The Modern Architect - Designing for Wellbeing

DESIGNING FOR WELLBEING

The Modern Architect: Designing for Wellbeing

The general public tend to have a veryidealisedview of what an Architect is; Ive witnessed it

when discussing my potential degree choices with friends and relatives. Most people see an Architect

as a master of all disciplines, one that is bothcalculated and creative, systematicand stylish, intelligent

and innovative. Whilst many Architects are well versed in different fields, I dont believe that an

Architect can be defined by a list of desired qualities or attributes. There is just as much a broad

range of Architects as there is people and each has his own way of doing things. However, I do

believe that Architects should all have one common motive: to improve the wellbeing of others

through their work.

Throughout this essay, I will be exploring how modern Architects have enhanced the wellbeing

of individuals and societies in the past, and how they continue to do it today. In order to understand

my views more fully, I should point out that I am an engineering and architecture student - which

some might argue gives me a more scientific view of the subject. By looking at modern Architects

both past and present, I hope to form an idea of the direction I would like to take my future.

The most fundamental principles behind modern Architecture come from the Architects of the

late 19th and early 20th centuries. It was Louis Sullivan who penned those famous words form ever

follows function1 in 1896. When considering the functionality of a given building, I ask myself Does

this address the needs of all those who will interact with it?, and this is the same notion Sullivan

conveyed through his widely recognised mantra form follows function. He expressed this not only

with words, but consistently throughout his work. Sullivan was often commissioned to design

buildings to accommodate large businesses. Due to the commissions being predominantly city-based,

there wasnt space to spread the offices over a vast plot of land. He tackled this problem by building

upwards. Not only did this avoid requiring more land to accommodate the number of offices, but the

high-rise nature of the buildings improved the quality of life for those within, by enabling the workers

to look out on a view much more appealing than a city street and by letting in fresher air and more

light. Im also sure that the sheer fact that this type of building had never been seen before instilled

the workers with a sense of excitement that they were a part of something new and interesting.

One such example of this high-rise solution is the Guaranty Building, designed by Sullivan and

Adler in 1894. The Father of Skyscrapers2 designed this skyscraper for all of the aforementioned

reasons, but what I find interesting about this building in particular is that he incorporated

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decoration into almost every aspect

of the building (see right). Here, he

has let ornament compliment the

vertical and horizontal elements of

the structural design. I think it is

important to recognise that his

concern for function does not lead

to compromise on the aesthetics of

a building by any means; rather he

understands that it can induce

positive feelings for those who come

into contact with it, feelings which they will carry into their daily lives.

Frank Lloyd Wright worked under Sullivan, and undoubtedly learnt much which he later

adopted into his own work. This notion that architecture should be designed with peoples individual

needs in mind, was conveyed succinctly by Wright when he said There should be as many kinds of

houses as there are kinds of people and as many differentiations as there are different individuals. A

man who has individuality (and what man lacks it?) has a right to its expression and his own

environment.3 I agree with Wright, surely considering somebodys personality enhances your ability

to design in order to improve their life. His wide range of different buildings show that he designs this

way, but that doesnt in any way suggest he believed in that people should be separated by their

differences. He felt strongly that all things should be one, and developed a new kind of architecture

which he hoped would bring mankind closer together, and closer to nature.

Wright took all elements of a building into consideration and determined how they could all

work together to create what he called Organic Architecture. His reasoning was that because nature

works in such a unified manner, to recreate this in architecture would mean that there would never be

a bad design, and that people would feel more comfortable living in this environment4. He really

cared that there was cooperation between the building, its occupancy and the site and was genuinely

convinced that this architectural harmony would improve the wellbeing of those dwelling within;

passion which I find admirable. For me personally, I think that living in such a house as the Frank

Lloyd Wright Classic Fallingwater would make me feel a lot more comfortable and secure. There is

something about being tucked away in a peaceful location, and being exposed to the natural stone

used in the building (below) that would instil a feeling of security and serenity - feelings which would

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enrich the quality of my life. Therefore, I say that Wrights organic architecture effectively enhances

welfare.

Another Architect who had strong governing principles was Ludwig Mies van der Rohe, who

was practicing at the same time as Wright. Like Sullivan and Wright (and countless others), Mies had

his own mantra for design; he believed that less is more5 and developed a minimalist style which

influenced many modern Architects after him. He aimed to create the next big movement in the

world of architecture, nevertheless, I believe his aspirations were not fuelled by pride, rather by his

sincere desire to improve society after the hard times of World War I. Like many Architects of his

day, Mies was convinced that this new style would allow for a new beginning. With this motivation in

mind, Mies experimented and built with groundbreaking configurations of glass and steel, resulting

in towering skyscrapers as well as smaller, sleeker structures.

The German Pavilion perfectly exemplifies Mies longing for a definitive change in architecture,

and shows his desire to move society forward as a whole, as opposed to just the individuals dwelling

within. The commissioner himself desired that the building give voice to the spirit of a new era6

and Mies was so confident that he had achieved this, that he let the building itself become the

exhibit, leaving it void of additional

exhibition. His open design (see right) lets

the viewer explore the pavilion without

forced guidance, which conveys the freedom

and open-mindedness sought after by Mies.

I admire the ambition of Mies Van der

Rohe, and think it is a necessary thing for an

Architect. If one doesnt believe that he can

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influence people for the better, whether it be the individual or society, he isnt going to go far.

From what Ive already observed, most Architects use buildings and structures to benefit

mankind, based on their personal ideals of what is best. French-Swiss Architect, Le Corbusier, took

this idea even further and intended to completely reinvent

the city according to what he thought would help mankind

the most. Ville Radieuse (The Radiant City) was never

realised but the plans give an insight into his thought-

process. Le Corbusier didnt just create this master plan

because he could, he wanted the city of the future to

optimise the lifestyle of those living there7. With his well-

known love for geometric grids and guidelines, he planned

to have a balance of green spaces and living quarters as

well as entertainment and business (see right). This was to

create what he called a living machine8 because he

believed this city would address issues such as traffic and

noise by reducing them, but also by increasing levels of

human interaction through transportation and sunlight,

resulting in an enhanced level of wellbeing for all. I think

its important to think deeply about these kinds of things, and whilst I dont agree 100% with Le

Corbusier that this city would be the utopia that he intended, I do appreciate that he tried to respond

to a variety of welfare problems instead of focussing on one or two.

Stepping away from the founding fathers of modern architecture and moving forward in time

to the present day should allow me to see what - if anything - has changed. Obviously, technological

advancements have opened many doors to the methods employed by Architects, but does that alter

the reason why they design? Swiss based Architects Herzog & De Meuron are still employing the

same philosophies behind Wright's organic architecture, as their worry for the over-development of

Switzerland increases9. The scenery is ever being destroyed to make way for construction but they are

determined to design architecture which fits into the environment around it and appeals to all the

senses to create a true experience which is suited to the natural surroundings10. One such project was

the Serpentine Gallery Pavilion (see below) where they dug 5 feet into the ground in order to be less

invasive of a public space, and arranged for seating underneath11. The area is to be enjoyed by active

or passive interaction, and is excellent example of the practices efforts to impede the

manhattanisation of their country and demonstrates to me that considerations for the wellbeing of

people in an environmental context can actually lead to more interesting and innovative Architecture.

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Taking a look at Zaha Hadid

Architects (ZHA) and Bjarke Ingels

Group (BIG) confirms my assumption

that technology has impacted modern

architecture. ZHA use complex digital

modelling and coding in their design

process12. These techniques allow

them to experiment with and visualise

fluidity in their designs, a defining

characteristic of their current work. In

the same way that Frank Lloyd Wright aimed to blur the line between architecture and nature in

order to create comfort and wellbeing for people, ZHA are able to literally blend the nature of the

site with the flowing curvature of their

buildings (see right). The innate care for the

welfare of people is still there, but I feel that

the larger scale makes it a little less personal

than the work of those Architects Ive

mentioned previously. They do take this

unique design style into their residential

projects, giving people the chance to

experience the merging of exterior and

interior, but it appears to me that they

contribute to the welfare of society much

more through the types of buildings they

produce. They design many centres for

various things that bring people together for

something that brings them joy, including

sport, culture, leisure, entertainment and

science13. In undertaking these projects, they

are improving the welfare of those who interact

with the architecture - firstly because the centre exists, and secondly because it is such a beautiful

environment in which to experience their cultural activities. I do however see a potential negative to

the large-scale cultural projects; it could lead them too far away from the balance that they currently

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have between the mindset of a social, cultural and commercial architect and begin to drown out the

social aspects, but as it stands they are holding up.

As for BIG Architects, although they have the same technology at hand as ZHA, I feel that they

make a much more personal response, delivering exactly what the people want and need in order to

enhance their daily wellbeing. One of the key principles behind BIG Architects design philosophy is

crowd-sourced design, meaning that they go to the people and see what they want. Researching and

gathering information before and during the creative process ensures that each decision that they

make is informed and not just stylistic preference14. Bjarke Ingels talks about the worry that many

people see sustainable architecture as

boring, which motivates his to create

sustainable designs which improve the

quality of life. One of my favourite

buildings which really captures the genius

of this ideal is The Mountain (see left).

Each apartment block of this residential

complex is engineered to enhance the

wellbeing of its residents. Each one has an

unobstructed view of the surrounding

landscape and the use of timber inside

and out is a nice homage to Wrights idea

of Organic Architecture, especially with

the roof gardens. However, Ingels

describes this kind of design as something

more - Architectural Alchemy - which is

the idea that you can actually create, if

not gold, then at least added value by

mixing traditional ingredients15. It seems

to me that BIG have really considered

every aspect imaginable to ensure people feel good living here, right down to the beautifully

perforated faade displaying a mountain. This is what gets me excited, the fact that an Architect cares

enough about the people to create something entirely for their benefit, with considerations for

function, form and features in equal measure.

All Architects want to improve wellbeing in one way or another, and I think the best way to do

that, the way I have resolved to proceed in my life, is by first informing myself of the needs of those

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for whom I am designing by hearing from them and not just the client, akin to BIGs crowd-sourced

design philosophy. I have seen how a genuine concern for wellbeing is a key motivation to these

Architects and I should never design something purely based on my personal stylistic tastes. However,

something that has always been with me is that I will never design something which fails to meet the

needs of the intended inhabitants, in lieu of aesthetics. After all, a house without a roof, regardless of

how beautifully crafted the faade is, is simply of no use. This has always been part of my thought

process and takes root in Sullivans ideals. I hope to develop with time and create my own processes

in order to fully design for the wellbeing of individuals and societies alike.

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Bibliography

1 Louis Sullivan: The Struggle for American Architecture (http://louissullivanfilm.com/sullivan/) accessed 15/12/2014 2 Kaufman, Mervyn D. Father of Skyscrapers: A Biography of Louis Sullivan. Boston: Little, Brown and Company. accessed 15/12/2014 3 AIDEC World. Frank Lloyd Wright: The Architectural Genius is as Contemporary as Today (http://www.aidecworld.com/people/frank-lloyd-wright/) accessed 15/12/2014 4 Elman, Kimberly. Frank Lloyd Wright and the Principles of Organic Architecture (http://www.pbs.org/flw/legacy/essay1.html) Accessed 15/12/2014 5 Craven, Jackie. Mies van der Rohe, Modern Architect (http://architecture.about.com/od/architectsaz/p/vanderrohe.htm) Accessed 17/12/2014 6 Weston, Richard (2004). Key Building of the Twentieth Century. W.W. Norton and Company. Accessed 17/12/2014 7 Merin, Gili. "AD Classics: Ville Radieuse / Le Corbusier" 11 Aug 2013. ArchDaily. (http://www.archdaily.com/411878/ad-classics-ville-radieuse-le-corbusier/) Accessed 17/12/14 8 Merin, Gili. AD Classics: Ville Radieuse / Le Corbusier. 9 Herzog, Jaques in: Julie Paucker. Wohin treibt die Schweiz? Zehn Ideen fr eine bessere Zukunft. Munich, Nagel & Kimche, 2011. (http://www.herzogdemeuron.com/index/practice/writings/essays/bild-von-der-schweiz.html) Accessed 23/12/2014 10 Foundations AKC. Herzog and de Meuron. (http://www.foundationsakc.com/people/contemporary/herzog-and-de-meuron) Accessed 23/12/2014 11 Herzog & De Meuron. Serpentine Gallery Pavilion. (http://www.herzogdemeuron.com/index/projects/complete-works/376-400/400-serpentine-gallery-pavilion.html) Accessed 23/12/2014 12 Zaha Hadid Architects. About Us. (http://vimeo.com/106298230) Accessed 19/12/2014 13 Zaha Hadid Architects. Projects. (http://www.zaha-hadid.com/archive) Accessed 19/12/2014 14 Ingels, Bjarke. Mission: Create Social Infrastructure for Resilient Cities (2014) (http://www.wired.com/2014/11/bjarke-ingels-will-make-believe-power-architecture/) Accessed 19/12/2014 15 Ingels, Bjarke. 3 Warp-speed Architecture Tales. TED 2009 (http://www.ted.com/talks/bjarke_ingels_3_warp_speed_architecture_tales/transcript?language=en) Accessed 19/12/2014

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http://louissullivanfilm.com/sullivanhttp://www.aidecworld.com/people/frank-lloyd-wright/http://www.pbs.org/flw/legacy/essay1.htmlhttp://architecture.about.com/od/architectsaz/p/vanderrohe.htmhttp://www.archdaily.com/411878/ad-classics-ville-radieuse-le-corbusier/http://www.herzogdemeuron.com/index/practice/writings/essays/bild-von-der-schweiz.htmlhttp://www.foundationsakc.com/people/contemporary/herzog-and-de-meuronhttp://www.herzogdemeuron.com/index/projects/complete-works/376-400/400-serpentine-gallery-pavilion.htmlhttp://vimeo.com/106298230http://www.zaha-hadid.com/archivehttp://www.wired.com/2014/11/bjarke-ingels-will-make-believe-power-architecture/http://www.ted.com/talks/bjarke_ingels_3_warp_speed_architecture_tales/transcript?language=en


List of Illustrations

Page 2 - Guaranty Building Detail http://www.bluffton.edu/~sullivanm/newyork/buffalo/sullivan/1611.jpg

Page 3 - Falling Water Location http://www.fallingwater.org/img/home_assets/FW_FALL_01.jpg

Page 3 - Falling Water Natural Materials http://www.wright-house.com/frank-lloyd-wright/fallingwater-pictures/large-fallingwater-photos/high-resolution/c8-window-in-stone-no-frame-L.jpg

Page 3 - The Barcelona Pavilion http://upload.wikimedia.org/wikipedia/commons/c/c2/Barcelona_mies_v_d_rohe_pavillon_weltausstellung1999_03.jpg

Page 4 -The Radiant City Plan http://nitoitnilois.free.fr/photo/ville-radieuse.jpg

Page 5 - Serpentine Gallery Pavilion http://www.herzogdemeuron.com/index/projects/complete-works/376-400/400-serpentine-gallery-pavilion/IMAGE.html

Page 5 - Heydar Aliyev Centre http://www.artribune.com/wp-content/uploads/2013/12/1.-Heydar-Aliyev-Center-progettato-da-Zaha-Hadid_courtesy-Heydar-Aliyev-Center.jpg

Page 5 - Beko Masterplan http://static.dezeen.com/uploads/2013/08/dezeen_Beko-Masterplan-by-Zaha-Hadid_10.jpg

Page 6 - The Mountain Facade http://www.architravel.com/architravel_wp/wp-content/uploads/2013/05/Mountain_Dwellings_Copenhagen_4.jpg

Page 6 - The Mountain Dwellings http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2010/12/BIG-Mountain-Dwellings-4.jpg

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http://www.bluffton.edu/~sullivanm/newyork/buffalo/sullivan/1611.jpghttp://www.fallingwater.org/img/home_assets/FW_FALL_01.jpghttp://www.wright-house.com/frank-lloyd-wright/fallingwater-pictures/large-fallingwater-photos/high-resolution/c8-window-in-stone-no-frame-L.jpghttp://upload.wikimedia.org/wikipedia/commons/c/c2/Barcelona_mies_v_d_rohe_pavillon_weltausstellung1999_03.jpghttp://nitoitnilois.free.fr/photo/ville-radieuse.jpghttp://www.herzogdemeuron.com/index/projects/complete-works/376-400/400-serpentine-gallery-pavilion/IMAGE.htmlhttp://www.artribune.com/wp-content/uploads/2013/12/1.-Heydar-Aliyev-Center-progettato-da-Zaha-Hadid_courtesy-Heydar-Aliyev-Center.jpghttp://static.dezeen.com/uploads/2013/08/dezeen_Beko-Masterplan-by-Zaha-Hadid_10.jpghttp://www.architravel.com/architravel_wp/wp-content/uploads/2013/05/Mountain_Dwellings_Copenhagen_4.jpghttp://assets.inhabitat.com/wp-content/blogs.dir/1/files/2010/12/BIG-Mountain-Dwellings-4.jpg

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The Modern Architect - Designing for Wellbeing