Form Follows Function: A Statement Taken too far

This research article examines the study of the philosophy behind the statement "Form Follows Function", its relation to modernist architecture and its interpretation in contemporary architecture. It explains the basic principles of this philosophy, which began with the work of Louis Sullivan and how this statement actually came into existence. It defines the basic terms and vocabulary of this philosophy. It identifies the concepts of this philosophy that were transferred to architecture and became the basis of modernist architectural style. Modernist projects and buildings are very functional and lack any kind of ornamentation. The “transfer” of the concepts of form follow function to architecture was very direct and literal, this is the reason why it isn't suitable for the contemporary world. Moreover, the time when this statement was given was the time when world war one had just taken place and a fast and low funded restoration of infrastructure was needed. There is not any such kind of need in the contemporary world. The technology has advanced to such an extent that the functions can be fit into even the strangest forms which us to experiment. enables The focus is now more on the forms and the aesthetics which has been highly employed in the deconstructivist style. The new concept of adaptive reuse cannot be employed in the modernist architecture which is a big disadvantage. Keywords: form, function, modernism, post modernism

THE SPECIFICS OF THE FORMATION OF MODERN ARCHITECTURAL EDUCATION IN ALGERIA

The process of formation of a modern architectural school in Algeria, which took place during the last third of the 19th and 20th centuries, and led to the emergence of new approaches and principles in the field of its application, is considered. The article presents the results of a historical analysis of the evolution of the educational model of Algeria in the field of architecture, which depended on the political and socio-cultural influence of the metropolis on the development of the architectural knowledge of the colonial region. The author also considers the paths along which the formation of architectural education and its formation at the beginning of the 20th century took place during the late 19th century. It is analyzed that the training of Algerian architects during the French colonization took place within the local culture, which affected the further independent direction of the development of the architectural school of Algeria. It is analyzed that the architectural education of Algeria since the signing of the Evian Agreements is associated with the nature of the activities of architects and the expectations from their preparation, a combination of artistic ability and constructive technical knowledge. The article examines the influence of modernism as a social project, reflecting the advanced social reformist ideas of its time, on the rethinking of the professional training of architects in Algeria. The contribution of the leading representatives of modernist architecture to the renewal of the artistic language of architecture in Algeria is also considered: the social attitudes of modernist architects contributed to the principled attitude towards novelty in architecture and architectural education.

Acculturating Architectural Sublimity: Experimenting with themes of Japanese experientiality within New Zealand housing

<p>It has been argued that domestic architecture within New Zealand is increasingly dominated by international styles since the rise of modernism. According to Bill Wilson (the Group’s leader), there is a lack of understanding of foreign design principle within New Zealand modernist architecture, denying any psychological or spiritual connection within the home. This has caused a shift from what was considered a vernacular architecture to a hybrid of adopted building styles, imitated largely for their aesthetic value rather than any theoretical grounding. In New Zealand, a lack of national identity or sense of belonging within a home is said to be problematic. This thesis aims to help redefine a national vernacular and the experience of domestic space through the implementation of experientiality. The design reconsiders domestic spaces through design-research methodologies derived from two early modernist architectural groups: the Bunriha (co-founded in 1920) with the locality of Auckland’s the Group (established in 1946). These were chosen as both groups provided manifestos for reviving each respective nation’s architecture (Japan and New Zealand) post war. The Group’s work is based purely on functionalism and economically viable solutions. It will provide the basis of architectural thought for the exploration of multiple design strategies within this thesis. While the Bunriha’s ideas are utilised for their experiential approach to modernist architecture. As The Groups’ Japanese equivalent, the Bunriha provides a successful precedent for mediating between new technology, experientiality and a vernacular style. The Bunriha’s design methodologies are extracted and appropriated to the Group’s vision for New Zealand modernism through multiple case study houses. The aim here is to introduce a new dimension of domestic architecture within specific sites chosen within Auckland. This intends to strengthen the relationships between inhabitant, home and landscape through several explorations. The research led design results from a series of architectural strategies that respond to six design theories of shadow, reflection, permeability, materiality, interior/exterior relationship and construction. The first three are derived from the intangible considerations of Japan’s Bunriha, while the remaining respond to the tangible considerations of the Group. This is intended to transcend the preconceptions of a contemporary home through the reconsideration of intangible qualities and their value. It is proposed that this strategy will result in a heightened sense of self through the foreign concept of experientialism. The split between the different members of the Group meant a discontinuation of their early explorations of intangible qualities of space within a vernacular architecture. A continuation of their work will be intended through this thesis work.</p>

Acculturating Architectural Sublimity: Experimenting with themes of Japanese experientiality within New Zealand housing

<p>It has been argued that domestic architecture within New Zealand is increasingly dominated by international styles since the rise of modernism. According to Bill Wilson (the Group’s leader), there is a lack of understanding of foreign design principle within New Zealand modernist architecture, denying any psychological or spiritual connection within the home. This has caused a shift from what was considered a vernacular architecture to a hybrid of adopted building styles, imitated largely for their aesthetic value rather than any theoretical grounding. In New Zealand, a lack of national identity or sense of belonging within a home is said to be problematic. This thesis aims to help redefine a national vernacular and the experience of domestic space through the implementation of experientiality. The design reconsiders domestic spaces through design-research methodologies derived from two early modernist architectural groups: the Bunriha (co-founded in 1920) with the locality of Auckland’s the Group (established in 1946). These were chosen as both groups provided manifestos for reviving each respective nation’s architecture (Japan and New Zealand) post war. The Group’s work is based purely on functionalism and economically viable solutions. It will provide the basis of architectural thought for the exploration of multiple design strategies within this thesis. While the Bunriha’s ideas are utilised for their experiential approach to modernist architecture. As The Groups’ Japanese equivalent, the Bunriha provides a successful precedent for mediating between new technology, experientiality and a vernacular style. The Bunriha’s design methodologies are extracted and appropriated to the Group’s vision for New Zealand modernism through multiple case study houses. The aim here is to introduce a new dimension of domestic architecture within specific sites chosen within Auckland. This intends to strengthen the relationships between inhabitant, home and landscape through several explorations. The research led design results from a series of architectural strategies that respond to six design theories of shadow, reflection, permeability, materiality, interior/exterior relationship and construction. The first three are derived from the intangible considerations of Japan’s Bunriha, while the remaining respond to the tangible considerations of the Group. This is intended to transcend the preconceptions of a contemporary home through the reconsideration of intangible qualities and their value. It is proposed that this strategy will result in a heightened sense of self through the foreign concept of experientialism. The split between the different members of the Group meant a discontinuation of their early explorations of intangible qualities of space within a vernacular architecture. A continuation of their work will be intended through this thesis work.</p>

Virtual Palimpsest and Pentimenti for an Architecture in Reality

<p>Behind every site is an unseen history. Before us, countless people have lived their lives through an ever evolving environment. This research examines how a process of uncovering site specific architectural and cultural histories using virtual reality can facilitate for the development of a design intervention that builds upon former histories of the site. This has been done through a process of digitally unveiling traces of historic architectures, using notions of palimpsest and pentimento. Palimpsest and pentimento are terms from art and literary studies which are concerned with the physical traces of historic processes left on parchment and canvas, the reworking and adding to a new piece that reflects what was before. Palimpsest as an architectural theory is somewhat related to ideas of historicism in 1980s post-modernist architecture. This research was undertaken initially through conventional historical research using archival plans and photographs of former buildings on the site. These were obtained from sources such as the Wellington City Council and National Library of New Zealand in order to accurately determine what has previously existed. This history was then visually represented in three-dimensional digital models and overlaid onto a model of the site. By digitally rebuilding each built intervention, users can occupy each phase separately or simultaneously in a virtual reality environment. This full scaled model enables an accurate visualisation of how the historic architecture really existed. Ideas such as scale, phenomenology, depth, form, and detail can be represented in virtual reality in a way that allows a greater understanding than simple flat images and plans. This process then leads to a way of developing an architecture based off what made the previous buildings successful. Once Again using virtual reality, this time as a design tool, to root the new building in to its historical context, creating a deeper architectural experience. Developing this process of using the history of a site as a tool for generating a new architecture allows for a greater meaning of the site, and for a deeper meaning to the architecture.</p>

Virtual Palimpsest and Pentimenti for an Architecture in Reality

<p>Behind every site is an unseen history. Before us, countless people have lived their lives through an ever evolving environment. This research examines how a process of uncovering site specific architectural and cultural histories using virtual reality can facilitate for the development of a design intervention that builds upon former histories of the site. This has been done through a process of digitally unveiling traces of historic architectures, using notions of palimpsest and pentimento. Palimpsest and pentimento are terms from art and literary studies which are concerned with the physical traces of historic processes left on parchment and canvas, the reworking and adding to a new piece that reflects what was before. Palimpsest as an architectural theory is somewhat related to ideas of historicism in 1980s post-modernist architecture. This research was undertaken initially through conventional historical research using archival plans and photographs of former buildings on the site. These were obtained from sources such as the Wellington City Council and National Library of New Zealand in order to accurately determine what has previously existed. This history was then visually represented in three-dimensional digital models and overlaid onto a model of the site. By digitally rebuilding each built intervention, users can occupy each phase separately or simultaneously in a virtual reality environment. This full scaled model enables an accurate visualisation of how the historic architecture really existed. Ideas such as scale, phenomenology, depth, form, and detail can be represented in virtual reality in a way that allows a greater understanding than simple flat images and plans. This process then leads to a way of developing an architecture based off what made the previous buildings successful. Once Again using virtual reality, this time as a design tool, to root the new building in to its historical context, creating a deeper architectural experience. Developing this process of using the history of a site as a tool for generating a new architecture allows for a greater meaning of the site, and for a deeper meaning to the architecture.</p>

Taking the Roof off a Modern Building

<p>Taking the Roof off a Modern Building explores ways to appropriately reactivate modernist architecture, acknowledging the social, economic and contextual constraints of a contemporary provincial New Zealand township. This research is motivated by the lack of use and maintenance of aging Kapiti modern architecture. Like many small towns, Waikanae, in the Kapiti Coast region, has a variety of buildings which are often up for lease. Within this catalogue, the modernist buildings stand out as ones that theoretically should be adaptable for changing requirements. The aim of the research is to develop a design solution to preserve the Parker Building, situated in Mahara Place, understanding the potential implications for the wider region. The research is completed through design experiments which pursue reactivation, examining modernism, preservation and programme. The exploration of spatial possibilities focus on how the Mahara Place shopping precinct may function for social and economic needs of the current society, which differs from when it was built, in the 1970s. Designing is done through a process of research into physical and social constraints, while iterating design ideas, feeding off each other to develop the outcome. New Zealand Modernist Architecture is a relevant research topic due to the prominent place of these buildings in our cities and towns, and their association with many great New Zealand architects. While isolating a site within the Kapiti Region, Mahara Place was highlighted as a strip of buildings not used to their fullest potential. Many buildings similar to these are at risk of demolishment, but research is needed to explore how the interior can function appropriately for the users.</p>

Taking the Roof off a Modern Building

<p>Taking the Roof off a Modern Building explores ways to appropriately reactivate modernist architecture, acknowledging the social, economic and contextual constraints of a contemporary provincial New Zealand township. This research is motivated by the lack of use and maintenance of aging Kapiti modern architecture. Like many small towns, Waikanae, in the Kapiti Coast region, has a variety of buildings which are often up for lease. Within this catalogue, the modernist buildings stand out as ones that theoretically should be adaptable for changing requirements. The aim of the research is to develop a design solution to preserve the Parker Building, situated in Mahara Place, understanding the potential implications for the wider region. The research is completed through design experiments which pursue reactivation, examining modernism, preservation and programme. The exploration of spatial possibilities focus on how the Mahara Place shopping precinct may function for social and economic needs of the current society, which differs from when it was built, in the 1970s. Designing is done through a process of research into physical and social constraints, while iterating design ideas, feeding off each other to develop the outcome. New Zealand Modernist Architecture is a relevant research topic due to the prominent place of these buildings in our cities and towns, and their association with many great New Zealand architects. While isolating a site within the Kapiti Region, Mahara Place was highlighted as a strip of buildings not used to their fullest potential. Many buildings similar to these are at risk of demolishment, but research is needed to explore how the interior can function appropriately for the users.</p>

RELIVING - Rethinking the interior architecture during and after Pandemic situation

Architects are currently facing the understanding of the transformation of the work practices of people, teams and organizations in response to COVID-19 pandemic. Europe is still in the gloom of this pandemic and it can be seen changes in the office-domestic workplaces. These places have been mutating during the last year, they have been transformed according the new requirements. Individuals have adapted their homes and companies are already thinking the office space according the new reality. This study aims to determine how the interior space could adapt in order to provide comfort and well-being in contemplation of the contemporary and near future situation. The principal objective of this project was to create a tiny piece of space which contributes to create our “existence maximum” in a small space. To test the hypotheses that with the creation of a piece of furniture it can help us in the transformation of the domestic and office interior space is the key to make sure that people feel safe and work comfortably. Contemporary source material was used to examine the evolution of the pandemic and how it affects the individuals’ psychological behavior during this time. The findings provide a solid evidence base for the future will be a hybrid reality, where knowledge employees will continuously be working from home most of the time. It is evidently clear from the findings that as modernist architecture could be understood as a consequence of the result of some diseases of that period. Nowadays, architects have the responsibility to think how the interior architecture could be improved in order to make the people feel safe, comfortable and well connected where individuals could learn to live together confronting of our own homes and our own workspaces. The result is the design of an ergonomic workstation which contemplates the users’ requirements for working, providing adaptation to different working positions, mobility within the space and transformation according to individual needs. In addition, it has been considered the sustainability of the materials and the easy assembly with the possibility of the addition of accessories.

FORMAL EXPRESSION OF SACRED SPACE IN THE WORKS OF CARL MOSER

The article analyzes the imitation of traditional historical forms in the formation of sacred space. The main examples of world architecture are presented, which partially or completely copy the historical forms. The development of the sacred architecture of the modernist epoch in its imitation is represented. The phenomenon of perception in certain visible figures of objects is an expression of a more general situation, an expression of a certain type of views or collective beliefs. The using of traditional forms in modernist architecture is considered, which at the same time is not a complete rejection of modernist preferences, but also an attempt to reinterpret the geometry of traditional historical forms. The combination of national landscape and local specifics and European established traditional forms of sacred space is presented. Contradictions in the perception of sacred space and reading the symbolism of its content are considered. An attempt is also made to adapt the principles of modernism to the needs of the formation of sacred space, in which, after the suspension of historical knowledge, the essence of the phenomenon under study is sought, which is understood as its invariable feature. Religion, art, science and language are presented as forms of human thinking about reality with forms of epistemologically understandable symbol. The need to take into account the relationship between certain forms and messages that are transmitted through them in the formation of sacred space. Symbols pointing out not certain sacred reality, but certain intellectual tendencies, social situations or expressions of culture are singled out.