you go – as all spaces have atmospheres (Hauskeller, M 2018). He describes atmospheres as a ‘temperament’ of spatial experience (Hauskeller, M. 2018).
The parallel Hauskeller draws is one that is similar to the temperament of humans – where atmospheres can be showcased in cheerful, threatening, comforting, beautiful, discomforting, and sublime moods – it is the ‘mood’ of Architecture, where atmospheres allow people to feel and experience spaces (Hauskeller, M. 2018). Atmospheres are something to encounter and be surrounded in – it is an essential tool in Architecture to build experience within spaces (Hauskeller, M. 2018).
It is suggested that atmospheres are essential in how humans relate to their surroundings and space, often describing this relationship as the ‘quality of space’ (Hauskeller, M. 2018). Another definition of Atmospheres is one defined by Pallasma, where it is suggested that atmospheres are also non-physical, but are experiential creation derived from visual perception (Pallasma, J. 2014).
In other words, we derive our own sensing of atmosphere from what we feel from spaces. From these definitions, it is clear to see that Architectural atmospherics is an important tool in creating spatial experience. in order to utilise this tool to improve Architectural experience, we must understand how we experience atmospheres and how it affects us as viewers of space.
Pallasma suggests that sensing atmospherics is our sixth sense (Pallasma, J. 2016) and that sensing atmospheres is not a visually perceptive act – but instead that we judge environments in a multiple sensory act and awareness of various factors that will help us to identify, or feel, the ambience, mood, and atmosphere of spaces (Pallasma J, 2014). Therefore, Pallasma suggests that the very nature of architectural experience is multi – sensory (Pallasma, J. 2014).
Grasping the atmosphere of spaces is an act that involves your whole being - ‘your whole being’ meaning the involvement of your senses, haptics, and emotional responses (Pallasma, J. 2014). Pallasma also suggests that this embodied experience of space is not a conscious act that we are necessarily aware of – but rather that architectural experience is subconscious and immediate, and that it is imprinted onto us as an impression whenever we experience space for the first time (Pallasma, J. 2014, 2016).
These imprintations are self-defined through emotive attitude and a recall of previous experience of atmospherics – we create an immediate sensory image of space that is unique to us and is defined through our individual way of sensing architecture (Pallasma, J. 2014). Experiencing architecture is essentially a fusion of our own embodied perception, memory, and imagination – it is a reading of space that is unique based on the observer (Pallasma, J. 2014).
This reading of space can be seen as a form of creative search/ imaginative perception of architecture (Pallasma, J. 2014). Pallasma suggests the idea that when we perceive spaces, we use something that is described as ‘unconscious perception’ and ‘creative thought’ (Pallasma, J. 2014).
We do not need to focus our attention onto individual elements of a space to fully feel the atmosphere that it produces (Pallasma, J. 2014) – the scanning of complex entities is an act of unfocused creative perception where we do not need to consciously understand any individual elements, but instead grasp the entirety of space all at once (Pallasma, J. 2014).
Creative scanning of complex structures/ entities can help build a sense of imagination – where the act of grasping atmospherics and mood within Architecture can be comparative to the act of projecting imaginative imagery when reading fictional stories, listening to music, witnessing theatricals, and observing artwork – all acts of experiencing produce a form of sensory imagery (Pallasma, J. 2014).
This is described as a non-visual type of imagery – but rather a feeling that we experience with the entire magnitude of our bodies (Pallasma, J. 2014). Architecture has the capability to produce an imaginative sensory atmosphere (Pallasma, J. 2016).
Pallasma states that Architecture is effective in empowering the experience of space – it strengthens the atmospheric effect of the real world (Pallasma, J. 2014). When paired with the nature of atmospheres, as in the ability to engage the imaginative sensory experience within observers – Architecture becomes more than just spatial programs that answer a need or use, but instead Architecture becomes a form of theatrical performance that affects people in a similar nature of how we experience beautiful imagery such as music, art, and literature (Pallasma, J. 2016).
With the understanding of how we experience architecture and the nature of architectural atmospheres – we can use architecture as a tool to strengthen re-imaginations of reality in space and inhabitation (Pallasma, J. 2014).
Sensing atmospherics is something that comes natural to us as humans, where Pallasma describes this as our ‘sixth sense’ (Pallasma, J. 2014) suggesting that atmospheric perception extends beyond our 5 usual senses – where atmospheric perception is based on our judgements of orientation, gravity, balance, stability, motion, continuity, scale, and illumination (Pallasma, J. 2014) – all having similar themes to the architectural style of Parametricism, as covered in the previous chapter.
After identifying the nature of atmospheres and experience within Architecture –this thesis will now explore how these aspects of space affects performance. According to Platz and Kopiez in their study of audio-visual presentation, auditory performance is not purely auditory and that there is a significant role of visual information within the experience of music (Platz, F., Kopiez, R. 2012).
It is argued that music has a visual component that affects the appreciation of performance (Platz, F., Kopiez, R. 2012) –with the extent of visuals being considered as ‘central importance’ when it comes to appreciation of live performance (Platz, F., Kopiez, R. 2012). Platz and Kopiez suggests that visual components within music is a method to convey meaning to viewers (Platz, F., Kopiez, R. 2012).
Providing visuals along with auditory experience help to convey a level of authenticity to observers which would enhance the experience of not only the performance but the experience of space that the performance is situated within (Platz, F., Kopiez, R. 2012). Platz and Kopiez relate this phenomenon as ‘seeing is believing’ – witnessing a performance is much more atmospheric than listening to music with solely auditory information (Platz, F., Kopiez, R. 2012).
What Platz and Kopiez proposes also correlates with the research done by Bergeron and Lopes in their study of musical expression (Bergeron, V., Lopes, D.M. 2008). It was concluded that music is not purely an auditory experience –and that a large part of performance comes from the visual element (Bergeron, V., Lopes, D.M. 2008). They express that Music is both ‘a visual and sonic art’ and that vision is significant contributor to the expressive element of music – it is an indicator of intensity and emotion that is communicated visually (Bergeron, V., Lopes, D.M. 2008).
Visual perception within performance helps observers to ‘feel’ the music (Bergeron, V., Lopes, D.M. 2008), much like how observers ‘feel’ spatial atmospheres and architecture (Rasmussen, S. 1964 / Pallasma, J. 2014, 2016). Bergeron and Lopes conclude that both sonic and visual elements within musical performance are integrated within each other and that visual communication helps to convey emotion – which elates the overall experience of the observer (Bergeron, V., Lopes, D.M. 2008).
This thesis proposes that the design quality of Parametricism has a significant impact on the experience of performance and space. As we covered in chapter 1, Parametricism is built on the concept of complexity – where the Parametric Architecture sits in a state between order and chaos – giving it an ‘emergent’ quality where the architecture ‘emerges’ from individual elements, for example – fractals (Jencks, C. 2002).
Figures 6 and 7 is a suggestion of this effect coming into play – it depicts the different views of a parametrically designed stage meant for a musician to perform using a grand piano. It utilizes fragmented shapes which come together into one complex composition – displaying design attributes proposed by Zaha Hadid and her idea of explosion form within Parametricism (Jencks, C., Kropf, k. 2006).
Complexity is considered as a sort of elegance of order, giving Parametric Architecture a dynamic sense of fluidity and seamlessness (Schumacher, P. 2009). Pairing this complexity quality of Parametricism (Jencks, C. 2002) with the proposal that we use creative perception to grasp complex entities (Pallasma, J. 2014) - the suggestion that this thesis makes is that the complex nature of Parametricism synergises with the human nature of imagination and creative scanning (Pallasma, J. 2014) –which helps observers to feel immersed within the atmosphere of parametrically designed performance spaces.
It could be argued that by designing the performance space like this – it engages the imaginative aspects of perception due to the sudden emergent complexity of the walls and ceiling. This is supported by the suggestion made by Pallasma that experience and perception functions by perceiving entities as a whole – which impacts observers immediately (Pallasma, J. 2016).
By perceiving this sudden complex architecture, we find ourselves in an immediate sensual atmosphere that is unique to this space and produced purely from perceiving the complex entities that is a result of parametric design.
Pallasma suggests that architecture produces its own character of space – which is defined as the term ‘spirit of place’ or ‘genus loci’ (Pallasma, J. 2016). This concept is interesting as there could be a suggested connection between the character (spirit) of parametric architecture and how this impacts observers through the embodied atmosphere it produces.
Rasmussen writes that Architecture which impacts observers the most are often ones that have a ‘distinctive stamp’ or ‘special spirit’ which is conveyed to those who experience it (Rasmussen, S. 1964). This thesis suggests that the distinctive stamp, or genus loci, of Parametricism is one that is complex and unique (Jencks, C. 2002).
Complex entities encourage viewers to read spaces using creative perception, engaging the imaginative sense of vision (Pallasma, J. 2014) – which in turn creates a dynamic atmosphere that observers find themselves enveloped within, thus increasing the quality of experience within performance.
It is important to note the theories of performance proposed by Platz & Kopiez and Bergeron & Lopes, in which music is part auditory and part visual, and that visualising performance is a big part of feeling engaged with the music (Platz, F., Kopiez, R. 2012, Bergeron, V., Lopes, D.M. 2008). We could consider the visual language of Parametricism as an extension of the performance itself – rather than a space in which the performance occurs inside.
Therefore, in a sense – the architecture becomes an extension of performance, and not a separate entity. As suggested by Platz and Kopiez – performance is composed of two constituents: the Auditory and the Visual (Platz, F., Kopiez, R. 2012). In this case – this thesis suggests that parametric architecture acts as the Visual whilst the music acts as the Auditory – both of which make up the meaning of performance.
Figures 8 and 9 depicts a sketch diagram and a side elevation view of the parametric curve design of the JS Bach Chamber Music Hall. Here we can see the idea of continuity and curvature being applied to create a structure that flows and weaves around the musician and the audience – whilst also producing an intimate lighting quality due to the translucency of the fabric (Zaha Hadid Architects, 2009). It could be argued that this Architecture encloses its observers and connects viewers to the performance – since the design physically folds and flows around the users, it could be said that this quality of space provides an atmosphere around the performance and connection to the music.
Figure 8: Sketch Elevation of JS Bach Chamber Music Hall (2009)
In conclusion – the Parametric style of Architecture is one that reflects a degree of complexity within its design, with themes such as continuity, self organisation, emergence and cosmogenesis being present (Jencks, C. 2002). As a result of this ideology, Parametric Architecture produces structures that are visually rich and complex – which Jencks describes as ‘cheerful, articulate, and sensous’ (Jencks, C. 2002).
The product of Parametricism relates to the nature of experiencing spatial quality – where Rasmussen proposes that experiencing architecture is a sensous act that requires you to ‘feel’ the entirety of Architecture with your whole embodiment (Rasmussen, S. 1964). This ‘feeling’ of architecture is defined by the atmosphere of space, in other words, the spirit of architecture - Genus Loci (Pallasma, J. 2016).
It could be suggested that the Genus Loci of Parametricism is one defined through Complexity. According to Pallasma – when we experience visually complex entities we use creative perception in order to understand the entity in its full magnitude, he proposes that this process is one similar to imagination, where we experience atmospheric material and produce sensory imagery that we assosciate with (Pallasma, J. 2016).
Therefore, this thesis proposes that when we pair the nature of experience with Parametric design in the realm of performance – the quality of experience is heightened due to the complexity and sensous architecture of Parametricism (Jencks, C. 2002), and that when we witness Parametric Architecture and pair it with the sensous act of performance – we create a sensory imagery that we identify with and memorize (Pallasma, J. 2014, 2016).
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Figure 3: Zaha Hadid Architects. (2009) JS Bach Chamber Music Hall [Photograph]. In: Zaha Hadid Architects [online]. Available from: https://www.zaha-hadid.com/architecture/js-bachchamber-music-hall/ [Accessed 26 November 2022].
Figure 4: Beierle, E. (2021) Villa Marteau Concert Hall [photograph]. In: Architonic [online]. Available from: https://www.architonic.com/en/project/peter-haimerl-architektur-villa-marteau-concert-hall/20287658 [Accessed 29 November 2022].
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Figure 6: Beierle, E. (2021) Villa Marteau Concert Hall [photograph]. In: Architonic [online]. Available from: https://www.architonic.com/en/project/peter-haimerl-architektur-villa-marteau-concert-hall/20287658 [Accessed 29 November 2022].
Figure 7: Beierle, E. (2021) Villa Marteau Concert Hall [photograph]. In: Architonic [online]. Available from: https://www.architonic.com/en/project/peter-haimerl-architektur-villa-marteau-concert-hall/20287658 [Accessed 29 November 2022].
Figure 8: Zaha Hadid Architects. (2009) JS Bach Chamber Music Hall [Photograph]. In: Zaha Hadid Architects [online]. Available from: https://www.zaha-hadid.com/architecture/js-bachchamber-music-hall/ [Accessed 26 November 2022].
Figure 9: Zaha Hadid Architects. (2009) JS Bach Chamber Music Hall [Photograph]. In: Zaha Hadid Architects [online]. Available from: https://www.zaha-hadid.com/architecture/js-bachchamber-music-hall/ [Accessed 26 November 2022].