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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DESIGNING FOR WELLBEING
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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DESIGNING FOR WELLBEING
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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DESIGNING FOR WELLBEING
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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DESIGNING FOR WELLBEING
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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DESIGNING FOR WELLBEING
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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DESIGNING FOR WELLBEING
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
DESIGNING FOR WELLBEING
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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