In the mid-1990s, some theorists examined the phenomenon of field and its technique. This concept expresses fullness and constant presence of natural forces and events in architecture; it appears in contrast to the old displaced concept of space. The concept of field describes an expanded space and its effects. It does not contain definite values and does not focus on a material structure; it reflects the main functions, vectors, and velocity. Theorists believe that the emergence of the field concept, its state, and field conditions is a sure sign that there exists a renewed interest in ultimately understood context in the architectural theory. In addition, architects' aspiration for the new model seems to hide a desire to obey a new order; it is possible that it is a thirst for some new rationality. Many projects created on the basis of this idea look like fragments of other worlds. All elements of this architecture overshadow the urban environment and merge with it harmoniously simultaneously.
1. The introduction of the concept "field" in the modern theoretical architect's vocabulary clearly represents a break with the modernist ideology. The notion of the "field condition" rejects all kinds of coercion and takes away from "modernist ethics of transgression" with its inability to break the law and from the modernist aesthetics as well (Allen 24). Therefore, "the Modernist techniques of erasure and homogenisation no longer seem appropriate precisely because of their dependence on codes and systems of representation" (Carpo 59). There are many indications of a gradual, yet intuitive reorganization of the architectural consciousness. 2. Basically, "field conditions" is an inverted phenomenon: it cannot be described by a set of clear geometric diagrams but by means of very intricate local connections (Allen 27). Of course, shape itself is important, yet, it is not a question of a thing's shape but of a form between things. 3. In terms of field conditions, each individual part, any element of design harmonizes with the whole. However, it cannot be concluded that every single item performs its function, as all the structural elements represent a unit. Allen's definition of a new concept is constructed as follows: "field conditions" is any formal or spatial matrix capable of unifying the diverse elements while respecting the identity of each of them (Allen 24). However, the architect argues that "field conditions is not a claim for novelty, but rather an argument for the recuperation of an existing theory" (Allen 27). Field configuration freely connects components that are characterized by gaps and local relationships.
4. Allen states that the proportions of field conditions have the algebraic combination, while the classic architecture is based on geometric systems of proportions (Allen 24). Various elements of classical architecture are organized into unity by the geometric system of proportionality. Although proportions can certainly be expressed in numerical form, the nature of relations between elements in classical architecture is "inclined to correct geometric proportions" (Daniell 119). Field condition also has proportions that are connected with space. Proportions of field conditions are based on complexity and diversity of an environment and its constant variation (Allen 25). 5. Minimalism is an alternative to the European cubism, but if one analyzes it from the viewpoint of art and architecture, it can be stated that it is superior to Cubism in practical terms. However, according to Allen, the emerged post-Minimalism is methodologically equal to a new conceptual meaning of the "field condition" concept (Allen 25). Minimalism, which appeared in the mid-60s, was an attempt to get out of the lost and exhausted possibilities of composite standards, thus, it became more developed than cubism (Allen 26). Field condition is a concept that has surpassed Minimalism and Cubism due to its futuristic technology. 6. A construction of Bruder Klaus Field Chapel (see Fig. 1.) can be referred to a field condition, as one can see a process that is a part of the whole composition. In fact, this design expresses the relationship with the environment; even its highest point rushes up with the aim to combine the reality with something unearthly. Each element of the Chapel is individual; it does not lose its authenticity in the amount of the other elements. The design of the second object called "Geotube Tower" by Faulders Studio (see Fig. 2.) can also be attributed to field condition buildings because there is a noticeable concept of proportions that is closer to the natural environment, rather than to the classical architecture of geometry. This house is able to generate the upper layers of its "skin" with seawater, which allows confirming that it is a part of nature and the urban environment. The proportions of the third object called "Savannehuis" (see Fig. 3.) make it clear that this building is a classic example of filed constructions. The details of the design and shape are not the most important parts of the project, as the most crucial element of this design is their bond formed in the context of environmental protection.
Zumthor, Peter. "Bruder Klaus Field Chapel". 2013. Wachendorf, Germany. OpenHouse. Architecture, 9 Sept. 2013. Web. 14 Feb. 2016.
Faulders Studio. "Geotube Tower". 2010. Dubai, UAE. Designboom. Architecture, 24 Feb. 2010. Web. 14 Feb. 2016.
LAM Architects. "Savannehuis". 2009. Rotterdam, the Netherlands. Dezeen. Architecture, 1 July 2009. Web. 14 Feb. 2016.
The Yokohama Port Terminal as an Example of a Field Condition Building
It is difficult to describe the original structure of the port terminal in Yokohama. As the name suggests, it is an analogue of the Marine International Airport; it is able to accept 4 cruise liners concurrently (Daniell 149). The project assignment offered the architects a task to organize an intermediate space, which would bring together "the public gardens with the harbor and the residents of Yokohama with foreign visitors" (Daniell 149). FOA Group demonstrated a very peculiar understanding of the problem, proposing to mix urban flaneurs and sea passengers inside of a new system, which completely rejected the traditional ideas of a sea terminal as a symbolic gate of the city. "This mode of functionalism sees architectural form as a negotiation between two interacting sets of forces: programmatic (internal) and contextual (external)" (Daniell 147). Hence, the functional building turned into a landscape, for which there were not unambiguous instructions for use. The final result, or according to FOA, "the artefact", should switch a person from one state to another: from an inhabitant to a foreign tourist, from an ensured vacationer to a businessman, from a figure to an observer (Daniell 149). "This is why we are interested in a performative approach to material practices, in which architecture is an artefact within a concrete assemblage rather than a device for interpreting or signifying material and spatial organisations" (Carpo 58). Thus, Yamashita Park smoothly flows into the landing stage and the terminal becomes "an extension of the city" (Daniell 150). The Yokohama Port Terminal is an example of a field condition as this project demonstrates all the details of this concept, e.g. "de-territorialisation and re-territorialisation, as processes in which specific domains and organisations are devoid of limits, origins, destination or significance: decoded, unbounded landscapes rather than overcoded, delimited places – and yet precise, specific, concrete" (Carpo 59). The structure of the building in harmonizes with all the other parts of the city, but at the same time, "rather than consciously designed, much of the final architectural form is ostensibly emergent"; it cannot be called an object or a structure, as it is rather a model which is capable of integrating differences into a coherent system (Daniell 149). This construction is a kind of a revolutionary progress in architecture. It combines a number of different parts, each of which has its own function. It also dominates the concept of shape-movement. The idea of shape-movement is not new; however, its tools have enlarged significantly only nowadays. The ideologists of field condition concept believe that architects are still limited in their methods, as "a pencil and set square technique" produces a certain type of architectural simplicity (Daniell 176). Due to the modern methods, architects' intellectual and economic opportunities have increased; design becomes available by means of a sophisticated concept, i.e. a concept of motion and stability. The idea of motion gets more complicated. The port terminal in Yokohama is a proof that the idea of shape-movement is practical and multifunctional; nevertheless, it still involves an idea of harmony with nature, using such natural materials as "crystals and coral, sand dunes and crustaceans, magma and glaciers, entrails and orifices, tree bark and reptile skin" (Daniell 150).
Field Condition and its Influence on the Modern Architectural Design
Architecture is a very important sphere of human life. However, the value of architecture has increased today. Every day, there appear new designs that strike in their complexity, size, and functionality. For example, Allen states that "cities are prototypical filed conditions. [] They are connected with one another in larger networks" (Allen 28). The emergence of this concept in architecture and art is "the new black" of the future. Due to the principles of field conditions, human imagination ceases to have any borders and frames. Architecture becomes more interactive and "flexible", it is able to change minds. For thousands of years, humankind has used angles and shapes to create homes and temples. "What is proposed here is not simply a return to the mystification of construction and the phenomenology of materials. Rather, it is an attempt to go beyond the conventional opposition of construction and form-making" (Allen 27). This uniformity has led to the formation of a certain archetype that defines the concept of "home", "design", and others. Irregular, flexible, and streamlined forms of field conditions display the status of harmony and balance between design and the environment. In the past, people could only dream of similar forms, or see them in old movies, as they were used to illustrate the distant future. Today, field condition shows all possible architectural features, which can become a part of reality. "The field is a material condition, not a discursive practice" (Allen 27). This architectural concept can lead to changes in construction; it is also able to change the world and modern philosophies. Surely, when humanity will colonize new planets, field condition would allow developing design and building of a surrounding space. This opportunity expands the influence and importance of architecture. If one talks about possible apogee of architecture, it can be stated that field condition represents the last point of terrestrial architecture.
Works Cited
Allen, Stan. Practice: Architecture, Technique + Representation. London: Routledge, 2009. Print.
Carpo, Mario. The Digital Turn in Architecture 1992-2012. Chichester: Wiley, 2013. Print.
Daniell, Thomas. After the Crash: Architecture in Post-Bubble Japan. New York, NY, USA: Princeton Architectural Press, 2008. ProQuest ebrary. Web. 13 February 2016.
Faulders Studio. "Geotube Tower". Photograph. Designboom. Architecture, 24 Feb. 2010. Web. 14 Feb. 2016.
LAM Architects. "Savannehuis". Photograph. Dezeen. Architecture, 1 July 2009. Web. 14 Feb. 2016.
Zumthor, Peter. "Bruder Klaus Field Chapel". Photograph. OpenHouse. Architecture, 9 Sept. 2013. Web. 14 Feb. 2016.
