Form follows function – Louis Sullivan

1. Form follows function – Louis Sullivan

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

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

4. Straight line belongs to man and curved to God - Gaudi

5. Straight line belongs to man and curved to God - Gaudi

6. 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

7. 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

8. deconstructing the text

9. Working Concepts: Deconstruction of your philosophy or concept. PHILOSOPHY: Change is constant Time is of the essence Shock and awe Only the strongest will survive In God I trust DESIGN PHILOSOPHY Architecture has to adapt to its environment and not the other way around Functional efficiency through well connected spaces Buildings can only create wonders if it has meaning Firmness is on top of beauty and function Monumentality brings divinity to the city CONCEPT Mystique The spider web The book of the Jews Tripod Blank Canvass

10. 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)

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

12. deconstructing the form

14. Deconstructivist architecture aims to break down or rearrange the 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 Jimmy Caumeron

15. 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,

16. 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,

17. 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.,

18. 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.

19. “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

20. 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,

21. FUNCTIONAL GROUPING AND ZONING

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

23. Planning For Potential Circulation • Structures are built to be used, and the purpose is defeated: • Unless people can go easily and directly from one area to another, • And unless the related areas are adjacent to each other.

24. Principles Related To Function • Need for Adjacency • Similarity in General Rule • Relatedness to Departments. Goals and Systems. • Bubble Diagram • Sequence in Time

25. Principles Related To Function • Required Environments • Furniture Types • Need for View • Need for Ceiling Height or Shape • Access to Ground or Roof • Need for Vents or Exhausts • Relative Security • Need for Visual and Sound Privacy • Need for Acoustic Control • Need for Noise Control • Relative Maintenance • Plumbing involvement • Relative Visual Access

26. Principles Related To Function • types of Effects Produced • Radiation Produced • Chemicals • Smoke and Fumes • Relative Heat Produced (Kiln, Welding, Kitchen) • Observation Intensity • Potential for Contamination • Asset to Public Image • Revenue Produced • Relative Weight

27. Types of Effects Produced • Noise Produced • Gymnasium • Music • Mechanical rooms • Vibration • Machinery • Wet Dry • Wet • Laboratories • Toilets • Kitchen • Dry • Offices

28. Types of Effects Produced • Trash Production • Food Preparation • Dishwashing • Relative visual clutter • Odor Production • relative Proximity to Building • relatedness to Core Activities

29. Principles Related To Function INNOVATIONS IN AIRPORT DESIGN • Six Innovations in Airport Design • Central Terminal with Remote Satellite • Central Terminal with Remote Concourses • Central Terminal with Pier Concourses • Linear Unit Terminal • Multiple Unit Terminal • Central Terminal with Remote Aircraft

30. Principles Related To Function • Characteristics of People Involve • Volume of People Involved • Extent of Man or Machine Involvement

31. FUNCTIONAL DESIGN • This deals with the development of a plan arrangement to serve in a purely mechanical way the functions of the building. It discovers the proper sizes of rooms and their relations to each other. It furnishes the Elements of Comfort: • Light • Heat • Ventilation

32. FUNCTIONAL DESIGN • It determines the correct size and location of the structural members which give the building strength. However, even when all these requirements are satisfied, architecture does not necessary exist. • The building may remain only an engineering structure without the spirit of architecture which is called the Logical Beauty.

33. SPACE ARTICULATION

34. The concept of space The system of space

35. The concept of space • The system of space • Man orients to “Objects” that is, he adapts physiologically and technologically to physical things, he interacts with other people, and grasps the abstract realities, or • “Meanings" which are transmitted through the various languages created for the purpose of communication.

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

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

38. The concept of space The concept of space in Architectural Theory

39. The concept of space in Architectural Theory Two Classes of Architectural Space • Euclidean Space – the Euclidean approach has recently been stimulated be the importance of three-dimensional geometry. • In connection with Space Frames • Fabricated Building Systems • And Certain Utopian City-Planning Schemes

40. The concept of space in Architectural Theory • Those which try to develop a theory of a space on the basis of perception psychology • Shoulder Breath : 24 inches (61.0cm) • Body Depth : 18 inches (45.7cm) • Vibes • Illustration of fruin’s “touch zone” base on a “body ellipse” buffer zone with a mirror axis related to body depth and a major axis related to shoulder breadth, allowing a queing area of 3sq. ft. or .29 sqm. per person • Body Ellipse • Adapted from John J. fruin’s Book, Pedestrian Planning and Design Guide • Lateral Passage Restricted • No Touch Zone • Limited Lateral Circulation • Personal Comfort Zone

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

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

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

44. The Process of Space Organization • Architecture Past • There was no freedom in planning • The designers began and end with a study of external styles • Static • Heavy • Inflexible • Unreal

45. The Process of Space Organization • Architecture Present • Training in design begins with the study of fundamental principles of planning based upon the needs of people and the resultant architectural forms; and they are not bound to tradition or style. • Dynamic • Light • Flexible • Real • Articulate Planning