Connect science and art

The title "Connecting Art and Science" aims to present the philosophy behind Wilkinson Eyre's architecture. In our practice, we enjoy utilizing the latest technology and draw inspiration from both art and science. We strive for innovation and with each project, we attempt to create something new. The first decade of our work includes projects ranging from buildings to bridges, from cultural to commercial projects, and from complex megastructures to small products. Each project is different and the link is not an easily recognizable style, but a characteristic approach to design. It cannot be easily summarized in a few words; however, several central themes underline our thinking about design.

For example, the concept of lightness often arises in our discussions about projects and remains a primary goal of our architecture. Geometry is also immensely important to us, even though it is no longer a subject taught in architectural schools. Using sophisticated computer programs, we are able to explore more complex geometries than ever before, and employing contemporary technologies allows these designs to be realized. We take seriously how people will move through our buildings and enjoy the dynamic perception of movement through geometries.

Stratford Train Station (1999) - one of the realizations from the so-called Supersheds.

At the same time, we find patterns of inspiration in nature and parallels in aviation, shipbuilding, and the automotive industry. Designing space is at the very essence of architecture – and we are indeed captivated by every aspect of space design. The concept of Universal Space interested me while reflecting in my book Supersheds. The concept of a large roof enclosing one large space that can be used for various purposes is a driving impulse, and our designs for Stratford Market Depot, Stratford Station, and Dyson headquarters in Malmesbury are all examples of being enclosed by a large roof.

We believe that building constructions should be more sensitive to the environment and its inhabitants. We design bridges that open at the push of a button, and we try to incorporate these systems into our buildings. Our collaboration on interactive scientific exhibitions has made us aware of the potential for houses that will be more active and sensitive to their users. Sustainability is a key theme of our time, and buildings should be more efficient and environmentally friendly. Where appropriate, we strive to incorporate both active and passive systems into our constructions.

Another thing we strive for is quality and sufficient attention to detail throughout the design process. We understand Mies van der Rohe's maxim "God is in the detail" as an important motive in our design.

We are known for our bridge designs, many of which have involved significant collaboration with engineers. This leads us to another significant theme – architecture or engineering –, which is about our way of exploring the boundaries and transitions of these two independent disciplines.

Design of the railings of the so-called Channel Tunnel Rail Link (2003), connecting Dover with London

In many ways, the scope of work at Wilkinson Eyre Architects differs from other architects in that we design both engineering structures and buildings. For example, we were part of the team responsible for designing about a hundred bridges for the new train connection of the Channel Tunnel from Dover to King's Cross Station in London. This project involved over 700 engineers, and our role was to help formulate the design principles for a group of bridges and other visual elements of this important infrastructure. It may seem like an unusual area for an architectural practice, as we cannot calculate the relevant loads of bridges any better than we can for buildings. Nevertheless, we understand construction principles well and have a strong sense of aesthetics, which is invaluable in bridge design.

Our work is primarily viewed as technology-based, and it is often assumed that we are more interested in science than art. But that is not true. We see ourselves more as artists than technicians, and our primary focus is on aesthetics, not calculations. We enjoy utilizing the latest technologies, but we are very passionate about the appearance of our buildings and what it feels like to be inside them. Similarly, when we strive to push the technological boundaries of bridge engineering, we also want them to look good. Technology is merely a means to achieve a goal.

Our buildings are functional, but we strive for something more; something that gives depth and uplifts the spirit. All good buildings have a spiritual quality that evokes emotions, but there is no simple guide on how to create it. The architectural design process is complex and difficult to define. It involves analytical decision-making linked with technical expertise and innovative creativity. It is this creative element that architects turn to art for solutions. However, this connection cannot be easily defined, as the artistic principle embedded in design differs entirely from those in the fine arts. Designing requires rational decision-making, where functionality must be met, risks eliminated, and feasibility ensured, whereas art requires high-risk elements and looser, more intuitive processes.

As both a painter and an architect, I am truly aware of these differences. When I paint on weekends, I try to be free and abandon the discipline of my architectural education, but it is not easy. I decide where to start and follow where it leads me. Sometimes this leads to a nearly complete painting in one go; however, when I return to it, it almost always changes significantly, and this process continues until I am satisfied with the result. Sometimes a decision must be made, but I try not to worry about the consequences, and if it goes wrong, I quite enjoy the need to correct it, as it often leads me to something new and different. The consequences of "accidents" seem important for the creative process in art, but they are rarely allowed in design. Because I am a trained architect, I am still for a thorough approach to design, where the requirement of functionality must be met; however, I now also believe that there should be more opportunities for the use of intuition, and at Wilkinson Eyre, we try to incorporate that into our work.

Architecture may be a natural connection between art and science. In the past, the differences were less pronounced, and significantly, the Renaissance man Leonardo da Vinci succeeded as an artist, scientist, and architect.

The distinction between architecture and engineering is relatively new. When Brunelleschi, an architect and goldsmith, designed the magnificent dome of the Florence Cathedral in 1436, he also worked on the engineering aspects and had to come up with a way to build it. By the end of the 17th century, Sir Christopher Wren was an excellent mathematician, a professor of astronomy, and the president of the Royal Society while also being a leading architect in the country. Even in the Victorian era, I.K. Brunel managed to be both an engineer for the Great Western Railway and design railway station buildings.

Later, at the beginning of the modernist movement, there was a greater interest in art, but the importance of innovations and technologies was acknowledged. Le Corbusier, who painted in the morning and designed buildings in the afternoon, succeeded in his constructions with a combination of the latest technologies and some of the transience and color of his paintings. More recently, Spanish architect and engineer Santiago Calatrava has significantly influenced bridge design. Perhaps due to his training in both disciplines, he confidently transcends the rules. Of course, his designs are not necessarily the most obvious engineering solutions, but they are definitely a strong visual message.

Cable car project over the Thames, London (2011)

At Wilkinson Eyre Architects, we seek synergy between architecture and engineering and aim to bring out the best of both disciplines. We like to look at every design problem broadly with our team. First, we solve functional aspects and then allow time for creative ideas to emerge, which can then shape the foundation of the solution. There are always many possible solutions; however, quite quickly one approach with the best solution begins to stand out. The idea is then tested by developing the design with sketches, working models, drawings of all kinds, including computer 3D modeling. At the same time, we develop construction and environmental concepts. It is teamwork, and throughout the ongoing phases, the intellectual, visual, and technical aspects of the design are rigorously examined. There is always a chance to change direction, and we do whatever is necessary to achieve the right solution within a defined time frame. Because much of our work is won in competitions, we have learned to move from initial ideas to developed concepts very quickly.

Good designs arise from a combination of technical expertise, a high level of visual awareness, and creative skills connected with confidence.

Science (technical) and art (creative) shape five main visual elements of architecture: space, light, form, structure, and materials. Other factors, such as context, social aspects, function, cost, and program may be more or less important depending on the type of project. However, all relate to time and often change over time. They also relate to nature, which is a source of inspiration for both art and science. It seems likely that all known constructions, geometries, and proportions already exist in nature. They are evident in plants, shells, landscapes, and rock and bone structures, and if you look into an electron microscope, you will discover a world of molecular structures that can reveal an immense range of possibilities.

Science Adventure Centre Magna in Rotherham

Space and light are two fundamental elements of architecture that tend to act together and contribute to the quality of the environment inside. Most people are accustomed to regular right-angled spaces of modest proportions, so it is always exciting to experience something different. In nature, enclosing space often has curvilinear, organic shapes, and if you imagine constructions of shells large enough to live in, it would be remarkable architecture. Our design for the Retail Warehouse in Merry Hill is inspired by sea urchins, and our Merry Hill Multiplex follows the spiral geometry of nautilus shells. The clear beauty of airy enclosures of water spiders creates remarkable space, and from our Air Pavilion in Magna, one can get a sense of what it would be like to inhabit it.

In art, experimental installations of Californian Space Light Artists can be admired. Primarily, James Turrell has created spaces where enclosing surfaces lose clarity. Solid elements become intangible due to the way light is applied, and space becomes almost infinite without a pictorial surface, just as it could be in a painting. The blue space of the Wellcome Wing in the Science Museum in London designed by MacCormac Jamieson Prichard explores some of these ideas, and we have found that it creates an ideal environment for computer interactive exhibitions and digital exhibits in many ways.

Richard Serra's flat steel sculptures explore and control space in a different and moreover new and exciting way that relates to architecture. The space defined by the planes of thin steel sheets resembles Mies van der Rohe's houses. These are modern spaces that allow for free movement from outside to inside, which is something we have accomplished in many of our projects, particularly in Four Seasons House, Goldschmied House, and recently in the Istanbul Science Centre, where the walls function similarly to planes that define the space.

Control of light is also an important factor in understanding space. Light from above, for instance from a skylight, is much stronger than from vertical planes, and the glow of northern light is more neutral than the glow from the south. Spaces that sunlight can penetrate feel more human and friendly due to the warm color of light and the movement of shadows that enrich the space and aid in orientation. The skylight in Park Hall Road in London, for example, was inspired by the Meeting House installation by James Turrell and helps create an expansive space where the interior opens to the sky. Passing clouds overhead seem to invade the space, and when it rains, you are quite aware of the outdoor elements.

Explore @ Bristol (2000)

At Explore in Bristol, a massive glass surface at the front is directed north. Not only does this prevent direct sunlight, but it also allows views through the building and ensures that the light inside is neutral with the same intensity. On the first floor, where less light is required, the glazing is limited to narrow bands of roof extensions, which are covered at each end with blue gel that significantly reduces the amount of light in the space. The use of a glazed roof extension here (and at the Dyson headquarters in Malmesbury) also serves to separate the planes of the ceiling and walls, lending clarity to the construction.

Form is especially important for sculptors who are concerned with shaping materials and how light falls on various surfaces. Michelangelo created an idealized form of the body for his statue of David, whereas modern artists often distort and simplify the body to achieve a significant effect. Both approaches are equally valid and ultimately have a significant impact on the space where they are placed.

The work of Richard Deacon is more architectural in that its forms enclose and fit into the surrounding space. His "Let's not be stupid" at the University of Warwick allows a twisted form of steel construction to partially escape from the confined enclosure that gives the work form and is simultaneously a metaphor. Spanish artist Eduardo Chillida also explores space and form in a way that connects to his architectural education.

In architecture, form not only strongly influences the external visual appearance of a building, but also affects the internal space. This pair cannot be separated.

We are fortunate to live in an era of advanced technologies that allow us to design and build more sophisticated forms than ever before, but it cannot compete with nature, which remains the primary source of inspiration.

We are only beginning to learn about the amazing geometries and proportions that exist in nature around us. It is thrilling to read in Ian Stewart's Nature's Numbers how often spiral forms and the Fibonacci sequence (an infinite sequence of numbers where each number is the sum of the two preceding ones) appear. An enlarged fly's eye, for example, demonstrates how a dome can be constructed from smaller parts in much the same way as a geodesic dome. The flowing form of sand dunes and the pattern of waves presents rhythmic beauty that surpasses most human creations.

Similarly, there is much to learn about structural systems and how they function in nature. For in nature, a permanent priority is the economical use of resources: for example, the shape of bone structures clearly follows the model of their loads, and the skeleton works in conjunction with the tensile elements of muscles and tendons.

The remarkable structures of hives set a precedent for lightweight honeycomb constructions, and parabolic curves regularly appear in the forms of plants, but even more fundamental is the geometric code of life itself in the beautiful form of a double helix. Crick's and Watson's brilliant first model of DNA is housed in our Making the Modern World Gallery at the Science Museum in London. In the designs of our bridges and buildings, our extensive research into structures is embodied. For example, our "tree structure" – a design for enclosing the courtyard of the Willis Faber headquarters, created together with engineer Tony Hunt in 1984, would have been one of the first of its kind had it been built. It featured unusual branching resembling that of a tree, which was intended to provide extensive support for a glazed roof above.

Challenge of Materials Bridge, The Science Museum London (1997)

Later, in more recent times, the Challenge of Materials Bridge in the Science Museum was inspired by several diverse sources. In the initial dialogue with engineer Bryn Bird, four images were presented that influenced the concept of the structure. These were a spider web, a sculpture by Australian artist Ken Unsworth called Stone Circles II, the first human-powered flying machine Gossamer Albatross, and a glass sculpture by artist Danny Lane. The completed construction uses glass sheets standing on edge supported by a grouping of high-strength steel cables that are so fine that they are almost invisible – like a spider web.

Finally, the study of materials and the possibilities for their innovative use represent an important role in the development of our architecture. Understanding the qualities and technical parameters of materials is fundamental to achieving the right design and refinement. This is quite straightforward with traditional building materials, as we have many precedents; however, new materials are more of a challenge with opportunities for innovation.

New products are often developed to meet needs, and although this may not entirely apply to the construction industry, uses can emerge in our work, so we continue to be interested in parallel technologies. There are many opportunities for this technology transfer – a Teflon coating developed at NASA for the aerospace industry is now widely used for fabric membranes to create long-lasting durable surfaces. Similarly, balling developed in the aviation industry to create smooth curves on metal cladding is employed elsewhere. In our own research, we refined its application for cladding stainless steel at Stanford Station, where it proved to be extremely durable, and the London Underground has started using it throughout its network.

South Quay Footbridge, London (2007)

Mixed materials such as carbon fiber are also widely used in other industries like shipbuilding and Formula 1 racing, but they are only slowly making their way into construction. Their great advantage lies in their weight-to-strength ratio, and we see clear relevance for their use in building bridges. We are collaborating with DERA on an experimental bridge project in Farnborough to advance these considerations. We have also successfully used this material on our Lockmeadow Footbridge in Maidstone – as supporting balustrades. This was originally prompted by a subcontractor working on our South Quay Footbridge, who suggested that he could match the price of stainless steel with carbon fiber balustrades and give us the shape we desired. He showed us a sample of the frame of a Lotus bicycle that Chris Boardman had during the race when he won the Olympic gold medal, and we were hooked. It was only a matter of time before a situation arose where we could use this material in practice, resulting in sensationally shaped posts supporting the wedge-shaped stainless steel wire infill. So now we have experience with this material and look forward to developing new uses in the future.

The science of materials continues to evolve, and new areas of research are emerging in the field of nanotechnology, where the molecular structures of materials are altered to meet specific requirements. For example, we know that when the molecular structure of carbon is altered to a spherical geodesic form, it becomes smoother (more fluid). This new carbon molecule C60 has been named "fullerene" or "Buckyball" after Buckminster Fuller. With such advancements in technology, it won’t be long before we can refine the performance of materials we want to use in construction instead of being limited to existing materials.

Adriaan Beukers in his book Lightness states, "The most important thing in selecting a material for a given task is to keep an open mind at all times," although this could apply to almost all cases in architecture, and certainly holds true in our office. At Wilkinson Eyre Architects, we see ourselves as a creative design force eager for new challenges and finding exciting new solutions to old problems. Since our studio was founded, we have ventured into many new areas of design and have been able to make valuable contributions in these areas. Until 1991, we did not work on railway projects, but now, after several projects, we are regarded as experts in this field. Similarly, it was only in 1994 that we designed our first bridge, and now we are working on bridge designs worldwide. We thoroughly enjoy designing museums, educational buildings, and leisure facilities as well as industrial or commercial projects. We have successfully completed a range of tasks in product design, exhibition design, landscaping, and master planning, and all of this has been both a challenge and a pleasure for us. There is no area of design that we do not attempt; it is enough for the problem to be interesting and to have an opportunity for good design solutions.