| 由于先进的电脑设计技术为建筑设计提供了新的方法，人们对参数化设计的兴趣日益提升。由于参数化设计日益成为越来越多的设计师的选择，这会不会成为这个时代建筑风格的定义方式？为了确立自己的建筑风格，使其能够在众多的建筑中与众不同，Patrik Schumacher，扎哈·哈迪德的合伙人，在他的参数化宣言里表达了他的信仰。“作为一种风格，参数化设计以其自身的目标、志向、方法论原则、评估标准以及独特的计算机指令为特点。”
接下来我们将来了解参数化宣言的内容。
尽管有很多人反对将其归类于一种风格，Schumacher 认为我们需要风格这个概念重新定义，也就是说我们不能将风格仅仅认作为外结构的表现方式，而是应该将风格理解为“一种用常规的科研方法进行的设计研究。”
“虽然对建筑来说美观的外表十分重要，但整体建筑和风格的设计不仅仅只是外观的问题……当然这个新的风格也产生了许多新的，系统性关联的设计问题，这些问题也正在被全球的设计研究者们竞相探讨着。除了其审美性以外，其广泛流行并长期默认的共享设计志向和问题的现象也证明了参数化设计将会成为一个具有划时代意义的建筑风格。”Schumacher 解释道。
Schumacher 指出，今天的建筑是一种世界化的建筑，每一个建筑作品出来之后，很快就会有人拿它与其他的建筑项目作比较。我们不断地经历这样的比较和被比较，并就这些项目哪个更成功进行讨论。 Schumacher 解释道：“这只是意味着建筑师们在设计原则、志向以及价值观念上的一致性，因此这是建立在不同的尝试和努力上的良性竞争，由此可以建立起累积进步的条件而不是在相互对立的方向上努力。”
这个新风格最让人激动的是，参数化提供了一个可以灵活操作的系统，这样便可以产生无穷无尽的变化。过去，人们对于规则的几何形体有强烈的执着，而今，参数化的概念定义为我们展示了一种新的形式，“这是一种有生命的，动态的，交互式的形式——曲线、曲面、表面细分——将建筑形体作为一个动态系统。”
“参数化即将会成为主流，风格战争已经开始”，Schumacher 最后说。
We have seen a growing interest in parametric design as it offers a new approach to architecture based on advanced computational design techniques. As parametricism becomes a tool more designers are turning toward, is this method beginning to define the style of our time? In an effort to identify our architectural style to allow it to be recognized,Patrik Schumacher, a partner at Zaha Hadid, has communicated his beliefs in his Parametricist Manifesto. “As a style, parametricism is marked by its aims, ambitions, methodological principles, and evaluative criteria, as well as by its characteristic formal repertoire.”
More about the manifesto after the break.
While some disagree with the notion of categorizing work to fit into a style, Schumacher calls for a conceptual reconstruction, meaning that we must disregard style as a matter of appearance, and move to understand style as “a design research program conceived in the way that paradigms frame scientific research programs.”
“Although aesthetic appearance matters enormously in architecture and design, neither architecture as a whole nor its styles can be reduced to mere matters of appearance…The new style poses many new, systematically connected design problems that are being worked on competitively within a global network of design researchers. Over and above aesthetic comparability, it is this widespread, long-term consistency of shared design ambitions and problems that justifies declaring a style in the sense of an epochal phenomenon,” explains Schumacher.
Schumacher points out that the architecture of today is more of a world architecture, where every work is quickly compared or contrasted to other projects. We experience this constantly as we compare a project to something another firm would have created and argue over which was more successful. Schumacher explains that this “merely implies a consistency of principles, ambitions, and values to build upon so that different efforts compete constructively with each other and can establish the conditions for cumulative progress rather than pursue contradictory efforts.”
What is exciting about this new style is that parametricism offers a flexible set of components to manipulate, which leads to an infinite amount of variation. While in the past, there was a strong allegiance for rigid geometrical figures, now, a conceptual definition of parametricism shows that “the new primitives are animate, dynamic, and interactive entities—splines, nurbs, and subdivs—that act as building blocks for dynamic systems.”
“Parametricism is ready to go mainstream. The style war has begun,” concludes Schumacher.
| |
