INTRODUCTION

To search for a new idiom in Architecture and ponder over future trends in Architecture, we need to expand our horizons and think afresh. Modern architecture. like any other art form. has traversed a long way. The way is studded with a series of movements, from Organic architecture to Post-modernism, from Brutalism to Symbolism. In the process of being newer or getting different from previous experiences, architecture has changed over time. It's a serious point to observe whether at times modern architecture, in terms of space experience, has receded from human beings. Whether it has become cold and dumb - merely a huge display of juxtaposed masses and materials with shining and dead interiors, devoid of any soul that excites and moves the observer. Are we really conscious about such pompous and repelling monuments? Probably this is an example of how overwork can make a building ugly. It is quite a matter to ponder how the architects are getting swayed in the name of making something new. All over, they are practicing uncouth jugglery which is utterly nauseating. Not only in architecture but possibly in every field of creativity, such trend is prevailing. We are just floating in the waves of so-called trends and forgetting our roots, our connection to nature, destroying it in all possible ways. We are piling up garbage in our surroundings, even inside our brains. Once, try to gaze to the night sky and be attentive to listen to the tune of the unfathomable universe.

DISCOVERING A SPACE

In an attempt to find out a way out of this trap, we may once again start examining deep into the basics, shed our preoccupations and gradually progress towards formulating a few ideas. Such ideas may be explored as a key to generating meaningful, expressive and interactive space experiences.

We know that architectural appreciation is basically an experience of human sensory organs in a built space. Among all sensory perceptions, visual experience is the most dominant. The exterior or interior of a building, its special properties and coordination is revealed to us through our vision. But hearing, smell or touch is no less important and they can also experience a space. A building is discovered by a blind man through sonic, odorous or tactile senses only. We can immediately associate a temple or a prayer hall with the gong of a bell. As we get the feel of a carpet, we understand that we are in a habitable space. Specific aroma conveys a particular message to our brain. Even visual clues are converted to sonic, tactile or odorous clues at times. When we appreciate a sculpture, its texture and dexterity convey a tactile message through our vision. Similarly, when we see a silk smooth surface interpenetrated by a rugged rocky surface, immediately the information of tactile contrast is translated through our vision. Precisely, all space experiences < can be synthesized into sensory experiences and we can think of a space in terms of the message it conveys to the brain through sensory organs.

Extending this observation, we shall now include our feelings, our psychological experience of a built environment translated through our sensory organs. A space can affect our psyche. Leaving apart any predetermined bias, the quality of space (though unnoticed at times) makes us feel good or bad, elated or dominated, overwhelmed or morose. Taking a step forward, could we think of a space which can even fool a man or make him feel like laughing - inserting a bit of humour or pathos in an array of functional spaces? If we search through history, we will come across certain spaces bearing prominent psychic value, created deliberately or unknowingly. As an example, we may recapitulate from The Mahabharata - how Duryodhana was fooled when he came for the first time to Indraprastha, the Pandava capital, the architect being Maidanava.

Buildings of the past can provide us with enough scope for imagination and later apply our realization to the buildings we are going to create in the future. However, the same space may not appeal to anybody and everybody in the same way.

MAGIC OF SPACE

I remember a colourful corner of our old market, scented with the aroma of date palm, dried mango pulp and incandescent sticks; those what not shops sparkling with tops, marbles, kites & Bangles. How that unorganized space used to attract me! How disappointed I was when the old market was demolished and converted to a so-called shopping complex with rows of rolling shuttered shells, painted with nasty pink wash, refusing to tell any story or drop a hint. This is not only nostalgia but there was something hidden in that old corner, in the apparent absence of order, which used to go deep into the subconscious and tickle the psyche beyond purpose or function. This commonplace shopping alley turned itself into a meaningful and attractive space. Remember the childhood attic or the landing of a stair illuminated by a stained glass window, or the backyard bathing space adjacent to a well, all those are gradually disappearing from our lives but kept a deep impression on our minds.

SEARCHING FOR THE ROOT

We have to find out what is meant by joy, what is humour, why we become awed, what excites us and how so on and so forth. Is there a common idiom which subtly acts on human psyche to arouse a Particular emotion? If we are able to identify the task and intend to imagine a particular kind of built environment, we shall eventually try to find out ways and means to create it. So, what will be our tools to experiment with the psychic values of a space?

Before finding out the answer, we have to further delve into the mechanism of space appreciation. To do that, we may think of an experience within a space as an event. The moment a space is appreciated, or realized, an experience occurs. This is nothing but an event in time. Before going into further exploration, let us talk a bit about the dimensions of a space. Generally, we see or experience a space experienced by our sensory organs.

In the case of a movie, the film is composed of a series of static 2D frames. Thus, on a given length of time, our movement through a building generates a series of frames with experienced by our sensory organs. If we consider the perspective and name, it as a frame, then we may infer that an event is translated into a frame Appreciation of three-dimensional space is actually given another dimension along the path of movement of the observer, thus extending its relevance with respect to time. If we throw a stone in a pond, when the stone touches the water, an event occurs. As a result, a series of ripples are formed and gradually, over time, the ripples disappear. So an event is diluted over a period of time. An event can form ripples or create resonance. On the other hand, the existence of ripples indicates the occurrence of an event. Two simultaneous events, even a chain of events can be diffused to each other. Remember the sonic experience of a musical duet. There can be sharp or contrasting events like colour was used by the fauvist painters.

The design in terms of events, in terms of human interaction with a built form. A series of spaces activating the human psyche, subtly playing with human emotions, destroying or establishing frames, creating the unexpected, mocking a space purpose or geometry- parallelly infusing or accentuating spaces in the creation.

Our major tools are materials, light and nature. We have to define space and at the same time experiment with its transparency or opacity, create a pause or ambiguity, intermix the spatial properties, create diffusions or ripples, accentuation or dilution.

PRACTICAL APPLICATION

Let us for example, try to create some events based on light pro - is. Light reveals colour and colour can be created from light. We know that a prism, through refraction. diffuses. Say, we are working on the interior of the reception area of an office of a paint company. A prism is provided over the reception area in such a manner that it refracts a beam of white light, preferably sunlight, to produce a seven-colour band of light i.e.VIBGYOR on a white. screen or wall in front of the reception desk. Such arrangement can depict naturally and subtly the core idea of the office.

V Y B G Y O R

Using the effects of filtration of light through coloured or stained glass, magical corners can be generated inside a space - patched with soft coloured lights coming from either hidden or exposed stained glass or translucent sheets. Even a series of frosted glass panes can create a drama on their own or be accompanied with reflective surfaces. Remember a kaleidoscope, coloured glass pieces creating beautiful patterns through multiple reflections. The principle of reflection may be used in a number of innovative ways to enhance. A. space or to create the illusion of extension. Multiple reflections may focus on an element by successive reflections of the same through a series of spaces. Mirrors can be used intelligently inside a building to enhance a particular effect. A freestanding column wrapped with a mirror will reflect the surrounding area. An interior corner provided with mirrors will multiply the effect of a showpiece or a plant kept in that corner. Even it is possible to bring a piece of outdoor greenery articulated through inclined mirrors (as used in a periscope) to liven up an indoor area. Optical focus is more or less familiar to us. Speaking in terms of planning, a space can be designed to focus on a particular area or theme.

REFLECTIONS

The space planning or architecture may unfold itself to reveal the focal point. Consider the case of magnetic lines of force. Condensation towards the pole may be thought of through the use of structure or materials. For example, the floor of a court may be provided with band of coloured tiles, lighter to darker to condense towards the focal point. Considering such events in landscaping, greeneries may be introduced in the same way using different varieties of shrubs and hedges with of varying colours and heights to enhance the effect of the focus.

Natural reflective surfaces like a water pool accompanied with a fountain can bring strong visual, sonic and tactile experiences. Along with that, other landscaping elements like shrubs, mounds, hedges, sand pits, flower beds etc. when used thoughtfully, creating a fusion with building structure, can do wonders in terms of psychic experience. Generally, we have a tendency to define a landscaped space as a rigid courtyard. We have to get rid of such bias and think the landscaping as a part of the space programme when permitted. The same should be flowing and lively, hitting with the mass, crossing the structure, penetrating through the building - just as a creeper flows over a wood. Only then such architecture shall be able to spill over the obvious and generate events beyond everyday habits. Thinking at random and later organizing the same may create unexpected results producing building forms carrying greater psychological significance.

Not only in planning, the form of a building may signify human quality. The theme of embracing, guidance, touch etc. can be depicted through building forms. Such themes may be accentuated or diffused through the use of selective materials keeping only an abstract and subtle reference.

The possibilities are wide open for research and experimentation. Our search for truth may lead us to discover a parallel dimension. A dimension that is not explicit to the habitual world. Our challenge is to make an attempt to convey the same to an observer. The complex nature of life refuses to accept anything at its face value. As a part of our journey, we may start thinking that whether it is possible to interpret the subconscious as real and (because it's association with truth) or the so-called reality as an illusion through built forms in terms of design. Can we create a parallel frame of reality taking into consideration modern-day confusion, uncertainty and complex thought processes - A world where the dividing line between so-called reality and absurdity gets blurred? Whether we can experiment with the idea of a chain of events, accepting the fact that an object or a space is not a constant entity over a span of time and utilising the exchange of light values, dilution or accentuation of material properties and space, just like surrealism.

Here we may quote a few lines from architect Steven Holl,

"Seeing things requires slipping into the world everyday neurosis of functional world. We must suspend disbelief, disengage the rational half of the mind and simply play and explore. The intense exploration of a particular locus together with material can endow form with greater psychological significance......The soul passes from the creator to an object and from the object to the management who experiences it. Our challenge is to make spaces that allow the modern soul to emerge"

To conclude, the crux of our discussion is that architecture can be defined as space installation to accommodate function as well as carrying psychological significance. To create such spaces, we have to think in terms of events and frames through design. For a variety of spatial effects, we have to get rid of conventional bias and gather our inspiration from different subjects and spheres.

A few examples are given below:

Physics

• Light properties - Reflection, Refraction, Diffusion etc.
• Sound properties - Resonance, Transmission, Reverberation, Echo.
• Mechanics - Force, Rotation, Equilibrium, Elasticity.
• Optics - Focus, Optical aberration, Magnification, Illusion.
• Theory of Relativity - Space-time transformation, Acceleration and Gravity.
• Quantum physics - Energy quanta, The uncertainty principle.
• Astronomy - The universe, Galaxies.
• Nature - Air, Water, Earth, Sky, River, Meadows.
• Literature - Absurdity, Deconstruction, Magic Reality.
• Art - Impressionism, Cubism, Surrealism, De stijl.
• Music - Form of a raga, Folk music.
• Communication - Touch, solace, Appreciation, Embracing.

The list is probable resources is an indication only and the creator is free to explore the sources of inspiration.

Now, the question that comes to the mind is, how inspiration can be turned into a building experience?

Parallel art forms like painting, sculpture, and music have always influenced and moulded architecture. A space progression can be compared with the form of a raga. The early folk music can be reflected in a building through meaningful elements and materials. Our task is not limited to taking shallow reference from local architecture, but to explore deeper to find out the spirit of a locality along with the emotions and history attached to different facets of its culture - as they become evident in tribal art.

Taking clues from art and literature, interpretation of absurdity or Deconstruction, fauvist or surrealism, such vital movements may be explored once again to translate such ideas into frames of architecture. Instead of creating a big monolith, such exploration can bring out interesting results. It is an important point to ponder whether we can create ripples in the geometry just like a body in space creates a space-time curvature around it.

Architecture is composed of living spaces, created mainly for human habitation, work or leisure. Besides there are regulations, budgets and lot of constraints to restrict an architect. Twisting a space or playing with materials is something, which does not happen very frequently. Still, if we are open to new idioms, slowly and surely, new-age architecture will creep into the everyday neurosis of meaningful spaces. Let us prepare ourselves for that.

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