Function Follows Form

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ArchiMotion



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PostPosted: Sun Jun 29, 2008 6:05 am    Post subject: Reply with quoteFind all posts by ArchiMotion

mx2 wrote:
....if the function is to be aesthetic, or something as abstract as such, it is not functional...it is aesthetic. Some purists would rather commit hari kari before succumbing to such ideas but many revel in them...can you tell me what the function were any of the forms that Eero Saarinen, Danny Libeskind, Frank Gehry or Moshe Safdie designed without reading the title of the project? If you were honest you would say not.

mx2.5


It is not good practice. in my opinion, for the function to be purely aesthetic, unless this can to fit a greater function related to user's needs.

Now if the aesthetic function enhances the internal functions, and enhances the design, then the aesthetic function could be thought as an inter-dependent function, intended to serve the greater programmatic functions. Thus we could say we have a hierarchy of functions, with aesthetics serving multiple layers of functions, as the skin in an onion.

Certainly the function in many a buildings cannot be clearly deduced from it's expressed form, when the same does not seem to imply the intended functions. Such as when aesthetics are given a primary role or when, such as in the Sydney Opera House, we have the form of a sail being the primary concept. In this case, the aesthetic in itself seems to take precedence over the internal function. It is a unique structure which required an enormous amount of energy to solve the resulting engineering problems to prevent the structure from succumbing to the high winds. So we can see aesthetics at times can also dictate structural solutions, thus establishing a hierarchy of decisions all based on aesthetic. In Saarinem's forms, one finds the ultimate expression of structural possibility, in a combination of architecture and engineering feat. The aesthetic in this case is not the primary function. But rather, the functions are served by bold aesthetic forms that take the quantum leap in terms of structural experimentation. In such examples, there is a greater inter-dependency of the skins in the onion, as architecture, aesthetics and structure become one with the intended function, and serve the same in a symbiotic relationship.

But then again, many projects, apart from those subscribed to famous names, do not necessarily reveal the internal functions unless one has knowledge of the project itself. When we observe a project from a distance, it may appear the forms are serving the functions, or that the functions are serving the forms. It can be observed that in particular cases only an intricate knowledge of the architect, the methodology employed, the programmatic requirements, the technical issues and by a comparison between the intended and actual use, can one deduce if the form is serving the function or vice-versa.
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mx2
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PostPosted: Sun Jun 29, 2008 9:47 am    Post subject: Reply with quoteFind all posts by mx2

Quote:
In such examples, there is a greater inter-dependency of the skins in the onion, as architecture, aesthetics and structure become one with the intended function, and serve the same in a symbiotic relationship.


You are preaching to the choir (in my case that is) as I could not agree more...and my intention is to DISprove that somehow "form follows function" is some kind of universal truth...a unalterable matter of fact...with no alternative possible. Once that is established, then so many more possibilities are unveiled, which was exactly the purpose that Saarinen sought and demonstrated, for one example. The Sydney Opera House is a great example...such that poor Jorn Utzon was practially blacklisted and only until recently rewarded for his contribution to Architecture. Somehow FFF has some people all lined up ready to march to the beat, no matter where it takes them... Cool

mx2.5

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ArchiMotion



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PostPosted: Sun Jun 29, 2008 11:09 am    Post subject: Reply with quoteFind all posts by ArchiMotion

Yes, from my last paragraph above new ideas began to emerge. It is that there is an inter-dependency between various elements in the architectural equation, to the extent that depending on one's methodology, and the application of the various elements into the architectural equation, the resulting product will maintain either a high level dosage of FFF radiation, or, the Form will be chosen as a function which in turn will govern the ultimate aesthetic behavior of the composition, thus imposing it's own restrictions on the inverse function, which now becomes somewhat subservient to the primary intended function of form. Thus, if we establish a linear path between form and function, we will tend to end up with forms more restrictively related to the primary function of interior architectural defined space. When we adopt the inverse path, with the governing form as determined by aesthetics, we have established a new primary function, which other functions begin to serve. Thus, in this case, we can almost say that our new subservient functions are following our form. So we need to create in a graph format a hierarchy of functions into our programmatic planning to the extent that we are able to better visualize this inter-dependency relationship.

In the case of the moving building, the primary function in the skin seems to be of providing energy. Then the next main governing element is the form chosen. Next, the architecture and structure becoming subservient to these. Now, if the intended function does not work as intended, the entire project could become compromised. Thus, a layout of this hierarchy will reveal the priorities as established by the architect.

It seems that an ideal scenario really is one in which there is greater inter-dependency of the skins in the onion. As demonstrated, when as architecture, aesthetics and structure become one with the intended function, and serve the same in a symbiotic relationship. They all become an integral part of the intended function, with the levels of hierarchy varying according to the desired placing of the elements into the equation.

Much of Architecture I see as basically responding to the program in a direct form follows function relationship, with aesthetics in mind, but not as the governing function. Aesthetics essentially is the function which we may establish at the higher hierarchy of the equation, when we choose a form to govern the concept. In this case, the architecture is a result of this chosen aesthetic function, so the balance becomes more difficult to manage in such as way that the governing aesthetics and the programmatic requirements are met in the balanced chosen form, as expressed in the concept. Structure comes in as the ideal fit between the chosen higher function of aesthetics, and the underlying satisfaction of the programmatic needs in the architecture itself. We would then see in this relationship something to the effect of AESTHETICS (FORM) --->> STRUCTURAL SOLUTION --->> ARCHITECTURE and program fit this pre-established chosen form. All three elements in the equation are chosen so that there is a continual symbiotic relationship among them. Thus, in the ideal scenario, all three elements are chosen simultaneously, rather then in a liner fashion. But this is frequently not the case, as technical issues arise that may not be predicted.

So this further establishes that the axiom Form Follows Function becomes one of practical dictum rather then one of ideal design methodology. Rather, the priorities that govern the hierarchy become the determining elements in the equation, rather then simply FFF.

So now, as having originally suggested a possibility of the reversal of this relationship at times, I also have an interest to establish this new vision, with the hope of progressing architectural theory and practice.
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djswan



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PostPosted: Sun Jun 29, 2008 11:39 am    Post subject: Reply with quoteFind all posts by djswan

You said it. various elements.
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csintexas
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PostPosted: Sun Jun 29, 2008 2:18 pm    Post subject: Reply with quoteFind all posts by csintexas

Quote:
ou are preaching to the choir (in my case that is) as I could not agree more...and my intention is to DISprove that somehow "form follows function" is some kind of universal truth...a unalterable matter of fact...with no alternative possible. Once that is established, then so many more possibilities are unveiled, which was exactly the purpose that Saarinen sought and demonstrated, for one example. The Sydney Opera House is a great example...such that poor Jorn Utzon was practially blacklisted and only until recently rewarded for his contribution to Architecture. Somehow FFF has some people all lined up ready to march to the beat, no matter where it takes them...


I think this would be a worthwhile experiment.

The problem seems to be:
1.: Does the Sydney Opera House look like an opera house while simultaneously looking like it performs well over all?

2. Now that it has been in use how well has it functioned?

I have never heard anything but praise for that structure myself. Is there some problems I don't know about?

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mx2
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PostPosted: Mon Jun 30, 2008 9:18 am    Post subject: Reply with quoteFind all posts by mx2

copied from Wiki...

Quote:
Utzon was born in Copenhagen as the son of a naval engineer, and grew up in Denmark. From 1937 he studied architecture at the University of Copenhagen and worked for Alvar Aalto and Frank Lloyd Wright. He started his own office in 1950 in Copenhagen. In 1957 he unexpectedly won the competition to design the Sydney Opera House, despite the fact that it was his first non-domestic design and his entry did not meet the contest criteria; the designs he submitted were little more than preliminary drawings. One of the judges, Eero Saarinen, described it as "genius" and declared he could not endorse any other choice. In contrast, Ludwig Mies van der Rohe turned his back when introduced to Utzon.

Over several years Utzon gradually made major changes from his original concept designs and gradually developed a way to construct the large shells that cover the two halls, replacing the original elliptical shells with a design based on complex sections of a sphere. Utzon says his design was inspired by the simple act of peeling an orange: the 14 shells of the building, if combined, would form a perfect sphere.[citation needed]

Although Utzon had spectacular plans for the interior of these halls, he was unable to realize this part of his design. In mid-1965 the state Liberal government of Robert Askin was elected and Utzon soon found himself in conflict with the new Minister for Public Works, Davis Hughes. Attempting to rein in the escalating cost of the project, Hughes began questioning Utzon's designs, schedules and cost estimates, and he eventually stopped the payments to Utzon, who was forced to resign as chief architect in February 1966. He secretly left the country days later, never to return.

In an article in Harvard Design Magazine in 2005, [1] Professor Bent Flyvbjerg argues that Utzon fell victim to a politically lowballed construction budget, which eventually resulted in a cost overrun of 1,400 per cent. The overrun and the scandal it created kept Utzon from building more masterpieces. This, according to Flyvbjerg, is the real cost of the Sydney Opera House.

The Opera House was finally completed, and opened in 1973 by Elizabeth II, Queen of Australia. The architect was not invited to the ceremony, nor was his name mentioned.[citation needed]

In March 2003, Utzon was awarded an honorary doctorate by the University of Sydney for his work on the Opera House. Utzon's son accepted the award on his behalf as he himself was too ill to travel to Australia. Utzon has also been made a Companion of the Order of Australia (AC) and given the Keys to the City of Sydney. He has also been involved in redesigning the Opera House, and in particular, the Reception Hall, following an agreement made in 2000. Also, in 2003, he received the Pritzker Prize, architecture's highest honor.

In March 2006, Queen Elizabeth II opened the western colonnade addition to the building that was constructed by Utzon in the last years without his having been to Australia since 1966. His son, Jan, took his place in the opening ceremony instead, saying his father "is too old by now to take the long flight to Australia. But he lives and breathes the Opera House, and as its creator he just has to close his eyes to see it."

On 29 June 2007, the Sydney Opera House was declared a World Heritage site.



The peeling orange...the function is?

mx2.5

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csintexas
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PostPosted: Mon Jun 30, 2008 10:10 am    Post subject: Reply with quoteFind all posts by csintexas

No citation was given for that so it may be conjecture.

In any case I have long stated that we can find examples of buildings which are a product of function following form. I don't see any point in proving what has already been proved.

I have also stated that there is room in society for art. Particularly in public buildings whose function is entertainment.

The final proof is in the pudding.

What was Utzon thinking? (Was function are form his primary concern)
What was the inspiration? (nature?)
How has the building performed over time?
Is there a better concert hall based on the knowledge of that time?

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csintexas
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PostPosted: Mon Jun 30, 2008 10:28 am    Post subject: Reply with quoteFind all posts by csintexas

I am having trouble understanding you premise.

I say: In general it is best to let function dictate the form of a useful object.

You say?

No, it is best to let form dictate the function of a useful object?

No, it is best to let concept dictate the form of a useful object?

No, any method is as good as another?

What exactly is your premise?


The last one seems most likely:
Any method is as good as another.

In order to prove if this is correct we can observe buildings in general. We would need to select two random groups of buildings which are representative of architecture as a whole. One group designed by the designers following the form follows function principle and the other following the (concept dictates form?) principle. And then determine which group produces the best results.

These can be judged in to distinct ways, physical evidence and perceived value.

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lekizz
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PostPosted: Mon Jun 30, 2008 1:19 pm    Post subject: Reply with quoteFind all posts by lekizz

Quote:
The Opera House was finally completed, and opened in 1973 by Elizabeth II, Queen of Australia. The architect was not invited to the ceremony, nor was his name mentioned.[citation needed]


According to "The Saga of the Sydney Opera House" by Peter Murray (who interviewed Utzon, amongst many other participants)

"Utzon was invited to the ceremony but did not attend"

...which slightly changes the situation.

Utzon was awarded the RIBA Gold Medal in 1978, so he was hardly unrewarded for his work.
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mx2
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PostPosted: Mon Jun 30, 2008 2:22 pm    Post subject: Reply with quoteFind all posts by mx2

It's humorous that the both of you would nitpick the details of irrelevant parts of the main subject: it is well known that the controversy surrounding the Sydney Opera house did not help Utzon's career. He became a hero to some, an enemy to others...an issue arising from the very subject we were discussing; form and function.

I am not arguing that form is the dictating element in design, not at all. I am arguing that to evangelize "form follows function" is not in the best interest of designers either. If everyone, including Jorn follows one way of thinking ( a la Vitruvian Laws) then there is no room for experimentation in the quality of living...in the way we create spaces.

mx2.5

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lekizz
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PostPosted: Mon Jun 30, 2008 2:57 pm    Post subject: Reply with quoteFind all posts by lekizz

Ouch! Okay I fell into the trap of showing off that I'd read a book Smile

But if you wanted the thread to stay on topic, then why lazily paste an entire (disputable) Wiki article on this that and the other? The opposite of nit picking methinks
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djswan



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PostPosted: Mon Jun 30, 2008 3:18 pm    Post subject: Reply with quoteFind all posts by djswan

Never let them know you read books. Very Happy

I like the 999 post. Twisted Evil

Whatcha think of the pic I posted?

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csintexas
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PostPosted: Mon Jun 30, 2008 4:25 pm    Post subject: Reply with quoteFind all posts by csintexas

I was trying to come up with some point of your post. How was I to know you don't have one?
(Embarassed I should have guessed)

Everybody including Jorn does not follow one way of thinking, they never have and I can postulate with a great deal of certainty that they never will.

What I would like to remove is this continued implication that form follows function some how limits creativity or variety or means in itself that we can not have buildings like the Sydney Opera House.

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Last edited by csintexas on Mon Jun 30, 2008 4:26 pm; edited 1 time in total
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mx2
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PostPosted: Mon Jun 30, 2008 4:26 pm    Post subject: Reply with quoteFind all posts by mx2

Quote:
I have never heard anything but praise for that structure myself. Is there some problems I don't know about?


I was trying to clarify for Chris who was seemingly dispelling the example of the Sydney Opera House. If Architects truly designed to merely meet function, we would be called Engineers. We are called upon to design beyond function...meeting function is a basic requirement. But then we must design more..............and that more breaks from the notion of "function" per se.

However, to balance the pendulum, one can not move forward without meeting function at a minimum. Kinda stupid to build a house without a roof, for an extreme example. But once we add the roof...who says we only design a roof that merely meets function? But here is where it gets complicated...the choices we make in design have to be in conjunction with so many elements, so many issues....that often we must remember to stay within a certain function of any given design element. But then why not take a functional element and make it more appealing, more aesthetic...more artistic...while still meeting its function? The form does not follow the function...the form would move beyond the function.

I'm repeating myself now. Time for a drink! Cheers! One for Lekizz 1000th post about to be heralded!! Very Happy

mx2.5

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djswan



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PostPosted: Mon Jun 30, 2008 5:35 pm    Post subject: Reply with quoteFind all posts by djswan

Cheers!! Vodka cranberry here. Yes, I make no point but architecture I can do. Very Happy

The architect of that house outside Cody, Wyoming died in a fall working on the roof. He spent 20 years working on it I was told.

Whatcha think?

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