FORM FOLLOWS CULTURE HUGH FOSTER
‘FORM FOLLOWS FUNCTION’ Louis H. Sullivan 1896
‘FORM FOLLOWS FINANCE’ Carol Willis 1995
‘FORM FOLLOWS CULTURE’ Hugh Foster 2020
Many Happy Returns . Foster, Hugh. 2020
The Schumacher Solution. Foster, Hugh. 2020.
Capital A Architecture is at the brink of a revolution! Neo liberal dogma and advanced capitalism has become the latest culture in which 21st century Architecture has embraced. From Postmodernism, Deconstructivism, and now Parametricism, architectural discourse has been in a stagnant form and image driven state for the past 40 years (1980 free market economy). Instagram likes, company image and profitability, more important than user satisfaction, Architecture’s relationship with humanity has never been so disconnected. All to often current theory is no longer asking what it can do for society, instead what it can do for the dollar. We have allowed our discipline to become a mere ‘cherry on the cake affair’ (Easterling, 2016). Henry Ford production line cities shat out at exponential speed and scale (Koolhass, 2011), ironically at Rolls Royce prices without the quality assured standards. We have forgotten the fundamental truth of our profession. Architecture is a humancentric occupation, and has responded to the human needs and desires for centuries from the basic to the bizarre. The undeniable fact remains that humans are FORCED to occupy the spaces we design. Modernism unintentionally handed the keys to developers and the purely economic recipe of the ‘badly related boxes that have formed our cities’ (Jencks, 2019). Postmodernism became commercial iconography. Deconstructivism left this world and the common man behind in post-human philosophy and the Derri-dum. Lastly, Parametricism professed by Schumacher acknowledged that form followed finance, declaring that, “Unfettered, capitalism can save the housing crisis”. (Schumacher, 2018)
Farewell. Foster, Hugh. 2020
Modern Dream. Collins St 5p.m, Brack John, 1955, oil on canvas. Foster, Hugh retouch 2020
The earth and disadvantaged are all but forgotten. Faced with a real-life Armageddon in the age of the Anthropocene, there is no longer enough earth, nor enough ozone for this brutally unsustainable and catastrophically exponential development. Climate change is no longer an issue of the future, its effects already felt throughout the world. As Latour suggests, “The absence of a common world we can share is driving us crazy.” (Latour, 2018). 21st century Architecture must respond to the tyrannical prerogatives of the Neo Liberal machine before it is too late. We have known about this ‘Inconvenient truth’ for some time (20th century), and within my own country of Australia, codes have responded with tourniquets like section J of the BCA. When pushed we established techniques to measure accurately the variables that contribute to embodied energy, energy efficiency, environmental sustainability and ongoing performance of a building. It is still not enough. How efficiently are we responding to the most basic of human needs? How efficiently are we responding to the happiness of the user? Sustainability defined as: the ability to be maintained at a certain rate or level (Oxford dictionary, 2020)
We must return Architecture back to the people with a refocus on the end user
ECONOMIC & ENVIRONMENTAL CONCERNS
Both economic and environmental sustainability, ‘lend themselves to quantitative measurement, analysis and project evaluation’ (Memmott, Keys, 2015), and have formed the main incentives within the concept of sustainability within Architecture to present date. I suggest we can do more! The people we are designing for are more than just lumps of meat to be sheltered at a temperature of 18-24 degrees (Boyd, 1965). They are more than statistics seen on the developers’/governments’ screen. These people have very real and differing beliefs in religion, science and strong illusions of their own significance (Rapoport, 1990). It is our duty as designers to pander to these differences. We are all indifferent in our belief that we are different (Foster Wallace, 1996). Lets do more and celebrate difference.
We must move beyond the economic and environmental to incorporate the wellbeing of the user. A quantative measure for social benefit and cultural inclusivity must be factored into all new design and be accorded equal footing with financial and environmental considerations shaping the fabric of our built environment! Culture defined as: The total pattern of human behaviour and its products embodied in thought, speech, action and artefacts and dependent upon man’s capacity for learning and transmitting knowledge to succeeding generations through the use of tools, language, and systems of abstract thought. (Websters Third New International Dictionary).
CULTURAL CONCERNS
Memmott’s research within the fields of architecture and anthropology pertinent to the Indigenous communities of Australia has preceded and catalysed my thinking.
‘Architecture is a cultural artefact reflecting the beliefs and behaviours of its designer and users’, (Memmott, Keys, 2015, pg-04). Much of Architectures disconnection with the common man does not pertain to a lack of trying, however a lack of understanding. The problem does not lie within the architectural style, however, within the ethnocentric and mono cultural approach in which western Architectural epistemology has developed. Ethnocentric defined as: Evaluating other cultures according to preconceptions originating in the standards and customs of one’s own culture. (Oxford dictionary, 2020).
Human, Space & Psyche. Foster, Hugh, 2020.
The way we utilise space as well as understand space has been shaped by our cultural backgrounds (Hall, 1969). As Bachelard suggests, our psyche or memories are ‘fixed in space’, (Bachelard, 1957, pg-128) consequently, the built environment has a profound effect on the psychological and physiological wellbeing. An architectural space forced upon a user with little regard for their cultural beliefs will create a bad fit between user and space. Increased mental stress and undesired outcomes are highly likely to occur. The demolition of Pruitt Igoe provides historical backing to this statement. A cultural sustainability must be factored into design beyond the pure functional. A system must be put in place to ensure the cultural beliefs of the user are factored into the spatial systems (Memmott, Keys, 2015, pg-04). Providing the evidence Memmott and others have been asking the questions, its time to start working on the answers. The System follows:
Observation & Questioning Interview: Spiritual, ideological, economic, environmental, spatial understanding and general wellbeing beliefs. Observe: spatial patterns, affordances, objects, traces (history of site), environmental conditions, peculiarities, local materials and craft available.
Social Initiative & Ethnocentric Design. Pruitt-Igoe Demolition. 1954-1972, Failed Architecture. 2013
POLITICAL CONCERNS
I am not denying that under the right conditions capitalism can act for the common good. For instance economic incentives were found to have a sustained, positive outcome for pro environmental practice with users (Maki, 2016). I am hinting that the state is not the powerless entity you see today. Under the right conditions the state can answer to the needs of its people beyond pure economics towards social benefit and user wellbeing. As Le Corbusier observed, ‘we must always remember that the fates of our cities are decided in the Town Hall’. (De Betton, 2006, pg-226). As mentioned previously at the turn of the 1980s the governments’ main prerogative shifted toward return on investment, with finance being the only measure of success. Just as we see whole cities and cultures being defined from purely economic and elitist power and state. Deplorable Dubai’s ivory towers, built upon a workforce of modern day migrant slaves. Within Australia, as mentioned before, section J responds to climate change, just as the work health & safety act of 2011 makes sure the construction workers erecting our design come home safely and paid fairly. There is no doubt that a holistic approach to state and economics holds the key towards environmental, economic and now cultural sustainability.
I contend, Social benefit and cultural inclusivity must be incorporated into the developers and government psyche to prevent the unsustainable homogenous nuclear development of our world. Make Architecture relevant again. I call upon the profession and the educators within to promote the cause and facilitate a measure/algorithm that when applied to the built environment will result in a win, win scenario for all.
Dubai Renaissance foundation Exploration (Deep Section). Foster, Hugh, Retouch. 2020. Original image, Dubai Renaissance OMA, 2006
THE NEED
Marc Antoine Laugier. “The Primitive Hut” Essay on Architecture 1755
Wik Repertoire of Shelter. Memmott, Paul. 2007. Gunyah, Goondie & Wurley.
I do just as Alberti did when he looked towards Rome; Just as Antoine Lougier proposed in his essay on Architecture; Just as Semper declared in his 4 elements of architecture; and just as Rudofsky documented in his exhibition Architecture without Architects. I promote that; the Architecture of the past can guide the Architecture of the future, the Architecture of Vernacular. Vernacular defined as: The dwellings and all other buildings of the people related to their environmental contexts and available resources. They are customarily owner- or community-built, utilising traditional technologies. All forms of vernacular architecture are built to meet specific needs, accommodating the values, economies, and ways of living of the cultures that produce them. (Oliver, 1997)
Vernacular Architecture with an understanding of cultural context, user, site, environment and building practices holds the key to an environmentally sustainable as well as culturally sustainable practice. What Kenneth Frampton suggested in Towards a Critical Regionalism, was nothing more than a modern interpretation of the concept of vernacular in a plea against Postmodernist philosophy (Frampton,1981). What he forgot to include was the ethical dilemmas associated with, culture, user, environment, labour and the very real economic realm in which architecture is produced. I am not suggesting that we neglect the modern, however we look towards the vernacular ethos as a designer to accommodate the needs of the user and their culture through current tectonic solutions, related to place, craft, and the environment. Tektonic defined by Stanford Anderson as:‘Tektonic� referred not just to the activity of making the materially requisite construction. . . but rather to the activity that raises this construction to an art form’. (Frampton, 1981)
Katsura Palace Site Plan.Caruso, Adam. 2020. ETH Zurich
Katsura Palace Plan.Caruso, Adam. 2020. ETH Zurich
Katsura Palace Section. Caruso, Adam. 2020. ETH Zurich
Just as Bruno Taut in 1933 on his political exile to Japan discovered the beauty encapsulated by the vernacular 16th century Katsura Imperial Palace. So beautiful that it brought Taut to tears (Isozaki, 2011). I too look towards Katsura for its purity of thought, intent and execution, something lost within the modern era. I settle here because Japan has understood for tens of thousands of years, what western culture is only just starting to understand. A country that once understood how to tread lightly upon the earth, one of cultural and environmental sustainability. A culture that has had to adapt to the extreme natural catastrophes and phenomena of its natural environment, forms great precedent to which the atrocities of climate change and the irreversible destruction in which humanity has brought to this planet may affect our built environment. Katsura depicts an Architecture in which each element is in perfect harmony with the other, whilst simultaneously being perfectly codependent. It is adaptable in plan, and form, able to grow/shrink through its use of modules as required, able to be reorganized and changed without detriment to the overall balance and proportion. It is as Stan Allen suggests in his 1996 essay on field conditions an Architecture of bottom up philosophy. Where Tange suggests that it was no longer a machine for living, however an everchanging living space. (Isozaki, 2011) I suggest it is an organism for sustaining life. An embodiment of Heidegger philosophy. Acceptance of the Das Nichts (the nothing) it escapes the clutches of Das Gerede (the chatter or trends), reaching an Architecture of cultural Eigentlichkeit (Authenticity). Yet this philosophy is something that Shintoism formed organically within the context of Japan long before Heidegger.
Katsura Palace, internal view. Isozaki, Arata. 2011. Katsura Imperial Villa
Katsura Palace, External view. Isozaki, Arata. 2011. Katsura Imperial Villa
The craftsmanship is absolute. The timber speaks of honesty truth and logic, as well as sustainability across 400 years. The care to which the garden has been detailed is not out of this world but of this world. It is a portrait of absolute calmness, portraying the wonders of nature, the ephemerality of life and the beauty of the human spirit in flux. It is a masterpiece, directly connected to nature, whilst also in control of it. It represents a culture of optimism. An attitude and inclusivity of craft, design, and occupation connected to the environment, human and tectonic. Thus, it forms as one of the strongest precedents to my knowledge of both cultural and environmental sustainability.
THE FUTURE
A building and architectural movement is a happening of its time. It is an embodiment of the current climactic, cultural, technological and social beliefs of its eras. One theory proclaimed; another Avant Garde dismisses. The cycle is never ending. Timelessness is dead. The only certainty is uncertainty; the only predictable is the unpredictable. Let us celebrate the ephemeral and let us celebrate the user. Let there be an architectural style for every occupant. Let it not destroy the planet; let it not destroy culture; let it be as fruitful for those erecting it as it is for those inhabiting it and let it be routed in sustainability and local tradition. Let us do as Katsura did some 400 years ago. Let us start local! By foreshadowing social benefits and the positive impact of userbased architecture we as a profession can restore our relevancy within a 21st century context. It is clear that cultural based design must be given the same hierarchy as the economic and environmental initiatives. The state must play a role in holding those accountable for the degradation of environment, culture and the social spaces that could enrich our daily lives before the paved paradise becomes a reality. Until an algorithm for happiness is acquired we need to respond to the needs and demands of our users through our expertise of space and tectonics.
Let architecture return to its origins of “master builder�, towards the enigma of space, tectonics and humanity.
BIBLIOGRAPHY
Allen, Stan. 2001. Field Conditions. Architecture and urbanism.
Boyd, Robin. 1965. The puzzle of Architecture. Melbourne: Melbourne University Press. Bachelard, Gaston. 1957. The Poetics of Space. France: Presses Universitaires de France. Brack, John, Collins St 5p.m. 1955. Oil on canvas. 114.6cm X 162.9 cm. National Gallery of Victoria. Melbourne. https://www.johnbarrarchitect.com/post/2018/04/19/katsuraimperial-villa-all-things-to-all-men. Bruno Latour suggests in Down to Earth: Politics in the New Climate Regime. Caruso, Adam. 2020. Archive: Katsura Imperial Villa study. ETH Zurich. De Botton, Alain. 1998. How Proust Can Change Your Life. London: Vintage. De Botton, Alain. 2006. The Architecture of Happiness. London: Vintage. De Graaf, Reinier. 2015. Architecture and Freedom. Royal Academy Lecture. November 23, 2015. https://oma.eu/lectures/architecture-and-freedom. Easterling, Keller.2014. Extrastatecraft: The power of Infrastructure space. America: Verso. Failed Architecture.2016. Pruitt-Igoe Demolition. photo. https://failedarchitecture.com/ pruitt-igoe-is-failed-architecture-central-to-the-architectural-profession/ Frampton, Kenneth. 1981. TOWARDS A CRITICAL REGIONALISM. Newyork: GSD 7212 Issues in practice of Architecture. Hall, Edward T. 1966. The Hidden Dimension. America: Anchor. Irozaki, Arata. Matsumura Yoshihara. Speidel, Manfred. Taut, Bruno. Gropius, Walter. Tange, Kenzo. Dal co, Francesco.2005. Katsura Imperial Villa. London: Phaidon. Kuhn, Thomas.1962 The structure of Scientific Revolution. Chicago: university of Chicago Press. Maki ,Alexander, 2016.. Paying people to protect the environment: A meta – analysis of Financial incentive interventions to promote pro environmental behaviors. Journal of Environmental Psychology. Vol 47.
Laugier, Marc Antoine. 1755. “The Primitive Hut� Essay on Architecture. Allegorical engraving of the Vitruvian primitive hut. Image. Memmott, Paul. 2007. Gunyah Goondie and Wurley. Australalia: University of Queensland press Memmott, Paul. Keys, Cathy. 2015. Redefining architecture to accommodate cultural difference: designing for cultural sustainability. Online: Architectural Science Review. Oliver, Paul. 1997. Encyclopedia of Vernacular Architecture of the World. Cambridge: Cambridge University Press OMA. Dubai renaissance. Photo.2006. https://oma.eu/projects/dubai-renaissance. Patrik Schumacher.2018. Capitalism can solve the housing crisis. Adam smith org. https:// www.adamsmith.org/capitalismcansolvethehousingcrisis/ Rapoport, Amos. 1984. On the Cultural responsiveness of Architecture. Taylor & Francis: Journal of Architectural education- vol 41. Rudofsky, Bernard. 1977. Architecture without Architects. Newyork: Doubleday & company.
Word count excluding quotes, bibliography and definitions: 1876
HUGH FOSTER