ARCHITECTURE: BUILDING DESIGN
Can Architecture be Absurd?
Dr. Subramanian Narayanan
Consulting Engineer Gaithersburg, USA
Abstract: Several architects all over the world are creating buildings which look much different from the traditional
buildings. The main goal of architecture should be to satisfy the
client’s needs and consider the utility, rather than producing
structures of architectural beauty, which will not serve the
purpose. Starting with the definition of architectural transparency, this paper explores examples of buildings which are
non-traditional, beautiful and at the same time satisfy the
client’s needs. Some recent examples of structures which are
stunning but do not consider functionality, harmony with their
surroundings, local climate, and economy are also presented. It is shown that aesthetic buildings should first be functional and need not necessarily be expensive and stunning.
Architectural Transparency
Ingenious Architecture
Fig. The Bauhaus, Dessau (925-26) Architect: Walter Groplus [Source:
http://en.wikipedia.org/wiki/Bauhaus]
The aesthetics of a building, in contrast to the aesthetics of a sculpture has to be judged according to how well a
building fulfills a client’s goals and the requirement of those
who live and work within it. For example, the unconventional
building exteriors designed by the architect Antonio Gaudi
[for example the roof vents and chimneys and even the façade of the Casa Milà (906-90), shown in Fig. 2 or the façade
and dragon roof of the Casa Batlló, shown in Fig. 3] are all
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Architectural transparency is one of the pervasive aspects of twentieth-century building practice. Giedion (957)
stated that transparency is a fundamental quality of artistic
production that can be traced back to the origins of art and
architecture. In optics, transparency may refer to a material
that transmits light so that we can see through it. In architecture, transparency may mean the use of glass as the primary building material; however there are other materials
like crystal or finely woven and diaphanous fabrics that are
also transparent.
The Bauhaus, designed by the architect, Walter Gropius,
is the first building to effectively consider transparency (see
Fig. ). It comprised of three blocks all connected by bridges.
The school and workshop spaces are connected by a larrge
two-story bridge, which creates the roof of the administration located on the underside of the bridge. The housing units
and school building are connected through a wing to create
easy access to the assembly hall and dining rooms. The edu-
cational wing contains administration and classrooms, staff
room, library, physics laboratory, model rooms, fully finished
basement, raised ground-floor and two upper floors.
The huge curtain window facade of the workshop building became an integral part of the building’s design. To create transparency, the wall emphasized the ‘mechanical’ and
open spatial nature of the building. These vast windows enabled sunlight to pour in throughout the day, although creating a negative effect on warmer summer days. In order to
preserve the curtain wall as one expanse, the load bearing
columns were recessed back from the main walls [http://
www.archdaily.com/]. The Bauhaus style later became one
of the most influential factors in modern design, modernist architecture and art, design and architectural education
(Fleming et al., 999).
Rowe and Slutzky (993) were the first to introduce two
types of transparency: literal and phenomenal. Literal transparency may mean a simultaneous perception of different
spatial locations by using translucent materials like glass or
building volumes. On the other hand, phenomenal transparency may be used to describe the planar qualities of translucent materials or to describe a certain level of ‘readability’
within a building design [Rowe and Slutzky,993]. In other
words, the concept of literal transparency is the fascination
of making interior and exterior spaces continuous. Rowe and
Slutzky (993) describe the workshop wing of the Bauhaus
as a case of literal transparency whereas Le Corbusier’s
villa at Garches as an example of phenomenal transparency.
Gropius wanted the glass curtain facade of Bauhaus building
to be completely ‘translucent’ in the sense that he wanted to
make a visual connection between the interior and exterior.
Whereas, the vertical layer-like stratification of Le Corbusier’s villa at Garches produces a layering of the interior space
of the house and creates a succession or sequence of laterally extended spaces travelling one behind the other (Rowe
& Slutzky, 993).
ARCHITECTURE: BUILDING DESIGN
functional, harmonious and offer no offence to their neighbours. Both these buildings are located at Barcelona, Spain.
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Fig. 2 (a) façade of the Casa Milà and (b)Roof architecture, chimneys known
as espanta bruixes (witch scarers) by architect Antonio Gaudi [Source: http://
en.wikipedia.org/wiki/Casa_Mil%C3%A0]
Casa Milà is considered by many as architecturally innovative work. It is a structure of columns and floors and is free
of load bearing walls. The front portion made of stone is also
self-supporting. Another innovative aspect at that time was
the construction of the underground garage. One of the most
significant parts of this building is the roof, crowned with
skylights or staircase exits, fans, and chimneys. All of these
elements, constructed with timber coated with limestone,
broken marble or glass, have a specific architectural function,
but at the same time look like real sculptures integrated into
the building [see Fig. 2(b)]. The building is also unique in the
sense that the shape of the exterior continues into the interior. The ceiling of this building has plaster reliefs of great dynamism, and was provided with handcrafted wooden doors,
windows, and different ornamental elements. In 984, it was
declared a World Heritage Site by UNESCO.
Casa Batlló, located in the center of Barcelona and is one
of Gaudí’s masterpieces. It was redesigned by Gaudí during
904 and has been refurbished several times later. Like everything Gaudí designed, it is considered as Art Nouveau in
the broadest sense. The ground floor has irregular oval windows and flowing sculpted stone work. There are few straight
lines, and much of the façade is decorated with a colorful
mosaic made of broken ceramic tiles. The façade has three
distinct sections which are harmoniously integrated. One of
the highlights of the facade is a tower topped with a cross
of four arms oriented to the cardinal directions. The roof is
arched like the back of a dragon. It has a bulbous, root-like
structure that evokes plant life. There is a second bulb-shaped
structure reminiscent of a thalamus flower, which is represented by a cross with arms that are actually buds announcing the next flowering (see Fig. 3)
Another interesting design by Gaudi is the Sagrada Família Church in Barcelona, Spain (see Fig.4). Construction of
Sagrada Família started in 882 and Gaudí became involved
during 883. He combined Gothic and curvilinear Art Nouveau forms to build it. The work progressed slowly as it relied
on private donations and was also interrupted by the Spanish
Civil War. When Gaudí died at the age of 73 in 926 only 25
percent of the project was completed. The Church was consecrated in November 200, but the Construction is estimated to be completed around 2026, the centenary of Gaudí’s
death. Since 940 the architects Francesc Quintana, Isidre
Puig Boada, Lluís Bonet i Gari and Francesc Cardoner have
carried on the work. Together with six other Gaudí buildings
in Barcelona, part of la Sagrada Família is a UNESCO World
Heritage Site, as testifying “to Gaudí’s exceptional creative
contribution to the development of architecture and building technology”. The canting of supporting columns was a
result of creative engineering, to support the demands of the
structure. He determined the angles of his columns based
on the requirements of his design. Sagrada Família revealed
Gaudí’s genius in finding novel solutions to achieve his vision,
which are functional, harmonious, inspiring and beautiful.
Fig. 4 Sagrada Família Church in Barcelona, Spain (a) Passion façade, and
(b)Detail of the roof in the nave- Gaudí designed the columns to mirror trees and
branches [Source: http://en.wikipedia.org/wiki/Sagrada_Fam%C3%ADlia].
Another structure comparable to Gaudí’s Sagrada Família is Simon Rodia’s Watts Towers in Los Angels, CA, USA
(see Fig.5) The Watts Towers, consisting of seventeen major
sculptures, were built personally by Simon Rodia using scrap
metal and wire covered with mortar. Porcelain shards were
implanted decoratively in these towers, in a way similar to
the Sagrada Família. Rodia worked single-handedly, for 34
years, to build his towers without using any machine equipment, scaffolding, bolts, rivets, welds or drawing board designs! Besides his own ingenuity, he used simple tools, pipe
fitter pliers and a window-washer’s belt and buckle. While
the Towers do not fall strictly into any art category, International authorities have lauded them as a unique monument
to the human spirit and the persistence of a singular vision.
When the towers were tested during 960s by Bud Goldstone, they proved to be stronger than the test equipment.
The the 30 m tall towers, when tested, withstood winds of
320 kmph (Silber, 2007).
Absurdity in Architectural Practice
Fig. 3 (a) Facade of Casa Batlló, Spain(b) Roof architecture and ceramic tiles,
with tower and bulb in the background, (c) Four chimney stacks on the roof,
with the dragon’s spine roof arch behind (Source: http://en.wikipedia.org/wiki/
Casa_Batll%C3%B3)
John Silber, former President and Chancellor of Boston
University, and also an honorary member of the American
Institute of Architects in his book Architecture of the Absurd,
explains how some great architects disfigured a practical
art. Some of these examples are presented below.
ARCHITECTURE: BUILDING DESIGN
Fig. 5 Simon Rodia’s Watts Towers in Los Angels, CA, USA [Source: www.
wattstowers.us/]
The architect I.M. Pei designed the 60-story, 240 m tall
John Hancock Tower at Boston, Massachusetts, USA, which
was constructed during 969-76[see Fig. 6(a)]. Though this
tower was designed with the assistance of structural engineers after exhaustive planning, the beauty of the building
was marred, when several of its .2 x 3.4 m windowpanes (each
weighing 227 kg) detached from the building and crashed to
the sidewalk hundreds of feet below during 972-73. Due to
this, the openings were covered with plywood before the repair work could be done [see Fig. 6(b)], causing this beautiful
building to be nick named Plywood Palace; some even called
it as the world’s tallest plywood building. Police closed off
surrounding streets whenever winds reached 72 km/h.
Architect I.M. Pei relocated the entrance to the Louvre
through a pyramid (see Fig. 7). This pyramid is covered with
glass segments, has a height of 2.6 m and square base
with sides of 35 m. It consists of 603 rhombus-shaped and
70 triangular glass segments. The pyramid was engineered
by Nicolet Chartrand Knoll Ltd. of Montreal and Rice Francis
Ritchie of Paris. The pyramid and the underground lobby beneath it were created because of a series of problems with
the Louvre’s original main entrance, which could not handle
the huge number of visitors. Now, visitors entering through
the pyramid descend into the spacious lobby and then reascend into the main Louvre buildings.
Fig. 7 Entrance Pyramid to Louvre Museum, Paris (989)-Architect I.M. Pei
[Source: http://en.wikipedia.org/wiki/Louvre_Pyramid]
Even though the pyramid is aesthetic when looked at it
alone, the futuristic edifice looks quite out of place in front of
the Louvre Museum with its classical architecture (see Fig.7).
Many feel that the Architect should not have spoiled the view
of the magnificent classical building.
Organic Architecture
The American architect Frank Lloyd Wright (867 –959)
produced excellent examples of organic architecture like the
Fallingwater, Pennsylvania [Fig. 8] and Taliesin West, which
was his winter home in Arizona. Both these are masterpieces and merge with the surrounding atmosphere fittingly.
Fallingwater seems to spring organically from the hillside of layered rock. Wright’s design enhanced the beauty
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Initially, many design professionals thought that the glass
panes broke because the tower swayed excessively due to
wind. Although the tower swayed substantially, this was not
the reason for the glass breakage. Others theorized that there
were some wind “hot spots,” which caused overstressing of
the glass. Investigations showed that there were substantial
“hot spots”, but only a small percentage of the glass was
subject to the stresses considered in the design.
An independent laboratory investigation confirmed that
the failure of the glass was due to oscillations and repeated
thermal stresses caused by the expansion and contraction
of the air between the inner and outer glass panels which
formed each window. The resilient bonding between the inner
glass, reflective material, and outer glass was so stiff that
it was transmitting the force to the outer glass (instead of
absorbing it), thus causing the glass to fail.
Aesthetic Blunders
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Fig. 6 (a) John Hancock Tower, Boston designed by Architect I.M. Pei (b) Near
ground level, most of the glass curtain wall replaced with plywood for repair
[Photo: Michael Shellenbarger/ University of Oregon Library]
Arthur Metcalf, CEO of Electronic Corporation of America suggested replacing each 4’ x ’ glass pane with three
smaller panes. However, in October 973, I.M. Pei & Partners
announced that all 0,344 window panes would each be replaced by single paned, heat-treated panels at a total cost
between $5 million and $7 million. In addition to this problem, the building’s upper-floor occupants suffered from motion sickness when the building swayed in the wind. To stabilize the movement, contractors installed two 300 ton tuned
mass dampers on the 58th floor at a cost of $3 million. Later
engineers discovered that, despite the mass damper, the
building could have fallen over under a certain kind of wind
loading. The structure was assessed as more unstable on
its narrow sides than on the big flat sides. Some ,500 tons
of diagonal steel bracing, costing $5 million, were added to
prevent such an event. Correcting the tower’s flaws eventually cost the Hancock Company $34 million, or about 25% of
the buildings original cost of construction. Thus, this project
illustrated absurdity in architectural practice, because the
architect did not consider structural aspects in his design
(Silber, 2007).
ARCHITECTURE: BUILDING DESIGN
out regard to their differences in location and function. For
example, one of Le Corbusier’s disciples, Joseph Lluis Sert
(902-83), designed two buildings in Boston, Massachusetts,
USA: Peabody Terrace and Boston University Law school
tower. Both these buildings, shown in Fig. 9, look alike and
reveal the lazy and arrogant attitude of the designer (Silber,
2007).
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Fig. 8 Fallingwater, Pennsylvania, United States, by architect Wright (935-39)
[Source: http://en.wikipedia.org/wiki/Fallingwater]
of both the hill side and the house of Mr. Kaufmann. It was
designated a National Historic Landmark in 966. In 99,
members of the American Institute of Architects named this
private house as the “best all-time work of American architecture”. However, Fallingwater’s structural system, consisting of a series of long span reinforced concrete cantilevered balconies, had problems from the beginning. As soon
as the formwork was removed, these cantilevers deflected
considerably and cracked. Due to creep and high compressive stresses in concrete, this deflection continued to increase over time, and eventually reached 75 mm (over a
span of 4.57 m). Wright and his team used inverted T-beams
so that the monolithic concrete slab provided resistance
against compression. Interestingly, the contractor, who is
also an engineer, did independent calculations and argued
for increasing the reinforcing steel; but Wright refused the
suggestion. It is believed that Kaufmann hired his own engineers, who concluded that the cantilevers required more
reinforcement than those specified by Wright and hence
doubled the amount of steel. Moreover, the contractor did
not consider the camber specified by Wright to counteract
the effect of the deflection of cantilevers.
In 995, the Western Pennsylvania Conservancy ordered
an investigation to study the structural integrity of Fallingwater. Structural engineers analyzed the movement of the cantilevers over time and conducted radar studies of the cantilevers to locate and quantify the reinforcement. They found
that in spite of the added reinforcement by the contractor
over Wright’s plan, the cantilevers were still insufficiently
reinforced. In fact, both the concrete and its steel reinforcement were close to their failure limits. The architecture firm
Robert Silman Associates of New York was hired to fix the
problem. in 977, they installed temporary girders beneath
the cantilevers to carry their weight [Feldmann and Silman,
2005]. In 2002, the structure was repaired permanently using
post-tensioning. The floors and walls were then restored,
without affecting the interior and exterior appearance of
Fallingwater. Now, the cantilevers have sufficient stiffness,
and the deflection is controlled.
Repetitive Architecture
Some architects think that they have discovered universal scientific principles of design and apply it under all
circumstances. They design buildings which look alike with-
Fig. 9 Resemblance between Peabody Terrace (962-64) and Boston University
Law School Tower (96-66), both in Boston, MA [source: en.wikiarquitectura.
com]
Sert also designed the Boston University Mugar Memorial
library (86-66) and the Harvard University Science Center,
Cambridge (968-73), both in Massachusetts, USA, which
also look similar in design and appearance. In addition Sert
designed a large, unprotected entrance to the Mugar Library
facing northeast toward the Charles River. The cold harsh
weather of Boston made this entrance unusable. To avoid
flooding the ground floor with rain and snow, the entrances
were permanently sealed and a temporary entrance was
provided through the adjacent student union. Two decades
later, the Boston architect William D. Adams designed a new
protected entrance facing south. His design is so thoughtfully and harmoniously conceived that a new visitor will think
that it is a part of Sert’s original design (Silber, 2007). Silber (2007) also discusses the flaws in the design of Boston
University Law School tower, which required constant and
expensive maintenance. Silber (2007) also exposes the design flaws in Boston University’s George Sherman Union
(96-66), which was designed by Sert, around an open patio, surrounded on all sides by high walls. Sert conceived it
in such a way because of his affection to the benign climate
of Spain, where he was born and practiced during 929-37.
This wasted, expensive courtyard was transformed in 983
by Rothman Partners Architects into a ballroom, whose roof
sheds water and snow and hence now requires little maintenance (Silber, 2007).
Shapes without Any Purpose
The Polish-American architect Libeskind (946-) designed the Jewish Museum in Berlin (992-99), which is one
of the first buildings designed after the reunification of Germany. According to Libeskind this building is based on the
broken Star of David (i.e. comprised of abstract letters “J”
and “D” denoting the word Jude). However, as Silber (2007)
notes, there is no star, broken or whole found in the structure of the building (see Fig.0). Form does not follow function in this museum. The cuts on the exterior of this building
(which does not have any purpose or reasoning) also appear
in the design of Michael Lee-Chin Crystal which is an exten-
ARCHITECTURE: BUILDING DESIGN
sion to the Royal Ontario Museum in Toronto, Canada, and is
shown in Fig..
User satisfaction Vs Architectural Expression
Simmons Hall located in the Campus of the Massachusetts Institute of Technology (MIT) was designed by architect Steven Holl (947-) and dedicated in 2002. At the cost
of $78.5 million, it is MIT’s most expensive dormitory built
in the MIT Campus since Baker House. The structure is a
massive reinforced concrete block, perforated with approximately 5,500 square windows each measuring 0.60 m on a
side, plus additional larger and irregularly shaped windows
(see Fig.2). It is constructed using 29 customized precast,
steel-reinforced Perfcon panels. A wall depth of 0.46 m is
designed to allow the winter sun to help heat the building
while providing shade in summer, without air conditioning.
An average single room has nine windows each with its own
small curtain.
Fig. 0 The Libeskind-designed Jewish Museum Berlin, to the left of the old
Kollegienhaus [Source: http://en.wikipedia.org/wiki/Jewish_Museum,_Berlin]
Fig. 2 Simmons Hall dormitory designed by Steven Holl (2002) [Source: http://
en.wikipedia.org/wiki/Massachusetts_Institute_of_Technology]
Fig. Rendering of Michael Lee-Chin Crystal at Royal Ontario Museum in
Toronto by Libeskind [Source: http://en.wikipedia.org/wiki/Royal_Ontario_
Museum]
“The ugliest building list includes Morris A. Mechanic Theater, Baltimore, MD; Zizkov Television Tower,
Prague; The Beehive, Wellington, New Zealand; Centre Georges Pompidou, Paris; Federation Square,
Melbourne, Australia; Petrobras Headquarters, Rio
de Janeiro, Brazil; Markel Building, Richmond, VA;
National Library, Pristina, Kosovo; and Ryugyong Hotel, Pyongyang, North Korea.”
Complicated Structures
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The Canadian-American Pritzker Prize–winning architect Frank Owen Gehry (929-) first made his name with the
Vitra Design Museum at Weil-am-Rheine in Germany (988).
His powerful expressionist architecture achieved a worldwide fame after the Guggenheim Museum, which opened in
Bilbao, Spain during 997. The museum is seamlessly integrated into the urban context, unfolding its interconnecting
shapes of stone, glass and titanium along the Nervión River
in the old industrial heart of the city of Bilbao. Although the
appearance of the Museum is modest from street level, it is
most impressive when viewed from the river (see Fig.3). The
curves on the exterior of the building were designed by Gehry
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Public opinion about Libeskind’s design of the Crystal
was divided concerning the merits of its angular design.
Some architecture critics criticized that the design is oppressive and hellish, while others hailed it as a monument.
Members and editors at VirtualTourist.com ranked it as one
of the ten ugliest buildings in the world. The project also experienced budget and construction time over-runs, and drew
comparisons to the Guggenheim Museum Bilbao for using
the so-called “starchitecture” to attract tourism.
The building has been nicknamed “The Sponge”, because the architect consciously modeled its shape and internal structure on a sea sponge. The holes of the sea sponge
serve a function. The same can’t be said of the holes in Holl’s
building (Silber,2007). Opinions on the aesthetics of the building remain strongly divided. Simmons Hall has won multiple
architecture awards for its looks, functionality, and energy
efficiency. On the other hand, the building has been criticized
as being ugly. Moreover, the students and their parents consider Simmons Hall as being a fortress, a metal block, and a
metal sponge. The residents view Simmons Hall to be a cold,
sterile, and undesirable living space. Simmons hall stands
as a testimony to the fact that architectural success is not
attained by physical forms, color compositions, or concept
diagrams, but in the way the users appreciate and interact
with the spaces.
ARCHITECTURE: BUILDING DESIGN
to appear random. The building was constructed on time and
budget, which is rare for architecture of this type. This audacious building was intended to bring new investment into the
declining industrial city, as well as to emphasize the cultural
identity of the Basque county itself. Soon it became known
as ‘Bilbao effect’ and the Guggenheim Foundation received
numerous requests for museums, from city authorities
ranging from Rio de Janeiro to New York (Risebro, 200). It
is interesting to note that Gehry used his own Digital Project
software (normally used in airplane design) to develop the
geometry of this complicated structure.
is the Stata Centre at MIT, designed by Gehry (see Fig. 5).
This Center, which features angular sections that appear
to be falling on top of one another, opened to great acclaim
in the spring of 2004. Mr. Gehry once said that it “looks like
a party of drunken robots got together to celebrate.” The
biggest goal for the project was to get MIT scientists-and
that includes students-to meet one another openly. Gehry
may be ignorant of or indifferent to the needs and methods
of researchers. Hence, in order to meet the goal of MIT, he
created the center’s rooms without walls. But his arrogance
was opposed by professors who insisted that he close their
spaces with glass (Silber, 2007).
Fig. 3 The Guggenheim Museum Bilbao, along the Nervión River, Bilbao,
Spain designed by Gehry (997) [Source:http://en.wikipedia.org/wiki/Guggenheim_Museum_Bilbao]
In Los Angeles, Gehry’s concert hall for the Los Angeles
Philharmonic regenerated interest in classical music in a
city whose rich musical tradition has gone neglected. It may
be noted that the exterior of this building has similarities with
the Guggenheim Museum in Bilbao (see Fig.4).
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Fig. 5 The Stata Center, MIT designed by Frank Gehry (2004) [Source: http://
en.wikipedia.org/wiki/Massachusetts_Institute_of_Technology]
Fig. 4 Walt Disney Concert Hall, Los angeles designed by Frank Gehry (2003)
[Source: http://en.wikipedia.org/wiki/Walt_Disney_Concert_Hall]
Neighbours of the Disney Hall suffered glare caused by
sunlight that was reflected off the shimmering stainless steel
surfaces, which concentrated the light in a manner similar to
a parabolic mirror. The resulting heat made some rooms of
nearby condominiums unbearably warm (the temperature
was increased by about 5 degrees), increasing their airconditioning costs considerably. It also created hot spots on
adjacent sidewalks of as much as 60 °C. There was also an
increased risk of traffic accidents due to blinding sunlight
reflected from the polished surfaces. After complaints from
neighboring buildings and residents, the owners asked Gehry Partners to come up with a solution. Their response was
a computer analysis of the building’s surfaces identifying the
offending panels. In 2005 these were dulled by lightly sanding the panels to eliminate unwanted glare.
A recent and glaring example of absurdity in architecture
In 2007, MIT sued the architect Frank Gehry and the
construction company Skanska USA Building Inc., claiming
that the design and construction failures in the institute’s
$300 million Stata Center resulted in pervasive leaks, cracks
and drainage problems that required costly repairs. The institute also discovered additional problems, like sliding ice
and snow from the building’s window boxes and other projecting roof areas, blocking emergency exits and damaging
other building elements. The case was eventually settled out
of court.
Much of Gehry’s work falls within the style of Deconstructivism, which is often referred to as post-structuralist in
nature for its ability to go beyond current modalities of structural definition. However, many of the Gehry’s iconic buildings do not have the benefit of excellent form. Criticism of his
work includes that his buildings waste structural resources
by creating functionless forms, do not seem to belong in their
surroundings and are apparently designed without considering the local climate. Gehry’s style at times seems unfinished
or even crude. The undulating metal forms have become the
trademark of Gehry’s buildings, resulting in skyrocketing
costs. His twisted metal shapes too often make no sense,
are out of scale, wastefully expensive (Silber, 2007). Moreover, these complicated structures, often require expensive
three dimensional modeling, three-dimensional structural
analysis, and development of joints at acute angles, whose
ARCHITECTURE: BUILDING DESIGN
behaviour might not have been well understood. The complicated curved surfaces result in wasteful of spaces inside
the buildings.
It may be interesting to note that the buildings of architects like Euine Fay Jones (92-2004), Moshe Safdie
(938-), and Hugh Asher Stubbins Jr. of Stubbins Associates (92-2006) are as contemporary as those of Gehry,
Holl, and Libeskid. For example, Jones’ Mildred B. Cooper
Memorial Chapel at Bella Vista, Arkansas (988), Safdie’s
Yitzhak Rabin Center at Tel Aviv, Israel (2002) and Kauffman
Center for the Performing Arts, Kansas City, Missouri (20)
and Stubbins Associates’ Novartis Center, Cambridge, Massachusetts (2004) have been designed to give their clients
beautiful buildings that are not expensive in either design or
cost and are well suited for their functions. These architects
considered beauty, utility, and economy over extravagancy,
stunning looks, exorbitant structure, and wastefulness (Silber, 2007).
Summary
The aesthetics of a building, in contrast to the aesthetics
of a sculpture has to be judged according to how well a building fulfills a client’s goals and the requirement of those who
live and work within it. A few architects like Gaudi built functional buildings, which were harmonious to their surroundings, even though they had certain unconventional elements
in their design. But some modern buildings designed by architects like I.M. Pei, Sert, Libeskind, Steven Holl, and Frank
Gehry designed buildings that wasted structural resources
by creating functionless forms, did not have harmony with
their surroundings and were designed without considering
the local climate. Even Wright’s famous building of Fallingwater had structural problems, which created problems to
the client, and resulted in costly repairs over several years.
These examples show that the utility, economy and performance are more important than aesthetics.
References
-
Feldmann, G.C. and Silman, R., “Fallingwater is no Longer Falling”,
STRUCTURE Magazine, ASCE, Sept. 2005, pp. 47-50.
Fleming, J., Honour, H., & Pevsner, N., ed. (999). A Dictionary of Architecture and Landscape Architecture. 5th edition, Penguin Books,
London. pp. 880.
Giedion, S., The Eternal Present: the Beginnings of Art, Pantheon
Books, Kingsport, TN,957, pp. 45;
http://en.wikipedia.org/wiki/Frank_Gehry
Levy, M. and Salvadori, M. (992). Why Buildings Fall Down, W.W.
Norton and Company, New York, pp. 203–205.
Risebero, B., The Storey of Western Architecture, Third Edition, The
MIT Press, Cambridge, Massachusetts, 200,320 pp.
Rowe, C., and R.Slutzky, Transparency, Birkhäuser Architecture,
Basel, Switzerland, 993, 9 pp.
Silber, J., Architecture of the Absurd-How ‘Genius’ Disfigured a
Practical Art, The Quantuck Lane Press, New York, 2007, 97 pp. w
Author’s Bio
Dr. N. Subramanian earned his PhD from IIT, Madras in 978 and
has 40 years of professional experience which includes teaching,
research, and consultancy in India and abroad. Dr. Subramanian
has authored 25 books and more than 200 technical papers, published in international and Indian journals and conferences. He
has won the Tamil Nadu Scientist Award, the Lifetime Achievement Award from the Indian Concrete Institute (ICI) and the
ACCE(I)-Nagadi best book award for three of his books. He also
served as the past vice-president of ICI and ACCE(I).
The Masterbuilder | November 2014 | www.masterbuilder.co.in
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