Function and form are apparently integration of two most significant fundamentals in the realm of architecture. However, the contradiction between function and form sets a crucial role on the emergence of evolution in architecture philosophies. To study the expression of ideas, materials, spaces and structures, this essay will also look into how technologies can create an impact to the architectural form and affects the function of it.

The attempts at discovery will be address in the projects done by famous architects like Zaha Hadid, Frank Gehry and Tadao Ando. This essay is also to discuss how they intentionally placed a significant structural form onto various sites context. Not forgetting Thomas Heatherwick; an English designer renowned for the innovative use of engineering and materials. He usually functioning design in an extraordinary manner and surprisingly he built a bridge that does a backbend.

INTRODUCTION

"Whether it is the sweeping eagle in his ??‚ight or the open apple-blossom, the toiling work-horse, the blithe swan, the branching oak, the winding stream at its base, the drifting clouds, over all the coursing sun, form ever follows function, and this is the law."

– Louis Henry Sullivan (Frei, 1992)

Most people have probably heard about one of the world renowned dictums in architecture ‘form follows function’; however, have one thought on the maxim of what it means or what it implies in the theory of building design? Apparently, ‘form follows function’ seems to be logical and make quite a lot of sense. The outlook appearance of something has to be determined by its own purpose. Is this accurate enough? Or does the dictum lead to a deeper evaluation?

A building should be decorate and design to suit the hierarchy order of status by its function. For that reason, a religious building would be ornamented and design in a method that was different from a public building and different from a residence.

An office should give the impression of being like a building that houses an organisation which provides a working environment mainly for administrative purposes. People should be able to tell the differences of an office from a museum or a library. This is an example of an architectural idea in the early 1990s where most architecture was looking for the right significance and an identity. Back to those days, architecture is an art of creating attractive places of innovative structures where form follows function. Therefore, it is an art based on the philosophy of Utility and Beauty.

On the other hand, architect like Sullivan did not experience in his generation was the constantly developing improvement in communication and information expertise and the birth of an information society. As written by Webster (2002) in his book, even though there are many explanations to emphasize the meaning of an information social order, technology was one of the most crucial criteria that imparts significance to this new raise of culture which among other criteria such as economic, industrial, spatial and cultural.

Obviously the International Style of the twenties and thirties is finally over. It was a long-lasting style where Le Corbusier and Mies van der Rohe still have their followers. There are still functionalists left in this society who stick to the discrimination rather than to construct a realistic, dull box without any character, than to attempt for uniqueness. (Kipnis, 1996)

Functionality should always be given higher priority than form. However, this does not all the time occur. An architect might be excited to propose a loud and trendy building form which might be too expensive or inoperative. Still, it is the task of an architect to design a structure that is both functional and stylish. Nevertheless, an architect should certainly not spoil himself to construct overstated forms, which might be aesthetically stunning but do not serve any practical usage.

Technology has surely transformed the way of interaction, behaviour and socializing. Thus, this combination consequently generates new ideas and creating sensitivity towards daily lives.

BACKGROUND / CONTEXTHistorical Credential

Small (1969) explained "Instead of forcing the functions of every building into one general form, without reference to the inner distribution, let us begin from the heart as a nucleus, and work outward" which in contemporary words, "form follows function." As a sculptor, Horatio Greenough admires the ideal functionalism observed in nature; he also praises the American construction of ships, machines and bridges.

At one level, it is possible to argue that it was not by the American architect, Louis Sullivan; while sometimes it is credited to Greenough, who first expressed the principle that, in architecture form must follow function.

Later on, in Sullivan (1896) article, he wrote "It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul that life is recognizable in its expression that form ever follows function. This is the law."

Throughout that time, technology and economy were swiftly altering. The form of structure during that era are still not firm, modernization was all based on the references of ancient Roman and Greek architectural buildings. It is obvious to Sullivan that fresh appearances for buildings were desired, and his consideration shows that building forms must emerge from function, not historical guides. Eventually, a 10-story red brick office block was built by Sullivan, named the Wainwright Building, which is among the earliest skyscrapers in the world.

Sullivan mentored Frank Llyod Wright, who implemented the principle ‘form follows function’ and further developed it. The Solomon R. Guggenheim Museum is an excellent paradigm of Wright’s application of the theory. Its spiral form is planned to allow visitors, with no trouble on viewing and observing the artwork in it. Wright even extended the thought to mention that form and function are one, and his structural design is prominent for effectively applying that standard.

The year was 1919 when Walter Gropius established the Bauhaus school of art that majors in idea and movement. This school promoted that an object created should be dominated by its function. Besides that, their designs of basic elements are based on clean lines, simple forms, logic and, of course, functionality. Due to pressure from the Nazi government, Bauhaus school was eventually closed down. Mies van der Rohe migrated to Chicago taking the principle thoughts of Bauhaus along with him to the metropolitan that practiced "form follows function." Mies van der Rohe and Walter Gropius were also instructing at the Harvard Graduate School of Design. They both then influenced Phillip Johnson, the American Architect. (Bradley, 2010)

Johnson was a strong supporter of modern architecture and his design values recognized by the International Style. He stated that the profession of architecture has no functional responsibility at all, saying: "Where form comes from I don’t know, but it has nothing at all to do with the functional or sociological aspects of our architecture." (Heyer, 1993)

Theoretical Interpretation

The remarkable quote of ‘form follows function’ can be comprehended in two different interpretations. Firstly, is by saying ‘the object should be principally based on its predictable function.’ Secondly, it can be explained through ‘aesthetic idea in design should be less significant to functional concerns.’

Taken to the logical thinking, each aspect would eventually have matching designs. Each practical object would have one and barely one design. Before an object’s form could perhaps be altered, it would require on giving out a different role.

Which fundamentals of a design do not provide a function and neither to be removed? Should the profile of a building created be determined exclusively by its function? The dictum is to agree ornamentation on condition that it serves a purpose. Its goal was to agree on the form of a building only from functional needs and not traditional beauty. Each generation, the primary concept of architecture is for forms and functions to be reshaped. Function follows form in nature. Introducing functional essentials to a design is commonly a better and meaningful procedure than introducing aesthetic essentials.

Regarding the discussions of the dictum form follows functions, in general it is always the verb ‘follow’ that kept drawing attention. ‘Does form follow function?’ was usually the question. The principle of form follows function conceals a notable disagreement and to be precise function is something that goes before the form, that it live in parallel of form and is there before form appears. Aesthetic value of architecture is not only about the study of illustration form, but also linking the textures, volumes and acoustics that conclude on how a building feels as we go through it.

Contextual Argumentative

All over the world, buildings that are used from a previous function to a new one seem to serve their users better than today than they ever did before – and better than contemporary, brand-new efforts designed and constructed to a form that supposedly follows and express its function. (Blake, 1977)

What is the function of an architectural building? Is it to provide a warm and dry environment? Or making a corporation look professional and aesthetically beautiful? Furthermore, is to make the architect famous? If not, to save up energy and make use of the solar energy? Otherwise, is to be firmly erected and not collapse? With no sign of stopping it goes, function after function and each one provides a different answer. Consequently, which function comes in mind? Even if, one could resolve on a function, there are most likely several forms that would be able to do that task similarly well.

Occasionally, certain aesthetics will have to be neglected, and at times certain functionality will have to be cast off. Sometimes equally aesthetics and functionality will insist to be compromised.

Building should not solely be a camouflage that hides from the innovative functions and system contained by for many reasons. It must also be as significant and exciting at the same time. The value and aesthetics of an urban structure and landscapes relies on the symphony of structural forms. If the exterior appearance of buildings is as ordinary as it appears, the quality of a city experience will depreciates overtime.

Therefore, does form in truth follows function? Form does not follow function and function does not follow form. However, form and function certainly interact. Architecture forms supposed to show the characteristics of a place despite purpose or even technology for that matter. At the same time, interior spaces had developed into more clever and interactive places, whereas motion is becoming more flexible and flows better.

CHAPTER 1 | Zaha Hadid

"There are 360 degrees, so why stick to one?"

– Zaha Hadid

How Suprematism style inspired Hadid’s painting

Much thought has gone into thinking about the work of Zaha Hadid seeing that a fragmentation of the explosion art developed early in her practice. Known for her suprematism style, her style of design could easily be spotted in her first few major projects. Indeed, she was more focused on abstraction, distortion and floatation in a dynamic black and white design rather than geometrical forms.

Furthermore, Hadid mentioned in an interview on how she determines the architectural form of a building; "The paintings have only ever been ways of exploring architecture. I don’t see them as art." (Glancey, 2006) To her painting has functioned as a soul and a piece of high concentration of conceptual ideas with an iconic creature about the emerging plan and does not respond as just a form of fine art in her principle.

The Herault Heroine

"Form does not only follow the function; however, it is also the surrounding that sculpts the resulting form." (Twombly, 1987) History might suggest the significance of the location and environment in the influence of a form in structural design and buildings. However, the existing site with landscaping is certainly an initial stage for the project’s development seeing that the building should be a noticeable representation of progressive district government, a new identity landmark on the boundary of Montpellier. Can Hadid transform the site into an astonishing innovative cultural centre?

Since 2002, with ten years in the making, Hadid’s new building ‘Pierres Vives’ houses the ‘City of Knowledge and Sport’ in Montpellier is finally completed and launched with a grand opening. It was constructed as a component of a massive development in a neighbourhood and acted as the nerve centre of the Herault region. It contains three key institutions – the archive, the multimedia library and the office of sport’s association; all forms under one roof with different roles. These areas merged to form a functional building with a strong sole identity of form when viewed from far, but while one goes nearer, the division into three parts can obviously be seen. (Wright, 2012)

The building is urbanized with remarkable design inspired by the idea of a ‘tree of knowledge’ resulting in a horizontally laid large tree-trunk structure. The archive is situated at the firm foundation of the trunk, followed by the somewhat more porous library through the sports sector. At the far end where the trunk bifurcates as well as becoming much lighter, is where the offices are positioned. (Kiser, 2012)

Interaction and Identity

In order to create an interaction towards the surroundings of residential and commercial zones within this astonishing structure; sooner or later, investment in renewing the suburbs of Montpellier will be carried out by the government. Hadid’s design was as rational, as it was inspiring. Its massive extent of length particularly corresponds to its community’s purpose.

Pierres Vives has managed to remain humble, regardless of its gigantic scale function as a dominant future icon. "It’s not monumental or authoritarian, but a space of transparent movement. And its horizontal lines compensate for the artificial verticality of the nearby high-rise apartment buildings, bringing these volumes into harmony and creating comfort for the eye, which isn’t struck by anything head-on." (Piettre, 2012)

It does not really matter how high-tech or advanced a building can be; but the key to architectural aspect is identity. Thus, a building with such an initiative should be at least convincing to the spectators in terms of its exterior appearance as well as the aesthetics and values of the town, along with the landscapes which relies on the composition of structural forms.

The impact of Digital Technology

Apart from being expressive and exciting externally, a building should not hide its innovative functions and systems when it comes to internal spaces. The intentionally iconic Pierres Vives, nevertheless, also has interior space that has to contend with Hadid’s design. A 15 by 15 metre space called Alphabet Library was designed by Stephane Hof of Hoffice.

A statement made by William J. Mitchell referring to the impact and function of information tools on the spatial fundamentals inside modern institutional buildings such as a library. A gradual increase in the digital and virtual components has taken over from the physical resources such as books; therefore the must for a built up space is reduced significantly.

"Electronic connection is substituting for physical accessibility and for convenient linkage by the internal circulation systems of the building so that access imperatives no longer play such influential roles in clustering and organizing architectural spaces." (Mitchell, 1996:49)

When considering if a library is less practical physically, it is not necessary to create a magnificent space for the sake of the ‘library’ label. As far as function and form is concerned, the substitution of technological mechanism would mean a decrease of spaces required in the room itself; the same applies to the archive itself. Despite the fact that all one need is a place for accumulating compact-sized highly developed machinery and CD-ROMs. Would one need a large space to store heavy and bulky encyclopaedias?

Spatial Arrangement and Behaviour

The project is in relation to a reading room for the archive, comprising a foyer desk, an information counter, reading tables and display shelves. Hoffice (2012) explains that the Alphabet Library is composed of two functions: reading room tables and library shelving; two materials: timber and corian; two colours: black and white; two geometries: straight and curved. This shows the duality of the author and reader; the one’s intention and the other’s interpretation.

The interior designer even suggested combining the different functions of the arrangement into a single entity, to generate a new channel of connection between the tables and the library with a constant flow through the entire library.

For the public reading area, visitors are granted with a comfortable and pleasant space to read; surrounded by books that offer a space with great physical presence. Space had turned out to be more intelligent and interactive as well as more flexible and providing fluid circulation. A good library design is a mixture of conventional elements and advanced technologies.

The issues of emergence of the information age are expanding currently and taking place worldwide. It would perhaps direct us back to the force of ‘form follows function’ in the declaration perspective of the information society.

CHAPTER 2 | Frank O. Gehry

"Approach to architecture should be like science,

with breakthroughs that create new information not repetition of old ideas."

– Frank O. Gehry

Motion of Movement

For more than fifty years, Frank O. Gehry has brought an unlimited, broad essence of the architectural forms from his time to the information age. In early ages, his work occasionally seems unfinished or even crude. However, in conjunction with the California "funk" art movement from the 1960s to early 1970s, which featured the use of low cost found resources and unconventional method to produce elaborate and visually striking geometries.

With ‘Easy Edges’ series debuted in 1969, Gehry transformed a modest material – the corrugated cardboard which he often used it to make his architectural models, into solid sculptural furniture. ‘I began to play with it, to glue it together and to cut it into shapes with a hand saw and a pocket knife,’ he recalled. (Howarth, 2012)

These cardboard’s furniture are made by strong laminates through layer upon layer of cardboards connected and screwed together. Taking advantage of cardboard’s natural flexibility; Gehry was capable to create chairs and tables that presented impractical curves of form aesthetically, yet functional as furniture.

Over-sized and Possessive

Sooner or later, his works have become what can best be described as sculptural architecture. The most significant one will be his renowned Guggenheim Museum Bilbao (1991-97); the roofs and walls flow into one another in a series of baroque, rolling forms. Gehry who inspired by the seventeenth-century Roman Baroque style created the organic shapes that are aspects of a new baroque expression involving the flexibility of light, motion and forms that made the Guggenheim Museum Bilbao so expressive. (Ragheb, 2001)

There is no doubt that Guggenheim Museum Bilbao, Spain has successfully become an iconic building and has drawn attention to the city with its daring exterior form. However, it fails as a communal space, much criticism about the interior space which states that it is too overwhelming and may cause distraction to the visitors. The problem was not the daring exterior but the strange curves and odd angles that interfere with the attention towards display artworks. It was aesthetically exciting but practically defective.

The reality that there are many kinds of functions means that aesthetic and practical functions are nearly always found tangled with other functions, among which the emblematic and community are particularly essential for an art museum architecture. (Shiner, 2011)

It is likely to expect aesthetics and practicality to harmonize each other in architecture. Nevertheless it is very often ignored, function flaws when aesthetic qualities are devastating. However, when a building serves poor function, the thoughts and attempt to admire the building forms will be hold back and discouraged.

Evolution of Bilbao’s Effect

Certainly, most of Gehry’s projects are within the style of Deconstructivism, and they do not demonstrate a principle that form follows function. Contrasting with early modernist structures, the visual appearance of Deconstructivist structures are not necessary to show signs of particular universal ideas, but in an unpredictable distort way.

At a tremendously noticeable and independent site, it allowed the architect freedom to develop his expansive, unrestrained style. Completed in June 2009, by breaking the bounds of Vittorio Magnano Lampugnani’s master plan in Basel, a building the minute that one look at its form, one will promptly recognise the distinctive trademark. (Lentz, 2011)

Relevant with the Bilbao’s effect, Fabrikstrasse 15 by Gehry stands in an astonishing location blending into the soothing arrangement of rectilinear structures that dominate the Novartis campus. Apart from being in an architectural form which is aesthetically pleasing, this time Gehry has done it in a more purposeful manner by offering Novartis employees and visitors an atmosphere for concentrated levels of interaction and workplace.

With an expressive glass exterior, it defies the act of gravity with features like deformed, slanted and projecting angles. Moreover, this glass sculpture becomes an icon of inspiration, reflecting office society and work organization through spatial arrangements.

As written by Herrmann (2011), a more coherent argument is by housing a human resources (HR) department, which occupy the five upper levels with a number of small public areas to encourage people to meet spontaneously for coffee or to hold informal meetings.

In other words, this form could be debatable that it contradicts with the aim of proposing a place for people to talk privately and to create a barrier to shelter people from the external elements in this open space office. Maybe it could be argued that this is also part of the concept? However, the concepts of openness and transparency are maintained in this interior space by using frosted glass panels in separating rooms from each other for privacy purpose instead of having conventional enclosed rooms.

The Multi-space Concept

By understanding on Novartis’ multi-space concept on top of the sustainability declaration, the building is designed in a cutting edge style by installing the glass shell with photovoltaic components. Of course, crucial point to the design of its interior is the formation of forms that outline its space in an unpredicted and innovative ways. The progression of the architecture and the materials used demonstrates Fabrikstrasse 15’s dedication to the environment.

The glass facades are expressed with ceramic frits to reduce direct solar heat gain, photovoltaic cells incorporated into the panels of the building’s glass roofs produces the energy necessary to light up artificial lighting for its interior. There are also large sail-like interior shades activated by sensors to reduce glare and to offer extra heat in the interior space. The operable windows in the facade and large sliding glass doors encourage natural ventilation on warm summer days. (Finn, 2010) To support this opinion, enthusiasm of involving skylight by Gehry is expressed by maintain a constant daylight capacity within the interior.

Herve Descottes (2005) in his book wrote "Light exists everywhere, and we reveal it through material. The way you capture light makes all the difference. Sometimes we emphasize a texture, keeping the light source close by and grazing the surface. Sometimes we push the light far away, avoiding shadows and emphasizing the quality of the light itself."

When it comes to Gehry’s building, opinions have always differed. People either admire or hate him. Some speak positively of a glass cloud landed on the campus. Some people find it disturbing than enriching to work in this office.

However, no doubt Gehry had succeeded to construct an open and environmentally responsible administrative centre in its ability to control the aura of light and complex sustainable strategies. When comparing with the Guggenheim Bilbao Museum, which has a large dysfunctional space. Eventually, all areas in Fabrikstrasse 15 are functional by illuminating in its transparency with the application of glass facades and roof panels as an enlightened workplace.

CHAPTER 3 | Thomas Heatherwick

"Reality is not a comedown from ideas.

Reality is where ideas get more exciting as it’s where they can exist."

– Thomas Heatherwick

Designing the Extraordinary

Thomas Heatherwick is one of the most exciting innovative practitioners working in the UK these days. Founded by Heatherwick in 1994, the Heatherwick Studio defies conventional arrangements to make astonishing projects happen. The studio created spectacular and resourceful works that cross the boundaries of architecture, furniture, engineering, product design, fashion, sculpture and urban planning. (Ieva, 2012)

At the core of Heatherwick Studio’s practice is a philosophical dedication to the current trend, incorporated design justifications and the supreme enthusiasm to materials, textures exploration, prototyping, along with group effort from the industrial, last but not least the extraordinary of form-making. All around the studio, weird and magnificent bits and pieces mass the floor and shelves. There are a lot of undefined figures that might be some creation of prototypes, sculpture or scale models. Those are indicating at the productive thoughts of the designer who at all times exceeds any rigid job requirement.

Heatherwick’s works have no constant style on designing; however they are frequently characterized by a massive inspiration that challenges the way we imagine about materials and function. The design process is motivated by a natural sense of curiosity and an aim to appreciate how extreme certain materials can be pushed to make it function, likewise challenging the physical form.

Can a Plank be a piece of Furniture?

In 1993, when Heatherwick was still a student at the Royal College of Art, he was asked to design and makes a coffee table. He began thinking about taking a single plank from the storeroom and seeing if it was possible to make it into a coffee table.

Testing with folding long pieces of paper that had the proportion of a plank by folded the paper several times. Heatherwick found out that at a slight angle, rather than straight cross it bumping one end to another, the two ends would go past each other, the strip would make a spiral in a rotational symmetry form. (Heatherwick & Rowe, 2012)

The outcome of this process was creating an ordinary plank wood with a secret. It can be slant against a wall or lies flat on the floor like a piece of normal plank wood. At any moment as one like it can be folded up to become a coffee table or a seat then fold out again.

It was indeed an excellent furniture design that functions wisely as either a coffee table or seating, which defies its form as an ordinary plank. The complicated part of this ordinary plank was the installation and configuration of the plank hinges. Practical wise, it has to fold, be strong and stable as a piece of furniture. At the same time, on aesthetic wise, the joints have to be almost invisible when the plank is folded out flat.

The Spontaneous Creation of Form and Materiality

A number of projects by Heatherwick explore how forms can expand in a matter of seconds rather than emerge from a long thorough design process. These examine through the physical manner of materials and rejoice the creative potential of an action. He takes advantage of how materials can transform when subject to physical manipulation or chemical makeover.

Furthermore, Heatherwick often likely uses materials in surprising and unconventional contexts with the assistance of engineering techniques. From time to time, the concept phase of a project is determined by the physical properties of the material. Due to the characteristics of these materials, challenging issues can regularly release on the spatial configuration, surface details and textures of a building.

It is possible to explain why exceptional and unusual objects may result from these material experiments. As the creative development becomes one concentrating on the selection of suitable materials rather than designing. To understand this, the final selection relies on how this object’s form can be realistic as well as logical and sized up to meet the project’s functional desires, whether for a corporate exhibition area, a sculptural system or a main civic building.

Structure or Sculpture

Heatherwick defies designation as a designer. He is not an architect; however, there is quite an amount of structural design and master planning projects within the studio. He is not an engineer, but he successfully designed a curling bridge located at Paddington Basin in London. The brief that had been given to Heatherwick was to propose a pedestrian bridge to cross the bay of the Grand Union Canal. The proposed bridge is mainly to provide an access route for foot traffic. But crucially the bridge must be possible to open and allow access for boats to get through.

When he was asked to come out with a retractable bridge, Heatherwick was not satisfied by just equalized the existing types of bridges, such as lifting bridge, swing bridge or rigid retractable one that anyone could have been thought of. Rather than considering how to make a bridge ‘open’, which suggested that it needed to break, he came up with something that totally unpredictable. (Gregory, 2012)

As a result of the final idea, this bridge managed to get out of the way in changing itself by transforming rather than breaking. It is the only bridge that functions as an engineered structure and curled up to form a circular sculpture. As written by Reina (2004) in her journal, Heatherwick says he intended the bridge to open in a "sensuous manner, transforming itself entirely, rather than merely lifting up and out of the way." Conventional drawbridges or retracting bridges "look broken" when opening, adds Stuart Wood, a project designer. A structure that curled upon itself, on the other hand would "look complete in both states."

It is a straightforward and independent structure that will be fixed on one bank, with no ramp or platform on either side. So when the bridge spins up on to one bank, it leaves nothing on the other part. In order to allow the prominence to be on the dramatic effect of watching it unwrap, rather than on how the appearance of it looked like, architectural materials like mild steel, stainless steel cables, aluminium treads and timber decking are selected to allow the bridge blends into its surroundings.

The timber deck of the bridge was made in eight segments, and the key component to function this remarkable bridge will be pushed and pulled by the seven pairs of hydraulic rams set within the triangular balustrades, which corresponds with the joints between each deck segment. As it curls up at once each of its eight segments lift, causing it to roll until the two ends contact to form a free-standing sculptural circle that looks nothing like a bridge.

Although the Rolling Bridge hardly needs to open for a boat to pass through, it has been made an attraction on a regular basis for visitors and tourists. A lot of people imagined that the bridge would be loud as it opened however because it is powered by a hydraulic fluid, surprisingly the mechanism curl on a constant speed and is so quiet when functioning on its movement. (Yentob, 2007)

Undoubtedly, it succeeds to be solely structural when its function is influenced more by aesthetics than mechanics. Thus, Heatherwick had proven that a good execution with mechanisms, rolling with good ideas will lead to an outcome of exceptional design when both aspects unite; certainly, the Rolling Bridge function defies the form of a bridge.

CHAPTER 4 | Tadao Ando

"I would like my architecture to inspire people to use their own resources,

to move into the future."

– Tadao Ando

High Realism

The notion of High Realism was commenced by Paul Duval, Canada’s renowned art critic, collector and author. Duval (1974) definition of High Realism was independence of visualization, sharpness of classification, precision of detail, exactness of technique, and fineness of craftsmanship. Then he added on by mentioned that while high realists apply nature as their setting off aim, usually they will reach an aim of truly individual vision, style and practice.

In the modern context, High Realism is based on the understanding on real aesthetic principles, which contain a certain function that create awareness towards the environment. There would seem to be a range of ways to highlight architecture as a material exercise which is unrestrained in the specific setting of location, construction and materials. (Weston, 2003)

Throughout the daily life, realism has become visible in representing the appearance of materials and forms that are purely themselves, not as some representations of things that previously does exist. If one had to decide on one architect whose perform most evidently parallel to the new practice, the selection would without doubt goes to Tadao Ando, an extraordinary character that was self-taught as an architect.

Material, Geometry and Nature

The first impression of Ando’s architecture is towards materiality. The influential concrete walls in most of his projects fix a boundary. Within this point, he would assure that the direction of an idea is correct only if the quality of a material might be expressed, on top of a resulting form of spatial expression by his spirit. The second impression of Ando’s architecture is towards tactility. Solid and rigid concrete wall give the impression of soft to touch where they rule out then attach in, admitting light and breeze. A third impression of Ando’s architecture is towards emptiness. Within, just illumination and functional space enclose the visitors. (Jodidio, 1997)

The main features of his ‘concept’ depends on the ability to achieve materiality sensation, tactility in transforming geometrical forms, and create emptiness of space that contrasts with the nature world. He believes these three features are essential for the functionality of his architecture.

Firstly, is about the genuine materials like exposed concrete or unpainted wood which Ando often utilized it in his projects. He certainly knows how to apply those materials in the right way until its true character is shown. Secondly, is regarding pure geometry forms of square and round regardless of building plan, concrete walls, openings or even bench that has been ruled by a basic geometrical order. Lastly, the aspect is the eternal nature, an abstract manner of nature defined by Ando which consists of light, sky and water. When such nature elements are introduced into his building along with materials and geometry, these will fully explain the conceptual style of his. (Academy Editions, 1990)

Light, Stillness and Space

At the suburbs of Osaka in a residential area, there is where the Church of the Light located. The geometrical form of the church is a rectangular solid box intersected at a 15 degree angle by a detached concrete wall.

The church is functioning as a place to held classical concerts, society meetings and Christian services. Unlike any conventional western church, which is usually gathers much natural light with a bright and sacred interior space for people to worship. Church of the Light defies an appearance of a church, is filled with darkness by just having principal daylight illuminating the interior from the cross opening behind the altar.

Furthermore, it is contrasting to other conventional churches based on the layout plan of Church of the Light. Evidently, the access to Ando’s church is intentionally indirect. To understand this, worshippers are required to walk through several corners and turnings before reaching the doorway in order to enter the church. Surprised by the impact of the cross with light filling the darkness of the interior is the best greeting from the opposite end of the church. (Drew, 1996)

In an unexpected reversal of Christian traditions, the form of the stairs was built to step down towards the altar with a purpose to the supremacy of the cross opening at the wall. The cross opening concrete wall is certainly with a form of wall; however, it has several function and symbolic meaning behind it. It shows a sign of Christianity. Furthermore, it is thick and inserted with float glass at the opening of the cross to protect against the cold weather. Additionally, it might sound exaggerated; to function as Ando’s concrete, it has to be precisely formed, smooth and reflective on its surface rather than presenting itself as a rough mass.

Space with Psychological Effects

Ando took the challenge of leading nature indoor by defying his concrete wall with a cross opening on it. He required man and nature to meet each other inside the sheltered and space of his architecture. It may not be obvious by creating a mental abstract of ‘nothingness’ in the interior that dramatize the gather between nature and architecture.

Function as a chief symbol in the church, the cross, which its form as a focus of religious. "The cross-shaped opening at one end becomes the door to the world above, through which the gods can descend to earth and man can symbolically ascend to heaven" (Drew, 1996) Related to light, which represents the holy, the expression of the cross as an opening make it a manner of relationship with heaven, that open through perhaps a symbolic route.

Ando is saying through the significance of his structural design that human being cannot survive in chaos; architecture thus has a duty and function to form a well-organized world. Church of the Light function has defied form of typical church. Therefore, it is a tremendous approach of introducing Ando’s architecture as function defies form.

CONCLUSION

While talk about the subject matter of this essay, the advanced of modern technology has no doubt, transformed the primary needs of space in architecture. As stated previously in Zada Hadid’s project, Pierres Vives, the Alphabet Library proved that a lesser amount of space is requires in the documentation area as most of the storage spaces have been replace by technological software and hardware.

Hence, this might be one of the reasons behind the idea of recombination of functions in common architecture. Recombination of functions which ‘telecommunication systems substituted circulation systems, and the solvent of digital information decomposes conventional building forms,’ the progression of creating digital places can be a notion of as ‘recombinant design’ (Horan, 2000). Flexibility of form and functions can be found in these buildings and are progressively to become popular recently.

Regardless of how the architectural form most likely these days, majority of people are more concerned regarding the functions and services will provide by the building to them. An example has shown previously, Fabrikstrasse 15, Novartis by Frank Gehry. The glass sculpture building with an expressive exterior appearance, in contradiction, has tremendously complex sustainable strategies that enlightened the workplace.

By applying the correct procedures of technology and functions of mechanism on building materials, the creation of built form can be easily resolved. Certainly because form and function are incorporated in the environment of the modern days. Thomas Heatherwick had successfully designed the extraordinary Rolling Bridge at Paddington Basin. It functions like a normal bridge for foot traffic which can curl up and convert into a free-standing sculptural circle that defies the form of a bridge.

"…on the facade, he allowed that form could be sometimes follow function. But for the reality of buildings – materials and structural arrangement holding them together – Adler concluded that ‘function and environment’ determined form." (Twombly, 1987) The same theory applies to Tadao Ando’s architecture that has the combination of material and geometrical forms with the nature elements. Ando renowned concrete wall is the main material source that forms the structural planning of his building, which draws the surroundings together in the interior space.

While persistently moving forward into the vision of sophisticated architectural domain, the basic essentials of architectural philosophy should be complied. Fundamentally, architecture is the art of functional space. In conclusion is the maxim ‘form follow function’ still being popularly applies? Perhaps, function defies form in the architectural context of the modern era.

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