Where function does not change form does not change. Almost as soon as the upgrade was announced, a debate emerged between supporters and opponents of an up-gunned Stryker variant.
The former copies external appearances; the latter is concerned with performance and behavior. For both, form matters; what is in question is how and why it matters. While the roots of this debate may have sprung from the seed of proto-modernist architects, like Viollet-le-Duc, who, in his defense of the structural principles of Gothic architecture and their potential application for iron construction, anticipates the arguments of the European avant-garde of the early 20th century, the debate itself begins in earnest with the functionalist claims of this latter group.
It remains relevant only insofar as it is precisely the function of form that remains contested. Following this logic, the modernists were compelled to create highly generic spaces, like the office tower, which have proven insufficient both formally and functionally.
Were it not for the inherent adaptability of people to spaces, the only resolution to such forms would be to follow the Futurist recommendation that cities change their buildings as frequently as people change their clothes.
By the late s, there was a full-fledged rejection of modernist principles. Formulated in the wake of semiotics, this rejection re-positioned the function of form as the expression of cultural signifiers. The underlying argument of their work relied on re-interpreting the Form follows function essay lexicon in ways that created symbolic associations and fissures with the past.
Laboring under the compendious critique of literary theorists, like Jacques Derrida, the post-modernists focused on systems of elision, through which cultural referents were utilized in ways that essentially problematized their ultimate meaning or reading.
As a result, one can only understand this production as a period of transition, during which traditional principles of design were momentarily suspended, as a generation of arguably exceptional architects came to terms with the new tools at their disposal, preparing, in their way, for a new paradigm shift.
This shift incorporates a unique re-instantiation of the modernist functionalist paradigm, based now on powerful new means for architectural modeling — parametric design. Parametric design is, in many respects, a hybrid — it attempts to recreated the potential for iconic design, within the matrix of a series of pseudo-scientifically derived principles.
On the one hand, there is a trend towards optimized form, based on highly probabilistic strategies of weather, structural wear and movement pattern social interaction prediction, anticipation and accommodation.
They produce the image of principles, rarely explored in any depth, and thus frequently misunderstood, and thus misrepresented; they produce forms, more or less new, divorced from any original reflection on the importance of form in the production architecture.
Ironically, and despite a resurgence in interest in the works of mid-century modernists, like Buckminster Fuller, who emphasized the inherent relevance of form as it pertains to structure and information, the contemporary emphasis on form tends to obscure the fundamental importance of form in its own right.
As a result, contemporary theorists fail to recognized the necessary inversion of the original formalist argument implied by theories of complexity, and dominant in contemporary biological discourse; form does not follow function, rather function follows form.
This inverse relationship between form and function is representative of the work of post-war cyberneticists, like Ross Ashby and Grey Walter, both neurophysiologists by training, and finds strong representation in early theories of computer science, propounded by John von Neumann who developed the concept of parallel computing, or von Neumann architecture.
It also forms the basis of later work on complexity, chaos and Artificial Life, propounded by the founder of the latter, Christopher Langton in the quote at the beginning of this essay.
The work of all of these precedents emphasizes the way in which functions are derived from the formal matrixes that make such functions possible it is the massively parallel inter-relational architecture of the brain, for example, that results in its incredible functionality as a matrix of thought ; and while cybernetics has historically found few architectural proponents, and the work of its inheritors has been refocused from material interaction and re organization to computational systems that model or enact these systems in a digital environment, the importance of this paradigmatic shift away from the preeminence of function to that of form should not be ignored.
The early influence of cybernetic ideas on the discourse of architecture is best represented in the work of Cedric Price, which, embracing a paradigm of emergence and expectance, eschewed formalism, for infrastructural a-formalism.
In many respects, what he lacked was the technological, material and computational means to design such spaces, and these we have today, in spades. However, architects seem intent on systems of formal imposition, rather than on those of emergence, ad hoc social interaction, spatial redefinition, and the formal articulation of potential rather than stasis, of invitation rather than exclusion, and invention rather than context; the sign of the architect, as creator, as the originator of sufficient forms, imposes a system of formal articulation that, in its nature, is antithetical to emergent paradigms of space creation at the level of individual interaction and behavior, thus sublimating the importance of form as a functional determinant.
It also frustrates the importance of form that lies at the foundation of theories like complexity from which contemporary architecture so liberally borrows. As a result, architectural production remains within the realm of magic described by Grey Walter, forced to embrace superficial similes, rather than the formal principles that lie behind their scientific precedents.Hire a highly qualified essay writer to cater for all your content needs.
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THE TRAGEDY OF THE COMMON REVISITED by Beryl Crowe () reprinted in MANAGING THE COMMONS by Garrett Hardin and John Baden W.H. Freeman, ; ISBN Early years. Louis was born of Patrick, a dancing master, and Adrienne Françoise (List) Sullivan.
His Irish-born father and Swiss-born mother had immigrated to the United States in and , respectively, and were married in Their older son, Albert Walter, was born in "Form follows function" is a doctrine about the design of physical objects, and how decoration, if used at all, should be subordinated to functional design.
Software is not a physical object, and the idea of decorating software is absurd. Louis Sullivan is widely considered America's first modern architect.
form follows function." Louis Sullivan is widely considered America's first modern architect. Learn about the man best known for inventing "form follows function." MO and his influential essay "The Tall Office Building Artistically Considered." Louis is.