ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: Form Follows Function in Architecture
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Form follows function in architecture by Roberts Architecture Form follows function is one of the most important ideas in modern architecture,
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Form follows function in architecture by Roberts Architecture Form follows function is one of the most important ideas in modern architecture,
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yet most architects don't fully understand its core concept.
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It has been interpreted and misinterpreted so many times that its meaning has been distorted.
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Developed in architecture, this concept is used in product design,
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UX design, engineering, and so many other fields that understanding it is essential for any designer.
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In this video, we will look at the evolution of the idea of Form Follows Function,
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how it has evolved through modernism into post-modernism and contemporary architecture and design.
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Form Follows Function was first coined by the architect Louis Sullivan,
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but did not mean what it does today.
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His understanding was form follows function organically,
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like a seed grows into a tree,
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from initial forces of the project.
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A project should not copy styles and forms from history,
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but should be authentic of its place and time.
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Forms should arise organically from the needs of the project.
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He gives the example of a bank looking like a Greek temple.
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He argues, did ancient Greeks come over to the United States and start building banks?
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No, a bank in the United States has different initial forces than a Greek temple in Athens.
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Thus a bank should not copy the form of a Greek temple.
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This was radical for his age and a precursor to modernism,
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but was not the modern understanding we know today.
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Frank Lloyd Wright, an apprentice to Sullivan,
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perhaps said it best, form and function are one.
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form and function of a building should be so intertwined that they are inseparable.
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The way we understand form follows function today is through the German functionalist movement and the Bauhaus,
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specifically Mies van der Rohe who made form follows function famous along with less is more.
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In this new concept, the form of a building followed the functional layout
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and design based on on the program or a client's brief.
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All spaces in a building had a functional purpose.
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The design technique was to use adjacency diagrams to lay out functional relationships in space.
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The other side of this concept was to eliminate non-functional space.
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Social spaces, spaces of encounter,
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spaces for multiple uses, and undefined spaces were abandoned.
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All space in modern functionalism must be productive.
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Traditional Design In traditional architecture,
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form and function were not differentiated.
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Building form arose from a system of social production,
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a system of exchange, symbols and signs, and functional use.
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No attempt was made to separate these into different categories.
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Social production involved tradesmen, organizations of labor,
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the practice of planning, design, and construction of projects.
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This was always a social project involving many different groups.
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Traditional building always had intrinsic symbols and signs embedded into the work.
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Architectural styles define the symbols used.
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Functional use of space was subordinate to these other factors.
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Space This was conceived of as an empty container,
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like a cup, where many contents could be poured.
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Architecture was a utilitarian object first,
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and then a symbol that expressed ideas second.
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Modernism
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Modern architecture reacted to mass production and scientific breakthroughs of industrial building materials by making the environment a machine for living in.
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This required designing space around Fordism and factory production.
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It was not enough to use mass production techniques such as glass and steel,
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but also to symbolically express these concepts.
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Architects looked for ways to express this new spirit of the age.
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They stripped off ornamentation from buildings to reveal pure shapes and forms.
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They used diagrams to turn a building into a machine,
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much like a factory assembly line.
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Functional diagramming
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and expressing the building form of the diagram became the way to express the hand of the architect
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and turn a building into a machine for living in.
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Architects expressed the science of architecture by functionally laying out spaces and created complex patterns of adjacencies.
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from the building form were any references to social production in the form of craft and tradesmanship.
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Systems of exchange were eliminated by making buildings look like they had been created beyond the forces of money and capitalism.
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Symbols and signs were eliminated by eradicating ornament on buildings.
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Social expression was eliminated to express the machine.
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Functionalism in architecture and urban planning is the principle
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that the building environment should be designed solely based on the needs of the user
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and the institutions and its intended social function.
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Form follows function is the process by where use is determined and the architect's brief or program is based on these needs.
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The building form is determined by the program.
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This involves creation of a functional diagram and designing the building around this diagram.
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Functionalism projects on the ground plane a program of social action with the goal of programming individual and institutional life.
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This spatially organizes production, consumption,
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and distribution into a practice of social relationships.
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Functionalism is a spatial practice essential for regulating everyday life.
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It links the daily routine of the individual to urban networks of institutions, services, and utilities.
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Functionalist spaces are like trees,
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mathematical structures where no element is ever connected to other elements,
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except the medium of a unit as a whole.
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This leads to social segregation.
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Functionalist urbanism stems not from scientific analysis,
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but the practice of designers to give up on complex structures of traditional cities that contain overlap,
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ambiguity, and multiplicity.
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Functionalism renders alienation tactile.
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In modern architecture, there are four main functions.
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Living, working, recreation, and transportation.
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These can be broken down further,
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and many modern systems do.
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The Athens Charter by Le Corbusier broke down urban planning into 12 needs.
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Nutrition, hygiene, nursing, religion, science,
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art, protection, welfare, politics, administration, and upbringing.
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What is the relationship between function and the needs and wants of the inhabitants?
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There is always a disconnect between the functional design and the lived experience of the people.
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Modern architects cannot escape functionalism.
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They must start with an analysis of need,
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a problem statement, a problem, and a client's brief.
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This has become standard practice for any architect.
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But what about social needs,
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the needs for housing, the need for human intimacy?
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These are lost in a modern city.
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Postmodernism.
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The principle of form follows function may be The form of the object must make function possible
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and also communicate that function clear enough to make it usable and desirable.
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Umberto Eco.
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Function and Sign.
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Social production of signs, symbols, and brands.
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Postmodern architects and city planners challenge the theory of architecture as meeting human needs.
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Le Corbusier said, all men have the same needs.
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But was this actually true?
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Was the goal of architecture to meet universal human needs or was it something more?
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In postmodernism, form follows signs and symbols.
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Architecture in postmodernity is reduced to signs,
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signs of its own function,
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and signs referring to other systems of signs.
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Architecture was reinterpreted to be a form of communication, a pattern language.
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The built environment became signs and symbols.
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Functionalism was either rejected outright or became a sign and symbol.
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Form follows function was reinterpreted as the form of the object must make function possible,
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but also communicate that function clearly enough to make it usable and desirable.
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In this reformulation, function is subordinate to the sign.
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We see this transition from modernism to postmodernism,
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most pronounced in Christopher Alexander,
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an architect and educator who taught at the University of California in Berkeley.
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His first book, Notes on the Synthesis of Form,
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teaches us how to do functional diagramming as part of the architectural design process.
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He learned this technique at Harvard and Massachusetts Institute of Technology.
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During his time at Harvard and MIT,
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he was a devout modernist,
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thinking that architectural diagramming was both mathematical and scientific.
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This is what was being taught at Harvard at the time and comes directly from German functionalism and the Bauhaus.
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Alexander says, The ultimate object of design is form.
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What makes a design problem in real-world cases is
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that we are trying to make a diagram for forces whose field we don't understand.
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In other words, form follows function creates a requirements diagram
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and links it to a form diagram creating a bridge between requirements and form.
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The designer thinks like a scientist and their design is a hypothesis.
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The modern designers first task is to strip the problem of preconceptions which names,
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signs, and symbols introduce.
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But there's a huge backlash against this Bauhaus methodology in the late 1960s and by the 1970s functionalism was abandoned for postmodernism.
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The book The Decorated Diagram came out that asserted that that Harvard's diagramming technique basically decorated a diagram with architectural elements.
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It wasn't a true building,
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but abstract concepts loosely tied together with a building form.
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Postmodern architects were turning from functionalism to see architecture as signs, symbols, and brands.
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In 1977, Alexander publishes the book A Pattern Language,
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which defines architectural design not as problem solving,
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meeting user needs and functional diagramming,
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but instead as creating a language of patterns.
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Although Alexander thought of this architectural pattern making as being a timeless way of building,
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it was in fact postmodernism.
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He says, in this book,
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we present one possible pattern language of the kind called for in the timeless way.
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The elements of this language are entities called patterns.
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Each pattern describes a problem which occurs over and over again in our environment,
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and then describes the core of the solutions to
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that problem in such a way you can use a solution
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a million times over without ever doing it the same way twice.
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Alexander completely abandons functional diagramming and returns back to what he calls a timeless way of designing,
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basing forms on human patterns of inhabitation and historical precedent,
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precedent, something he expressly rejected in his modern functionalist period as
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not allowing the designer to think about the problem to be solved.
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Postmodernism's critique is the inhabitation in modern cities is mechanized by function.
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People gave up their autonomy,
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becoming cogs in a great factory that is the modern city.
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Social structures such as families,
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communities, and social groups are lost in the industrial city.
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Postmodernists argue that the city must be conceived of as a community,
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a set of social relationships,
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not as a functional machine.
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In modern functionalism, a building is a machine for living in.
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In postmodernism, a building is a model developed by circumstances and social forces over time.
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Buildings are socially inherited models.
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Modifications of a model and the course of an architectural work,
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both collective and individual, is produced.
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The postmodernists believe that our society has developed into one of pure consumption.
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Architects in this regime are creating cities for people to become consumers.
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People's real needs are not being addressed in any substantive way.
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Rather, they are being forced to consume on an endless treadmill of work and overproduction and overconsumption.
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Modernism assume that the physical and psychological needs of the people could be analyzed
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and technology could be mobilized to satisfy those needs.
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Instead, what is happening in post-industrial cities is the creation of false needs in consumers.
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Advertising, branding, selling of signs over real objects shows that in a post-industrial society,
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products are not developed out of needs and functions,
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but rather they create the needs to force people to consume.
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Architects role in postmodern society is not to satisfy human needs.
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Engineers do that, but rather to create signs,
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symbols, and brands to recreate the need to consume.
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In other words, architects create buildings as a brand,
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making people have false needs so they can consume space and cities.
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The role of an architect is to brand,
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advertise, and sell signs over real experiences so people will consume.
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The city becomes a high-end product for consumption,
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with cities like New York,
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London, and San Francisco becoming these elite brands.
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In the postmodern period, function follows form.
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The postmodern architect creates the form of the building,
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and any function can go inside.
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Star architects are there just to create interesting forms,
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and the function is decided by others.
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We see this with all the famous architects today.
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Frank Gehry, Zaha Hadid, Bajark,
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Ingalls, and even Norman Foster.
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Is this really architecture, or is it just image and branding?
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You decide.
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Leave your comments below.
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What do you think?
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Are you a traditional designer and don't believe in form follows function?
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Do you believe the art and craft of architecture is enough to design a building?
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Are you a modern designer and think form follows function?
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Do you problem solve and design for the needs of your client?
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Are you a postmodern designer and think form follows signs and symbols?
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Do you design brands and images and buildings as iconic symbols for your clients?
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Leave your comments below.
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I'm Jamie Roberts.
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If you like this video,
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please give a thumbs up and subscribe.
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คำศัพท์และวลีสำคัญ
- Form follows function - รูปแบบตามฟังก์ชัน
- Authentic - ของแท้, เป็นจริง
- Functional layout - การจัดเรียงฟังก์ชัน
- Adjacency diagrams - แผนภาพการอยู่ใกล้กัน
- Utilitarian - มีประโยชน์, ใช้งานได้
- Modernism - สมัยใหม่
- Architectural styles - สไตล์สถาปัตยกรรม
- Functional purpose - จุดประสงค์การใช้งาน
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