‘Wall-less’ architecture is not about the disappearance of the objectivity of wall which has always been seen as a concrete boundary, but the in search of the ‘subjectivity’ which lies in it.
Wall, has practically been recognised as a separator of areas, thus creates an enclosed space for human habitation. It defines space. Yet a space is not merely defined by solid boundaries but also by translucent boundaries, furniture, lines, steps and platforms, or even virtual boundaries that are not physically visible but mentally evident (see figure 1). Different types of boundary may contribute to different nature and language of a space (see figure 2), and also, a boundary may not just a ‘wall’ of separation, but a ‘wall’ that links two or more different spaces. On the other hand, it can be seen as a ‘threshold’ or a transitional space.
The Language of Boundaries
Step or platform is an interesting type of boundary which has an obvious role in separating and connecting spaces. By studying ancient architecture, such as the Greek temples and the famous Borobudur in Indonesia (see figure 3), we realise that the steps and platforms are not just literally forms, but rather a media that translate the languages and values that lies within (e.g. cultural and religious values). For instance, the steps in Borobudur are not only separating but also connecting the top ‘sacred’ platform and the bottom ‘fundamental’ level. Each step and platform has carvings which consist of the stories of Buddha. To reach the top, one will need to go through these experiential, ceremonial or pedagogical steps.
Erasing Architecture – blurring the delineation of boundary
‘I want to erase architecture…that’s what I’ve always wanted to do and it’s unlikely I’ll ever change my mind’
Kengo Kuma, “Digital Gardening”.
Kengo Kuma, a contemporary Japanese Architect thinks of erasing architecture, making architecture as transparent as possible to prevent it from emerging into a concrete object. He wants to be more involved in the ‘subject’ rather than an ‘object’. He believes that the subject alone can bring architecture into a more evolving role in this figurative world.
Kengo Kuma’s will to erase architecture can be clearly seen in his projects such as the Lotus House which wall consists of a checkerboard of wafer-thin travertine (see figure 4), and the Great Bamboo Wall which comprises spaced bamboo canes (see figure 5). Both houses have a similar unusual way of treating ‘wall’, which is to break down the boundary into ‘particles’. The establishment of these walls creates a unique relationship in between the inside and the outside. From the outside, the materiality and the spacing of the ‘wall’ are clearly obvious. While from the inside, the transparency of the ‘wall’ and the framed views beyond are more noticeable. With a momentary change of light or the observer movement, the ‘wall’, at times, disperse and dissolve. The ‘wall’ enhances the very essence of transiency and vibrancy.
Responsibility of architects
To conclude, we as architects should not see a ‘wall’ or boundary merely from its surface, but should also evaluate it through different perspectives. It is important for us to rethink the values and essence of every single line we put on the drawing, element, detail, form and material which collaboratively form architecture. The level of attention applied to the details will determined the language of a boundary and thus affecting a space. These have always been the philosophies of CplusC Architectural Workshop, and we believe that every single element in architecture can be something unique and poetic, provided that an extra attention to detailing and craftsmanship is applied (see figure 6-10).
Ryan Ng
