![]() My theory further emphasizes that the functionality designers (in constrast to engineers) should be concerned with is social (rather than technical) functionality. our ultimate responsibility to society mediated via our production of forms. our immediate responsibility, and function is the discipline’s external reference, i.e. ![]() My comprehensive theory of architecture – the theory of architectural autopoiesis – identifies the distinction of form and function as the lead distinction of architecture, whereby form is the discipline’s internal reference, i.e. My formula for this truism: Form delivers Function. A moment’s reflection reveals that all concern for a design’s functioning must be achieved by working on its form. It is taken for granted that the creative investment into the elaboration of forms detracts from the concern for function. ‘Formalism’ and its derivative ‘formalist’ (as noun or adjective) remain potent derogatory terms within architectural discourse. An expanded formal repertoire thus delivers an enriched problem solving tool box. However, in the hands of a designing architect a formal repertoire is always also a problem solving repertoire, addressing the problems of spatial organisation and morphological articulation in the service of the prospective building’s social and technical functioning. (I guess that’s why nobody else had ever hit upon them before.) They are formal repertoire expansions, and thus might initially viewed as artistic moves, and indeed they first showed up in Zaha’s often conceptual, rather obscure, seemingly utterly abstract drawings and paintings. The design moves indicated by these concepts were so radical that they seemed utterly surreal or absurd at first. What were the major expansionary moves that Zaha gifted to our discipline? We can identify and distinguish four wholly original and empowering ‘discoveries’: Explosion, Calligraphy, Distortion, and Landscape. This avoidance of purely hand crafted techniques ensures that the manufacture of systems for complex buildings can be also applied to large-scale building facades.The formal innovations from the 1980s and 1990s owe much to the radical formal iconoclast innovations delivered by the early work of Zaha Hadid. Information for edge returns for the panels, used to stiffen panels at their edges, was provided by developed -or unrolled- shapes offset from the curved shapes in the 3D model supplied by the design team. Digitally controlled devices are used to adjust the shape of the panel with data provided by the 3D model. The utilization of this technique allows complex cladding shapes formed in single curved geometry to be fabricated quickly and economically to a high standard. The flexible moulding tables use digital input to create visually complex forms without the need for hand-made components with their associated fabrication tolerances. The three-dimensional form was described by a grid of points linked by regular curves that create the single curved forms with non-rectilinear edges. The moulding table was designed by the manufacturer of the panels, Arabian Profile Company Limited, who make envelope systems that focus on realising ambitious architectural designs using mass production and mass customization techniques. It rises, undulates, and wraps inward at its base to completely envelop the building’s various volumes. These panels generate a single curving surface that appears to emerge from the topography. We can found an example of this kind of facade in Zaha Hadid's Heydar Aliyev Cultural Center (2012), which involved the manufacture of 16,150 cladding panels. While building envelope systems are mostly described through rectilinear building forms, they can equally be applied to complex geometries and associated mass customisation techniques. Zaha Hadid: Heydar Aliyev Cultural Center (2012) A dialogue ensures that an optimised level of information is provided for the prototype: too much information can lead to the facade system becoming more expensive than would be the case if fabricator were allowed to provide more economical methods of manufacture too little information can result in the manufacturer being required to solve design issues that could have been addressed and resolved at a much earlier stage. If a dialogue between designer and fabricator can be established during the design stage, then further time is saved in the procurement time of the prototype. The capability of the design team to supply these files for direct use in manufacturing avoids the need for a new set of detailed design proposals to be generated again from scratch.
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