form follows function – louis sullivan. form follows function - that has been misunderstood. form...

Form follows function – Louis Sullivan

Form follows function - that has been misunderstood. Form and function should be one, joined in a spiritual union – Frank Lloyd Wright

Straight line belongs to man and curved to God - Gaudi

Neither is it the right angle, which me attracts, nor the straight line, hard, inflexible, made by men. What attracts me is the curve, free and sensual, the curve I find in the mountains of my country, in the winding course of its rivers, in the waves of the sea, in the body of the beloved woman. The universe is made out of curves - the curved universe of Einstein. – Oscar Niemeyer

deconstructing the text

Working Concepts: Deconstruction of your philosophy or concept.

CONCEPT

Mystique The spider web The book of the Jews Tripod Blank Canvass

DESIGN PHILOSOPHY

Architecture has to adapt to its environment and not the other way around

Functional efficiency through well connected spacesBuildings can only create wonders if it has meaningFirmness is on top of beauty and functionMonumentality brings divinity to the city

PHILOSOPHY:

Change is constant

Time is of the essence

Shock and awe

Only the strongest will survive

In God I trust

Design Philosophy:Less is More

Concept: Skin and Bone (The big Idea)

Design Concept: The Glass House ((The Architectural solution)

Working Concept: Honesty = transparency ,no ornamentations, direct to the point. (Deconstructed

concept)

EXERCISE: Pick 3 buildings and pretend you are the architect. Invent its philosophies and concepts.

deconstructing the form

Deconstructivist architecture aims to break down or rearrangethe typified notion of a building

Exposing its inside to previously unseen aspects of its outside

Reconstructing different accomodations of space

Forcing different means of access

Reworking its principles of what it contains

The work has developed in unexpected directions through a practice that does not mimic existing procedures, but instead attempts to break through into the excitement, adventure, and mystery of architecture. By dropping the designations‘form,’ ‘function,’ and ‘program,’ and engaging in the public and political realm, which is synonymous with architecture, the dynamics of building take on a new dimension.

Daniel Libeskind, The Space of Encounter

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Libeskind conquers building in response to a multitude of forces outside of the realm of the purely architectural, structural, and functional. Upon completion of Between the Lines, Libeskind reflects on his process:

The task of building a Jewish Museum in Berlin demands more than a mere functional response to the program. Such a task in all its ethical depth requires the incorporation of the void of Berlin back into itself, in order to disclose how the past continues to affect the present and to reveal how a hopeful horizon can be opened through the aporias of time.

Libeskind, Jewish Museum Berlin,

According to Libeskind, there are three basic ideas that formed the foundation for the Jewish Museum design:

First, the impossibility of understanding the history of Berlin without understanding the enormous intellectual, economic, and cultural contribution made by its Jewish citizens. Second, the necessity to integrate physically and spiritually the meaning of the Holocaust into the consciousness and memory of the city of Berlin. Third, that only through the acknowledgement and incorporation of this erasure and void of Jewish life in Berlin, can the history of Berlin and Europe have a human future.

Libeskind, The Space of Encounter,

Libeskind attempts to create understanding of existence in the experience of his designs.

He does this through abstractions, superimpositions of the basic principles of the environment that humans create for themselves.,

The museum provides an active interplay between the mental, visceral, and emotional states of being of the visitor.

The reactions of those who enter the museum will be connected to their own view of history. The museum is not a beginning, or an ending; it is the continuation of history.

“Simply stated, the museum is a zigzag with a structural rib, which is the Void of the Jewish Museum running across it. And this Void is something which every participant in the museum will experience as his or her own absent presence” LIBESKIND

“It is not a collage or a collision or a simple dialectic, but a new type of organization which is organized around a center which is not, around what is not visible. And what is not visible is the richness of the Jewish heritage in Berlin, which is today reduced to archival and archaeological material, since physically it has disappeared.” LIBESKIND

This relates to Derrida’s terminology of a ‘decentred’ universe. Through this system of organization Libeskind takes apart the very principles of Western thought (the ‘episteme’) and in the process redefines architecture.

To this end, I have sought to create a new architecture for a time that would reflect an understanding of history, a new understanding of museums, and a new realization of the relationship between program and architectural space. Therefore, this museum is not only a response to a particular program, but an emblem of hope.

Libeskind, The Space of Encounter,

FUNCTIONALFUNCTIONALGROUPINGGROUPING

AND ZONINGAND ZONING

Horizontal DispositionHorizontal Disposition

Solving problem in Architectural Solving problem in Architectural Design begins with the familiar Design begins with the familiar study of plan elements which study of plan elements which develops into consideration of develops into consideration of interior areas and details.interior areas and details.

Planning For Potential Planning For Potential CirculationCirculation

Structures are built to be used, Structures are built to be used, and the purpose is defeated:and the purpose is defeated: Unless people can go easily and Unless people can go easily and

directly from one area to another, directly from one area to another, And unless the related areas are And unless the related areas are

adjacent to each other.adjacent to each other.

Principles Related To Principles Related To FunctionFunction

1.1. Need for AdjacencyNeed for Adjacency

2.2. Similarity in General RuleSimilarity in General Rule

3.3. Relatedness to Departments. Relatedness to Departments. Goals and Systems. Goals and Systems.

a.a. Bubble DiagramBubble Diagram

4.4. Sequence in TimeSequence in Time


5.5. Required EnvironmentsRequired Environmentsa.a. Furniture TypesFurniture Typesb.b. Need for ViewNeed for Viewc.c. Need for Ceiling Height or ShapeNeed for Ceiling Height or Shaped.d. Access to Ground or RoofAccess to Ground or Roofe.e. Need for Vents or ExhaustsNeed for Vents or Exhaustsf.f. Relative SecurityRelative Securityg.g. Need for Visual and Sound PrivacyNeed for Visual and Sound Privacyh.h. Need for Acoustic ControlNeed for Acoustic Controli.i. Need for Noise ControlNeed for Noise Controlj.j. Relative MaintenanceRelative Maintenancek.k. Plumbing involvementPlumbing involvementl.l. Relative Visual AccessRelative Visual Access


6.6. types of Effects Producedtypes of Effects Produceda.a. Radiation ProducedRadiation Producedb.b. ChemicalsChemicalsc.c. Smoke and FumesSmoke and Fumesd.d. Relative Heat Produced (Kiln, Welding, Relative Heat Produced (Kiln, Welding,

Kitchen)Kitchen)e.e. Observation IntensityObservation Intensityf.f. Potential for ContaminationPotential for Contaminationg.g. Asset to Public ImageAsset to Public Imageh.h. Revenue ProducedRevenue Producedi.i. Relative WeightRelative Weight

Types of Effects ProducedTypes of Effects Produced

j.j. Noise ProducedNoise Produced1)1) Gymnasium Gymnasium 2)2) Music Music 3)3) Mechanical roomsMechanical rooms

k.k. VibrationVibration1)1) MachineryMachinery

l.l. Wet DryWet Dry1)1) Wet Wet

a.a. LaboratoriesLaboratoriesb.b. ToiletsToiletsc.c. KitchenKitchen

2)2) DryDrya.a. OfficesOffices

Types of Effects ProducedTypes of Effects Produced

m.m. Trash ProductionTrash Productiona)a) Food PreparationFood Preparation

b)b) DishwashingDishwashing

n.n. Relative visual clutterRelative visual clutter

o.o. Odor ProductionOdor Production

8.8. relative Proximity to Buildingrelative Proximity to Building

9.9. relatedness to Core Activitiesrelatedness to Core Activities

INNOVATIONS IN AIRPORT DESIGNINNOVATIONS IN AIRPORT DESIGN

Six Innovations in Airport DesignSix Innovations in Airport Design Central Terminal with Remote SatelliteCentral Terminal with Remote Satellite Central Terminal with Remote Central Terminal with Remote

ConcoursesConcourses Central Terminal with Pier ConcoursesCentral Terminal with Pier Concourses Linear Unit TerminalLinear Unit Terminal Multiple Unit TerminalMultiple Unit Terminal Central Terminal with Remote AircraftCentral Terminal with Remote Aircraft



9.9. Characteristics of People Characteristics of People InvolveInvolve

10.10. Volume of People InvolvedVolume of People Involved

11.11. Extent of Man or Machine Extent of Man or Machine InvolvementInvolvement

FUNCTIONAL DESIGN FUNCTIONAL DESIGN

This deals with the development This deals with the development of a plan arrangement to serve of a plan arrangement to serve in a purely mechanical way the in a purely mechanical way the functions of the building. It functions of the building. It discovers the proper sizes of discovers the proper sizes of rooms and their relations to rooms and their relations to each other. It furnishes the each other. It furnishes the Elements of Comfort: Elements of Comfort: LightLight HeatHeat VentilationVentilation

FUNCTIONAL DESIGNFUNCTIONAL DESIGN

It determines the correct size and It determines the correct size and location of the structural members location of the structural members which give the building strength. which give the building strength. However, even when all these However, even when all these requirements are satisfied, requirements are satisfied, architecture does not necessary exist.architecture does not necessary exist.

The building may remain only an The building may remain only an engineering structure without the engineering structure without the spirit of architecture which is called spirit of architecture which is called the the Logical Beauty.Logical Beauty.

SPACE SPACE ARTICULATIONARTICULATION

The concept of spaceThe concept of space

A.A. The system of spaceThe system of space


A.A. The system of spaceThe system of space

Man orients to “Man orients to “Objects”Objects” that is, he that is, he adapts physiologically and adapts physiologically and technologically to physical things, he technologically to physical things, he interacts with other people, and grasps interacts with other people, and grasps the abstract realities, or the abstract realities, or

““Meanings"Meanings" which are transmitted which are transmitted through the various languages created through the various languages created for the purpose of communication.for the purpose of communication.

The system of spaceThe system of space

Man’s actions comprise a Man’s actions comprise a Spatial Spatial AspectAspect, in the sense that the objects of , in the sense that the objects of orientation are distributed accordingly orientation are distributed accordingly to such relations as inside and outside, to such relations as inside and outside, far away and close by; separated and far away and close by; separated and united, continuous and discontinuous united, continuous and discontinuous space therefore is not a peculiar space therefore is not a peculiar category of orientation, but an aspect of category of orientation, but an aspect of any orientation. Man, therefore has to any orientation. Man, therefore has to understand spatial relation and unify understand spatial relation and unify them in ‘them in ‘spatial concept’.spatial concept’.

The system of spaceThe system of space

Man ha created space to express Man ha created space to express the structure of his world. We may the structure of his world. We may call this creation, ‘call this creation, ‘EXPRESSIVE or EXPRESSIVE or ARTISTIC SPACE’ARTISTIC SPACE’, and finds its , and finds its place next to the top, together place next to the top, together with cognitive space. Expressive with cognitive space. Expressive space needs a space concept space needs a space concept which systematizes its possible which systematizes its possible properties. We may call this properties. We may call this ‘‘Aesthetic Space’Aesthetic Space’..


B.B. The concept of space in The concept of space in Architectural TheoryArchitectural Theory

The concept of space in The concept of space in Architectural TheoryArchitectural Theory

Two Classes of Architectural Two Classes of Architectural SpaceSpace

Euclidean Space – the Euclidean Euclidean Space – the Euclidean approach has recently been stimulated approach has recently been stimulated be the importance of three-dimensional be the importance of three-dimensional geometry.geometry.

In connection with Space FramesIn connection with Space Frames Fabricated Building SystemsFabricated Building Systems And Certain Utopian City-Planning SchemesAnd Certain Utopian City-Planning Schemes

The concept of space in The concept of space in Architectural TheoryArchitectural Theory

Those which try to develop a theory of a space Those which try to develop a theory of a space on the basis of perception psychologyon the basis of perception psychology

Shoulder Breath Shoulder Breath : 24 inches (61.0cm): 24 inches (61.0cm) Body DepthBody Depth : 18 inches (45.7cm): 18 inches (45.7cm)

VibesVibes Illustration of fruin’s “touch zone” base on a “body Illustration of fruin’s “touch zone” base on a “body

ellipse” buffer zone with a mirror axis related to body ellipse” buffer zone with a mirror axis related to body depth and a major axis related to shoulder breadth, depth and a major axis related to shoulder breadth, allowing a queing area of 3sq. ft. or .29 sqm. per personallowing a queing area of 3sq. ft. or .29 sqm. per person

Body EllipseBody Ellipse Adapted from John J. fruin’s Book, Pedestrian Planning Adapted from John J. fruin’s Book, Pedestrian Planning

and Design Guideand Design Guide Lateral Passage RestrictedLateral Passage Restricted

No Touch ZoneNo Touch Zone Limited Lateral CirculationLimited Lateral Circulation

Personal Comfort ZonePersonal Comfort Zone

In every sense of the word, is one of In every sense of the word, is one of the most influential aspect of the the most influential aspect of the “analysis” stage in design problem “analysis” stage in design problem solving. Before you actually design a solving. Before you actually design a space for people to behave in, it space for people to behave in, it makes a great deal of sense for you makes a great deal of sense for you to be aware of how they behave to to be aware of how they behave to begin with. Knowing what activities, begin with. Knowing what activities, conditions, and people you are conditions, and people you are planning for, you should be able to planning for, you should be able to use your time and effort use your time and effort constructively and in a worthwhile constructively and in a worthwhile fashion.fashion.

SPACESPACE

Physical SpacePhysical Space

It is easier to design for people’s It is easier to design for people’s physical needs that to provide physical needs that to provide for their social and psychological for their social and psychological needs.needs.

The Process of Space The Process of Space OrganizationOrganization

The difference between the The difference between the Architecture of today and that of Architecture of today and that of yesterday is profound and yesterday is profound and significant. It is the result of significant. It is the result of new approach made possible ny new approach made possible ny changing social conditions and changing social conditions and advances in Technological advances in Technological contributions. Architecture no contributions. Architecture no longer belongs to the past, but longer belongs to the past, but instead to the future.instead to the future.


Architecture PastArchitecture Past

There was no freedom in planningThere was no freedom in planning The designers began and end with a The designers began and end with a

study of external stylesstudy of external styles

1.1. StaticStatic

2.2. HeavyHeavy

3.3. InflexibleInflexible

4.4. UnrealUnreal


Architecture PresentArchitecture Present Training in design begins with the study Training in design begins with the study

of fundamental principles of planning of fundamental principles of planning based upon the needs of people and the based upon the needs of people and the resultant architectural forms; and they resultant architectural forms; and they are not bound to tradition or style.are not bound to tradition or style.

DynamicDynamic LightLight FlexibleFlexible RealReal Articulate PlanningArticulate Planning

form follows function – louis sullivan. form follows function - that has been misunderstood. form...

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