Parametric Design asA Creation Tool forThe Memory Space

Parametric Design asA Creation Tool forThe Memory Space

Purpose Thisstudy theoretically discusses the role of parametric design in memory-space design in contemporary architecture. Subsequently, it aims to strengthen the discussion by examining three structures with different interpretations of parametric design: namely, the AbuDhabi Louvre Museum in the UAE with its attempt to create social and cultural memory; the Yinchuan Museum in China, which has weak ties with its past due to political reasons, trying to re-create its ancient culture with its understanding of contemporary culture; and Istanbul City Museum, which uses parametric design to present the layered structure of its local and cultural memory, are the exemplary architectural structures considered. The three structures’ treatment of parametric design, their differentiations of parametric-based form creation methods, and their different ways of constructing cultural memory and space relationship through parametric methods constitutes the purpose of the research. Design/Methodology/ApproachIn the study, descriptive scanning method was followed, and an interview was conducted with Alper Derinboğaz, the architect of the Istanbul City Museum.FindingsThefindingsofthisstudyareindicatedastheuseofinformationasasourceofformincreatingsocieties’culturalmemories,theopportunitiesforculturalandenvironmentaladaptation,andtheflexibleunderstandingofdesignprovidedbyparametricdesign.Thesewerededucedinallthreeexampleswherenon-Euclidianandtopologicalformsstrengthenthemonumentalityofthemuseumstructures.Research Limitations/ImplicationsIt is the fact that the parametric design approach is just developing and the number of museums that have social and cultural importancein contemporary architecture may be seen as determine the limit of this study.However,the continuous increase in the number of samples may weaken this limitation.Social/Practical ImplicationsThe social and cultural effects of parametric design on the creation of memory spaces are discussed.Originality/ValueThis study is the first study that researching the cultural, environmental and formal harmony that parametric design provides in contemporary museum buildings.

___

  • Ajana, B. (2015). Branding, Legitimationand the Power of Museums: The Case of the Louvre Abu Dhabi.Museum and Society, 13(3), 322-341.
  • Anderson, B.(1993). Hayali Cemaatler, İstanbul:Metis
  • Artun, A. (2006). Sanat Müzeleri-Tarih Sahneleri-Müze Ve Modernlik, Ankara:İletişim
  • Artun, A. (2017).Mümkün Olmayan Müze-Müzeler Ne Gösteriyor?,Ankara:İletişim,
  • Brownell, B. (2015). Contemporary Architecture in China: Unedited, at 25/06/2020from https://www.architectmagazine.com/technology/ contemporary-architecture-in-china-unedited_o
  • Castellanos, J.(2007). What is Non-Euclidean Geometry, at 25/06/2020From https://www.cs.unm.edu/~joel/NonEuclid/noneuclidean.
  • Critchley, S.(2014). Bellek Tiyatrosu, İstanbul:Metis. 18-21
  • Derinboğaz, A.(19/12/2019). Interview with the author, Istanbul.
  • Davidson, M.C. (2009). Abu Dhabi: Oil and Beyond, New York, Columbia University Press.
  • Dino, İ.(2012), Creative Design Exploration By Parametric Generative Systems In Architecture,METU JFA,29(1),207-224.
  • Duncan, C. (2006).Törensel Mimari Olarak Müzeler, on A.Artun, Müze ve Eleştirel Düşünce-Tarih Sahneleri-Sanat Müzeleri(50-56),Ankara: İletişim.
  • Fearson, Amy (2015). Undulating Facade of Yinchuan Art museum References the Gradual Shifts of a Chinese River,at 25/06/2020from https://www.dezeen.com/2015/08/06/museum-contemporary-artyinchuan-moca-waa-china-yellow-river-undulating-facadeFournier, C.(2016).
  • Foundation Myths ,Time+ Architecture, 2016(3), 82-89.
  • Gibson, W.(2016).Neuromancer-S.F Masterworks, UK: Gollancz.
  • Hadid, Z.(2020).25/06/2020 fromhttps://www.zaha-hadid.com/architecture/maxxi/
  • Imbert,F.,Frost,K.,Fisher,A.,Witt,A.,Tourre,V.,Koren,B.(September 2012). Concurrent Geometric Structuraland Environmental Design: Louvre Abu Dhabi,Symposium PaperonAdvances in Architectural Geometry 2012(77-90).Vienna,Springer.
  • Karadeniz,C. (2018). Birleşik Arap Emirlikleri’nde Kültürel Miras ve Müzeler. Yedi:Sanat,Tasarım ve Bilim Dergisi,2018(20),137-148.
  • Kolarevic, B.(2003).Digital Morphogenesis,on B.Kolarevic,Architecture in the Digital Age: Design and Manufacturing,(13-28), New York: Taylor&Francis.
  • Migayrou, F. (2003). Architectures Non-Standard-Revised with New Introduction, Paris: Centre Pompidou.Nouveau, J.(2020).at 25/06/2020 from www.jeannouvel.com/en/projects/louvre-abou-dhabi-3/
  • Oxman, R., Oxman, R.(2014).Theories Of The Digital in Architecture, Cornwall: TJ Int.Limited.
  • Reas, C., McWilliams, C. (2010). Form and Code in Design, Art and Architecture, New York: Princeton Architectural Press.
  • Shafei, A.(2020). New Generation of Mashrabiyaat 25/06/2020 from https://aidashafei.com/new-generation-of-mashrabiya
  • Schumacher, P.(2009). A New Global Style for Architecture and Urban Design, AD Architectural Design–Digital Cities,79(4), 14-23.
  • Schumacher, P.(2013).Parametric Semiology –The Design of Information Rich Environments, on P. L. Eiroa & A.Sprecher, Architecture in Formation–On the Nature of Information in Digital Architecture(p.53-59), New York: Taylor and Francis.
  • Şentürk, L. (2006). Deleuze ve Mekan, Doxa,10(3),122-127
  • Terzidis, K. (2003). Expressive Form: A Conceptual Approach to Computational Design, London: Spon Press.
  • Turan, O,B. (2011). 21. Yüzyıl Tasarım Ortamında Süreç, Biçim ve Temsil İlişkisi. Megaron, 6(3),162-170
  • Üçağaç, A. (2016). Birleşik Arap Emirlikleri 2015. K. İnat, M. Ataman, Ortadoğu Yıllığı 2015(231-239), İstanbul: Açılım.
  • Vergo, P. (1989). The Reticent Object The New Museology. London: Reaktion Books.
  • Waa Architects (2020).25/06/2020 fromhttp://w-a-a.cn/project/mocayinchuan/
  • Weetas (2020) at 25/06/2020 from https://www.weetas.com/gccnews/jumeira-group-runs-new-jumeira-resort-al-saadiyat