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NEWS
Managing Editor James Parker
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Advertisement Manager/ Joint Publisher Anthony Parker
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FROM THE EDITOR
thanks to the team for pulling out the stops to make sure that it looks great, without damaging the all-important schedules!
I
As well as a generally bolder look, and more eye-catching typology, we have also greatly improved the ‘signposting’ – as magazine designers term it. This means that key sections in the magazine are more clearly delineated, bringing our in-house regulars such as ‘Views’ and ‘Insights’ to the fore. You may not be aware that we regularly publish, for example, a Practice Profile (this month’s taking a close look at BuckleyGrayYeoman), Site Lines featuring architectural opinion on design matters, or a regular View Point column. Either way, the design is now helping to guide you to those sections.
Pondering the relative merits of fonts and page designs led me to thinking, as many others have, about the extent to which function and beauty are related. I subscribe to the view that we might instinctively think that certain objects, designs or buildings are beautiful because they work well. It may not be necessary to ascend the lofty conceptual heights of Aesthetic Functionalism (which holds that aesthetic merit is only to be found in the functional) to explain this. It might just be a case that things which work well, from a well-proportioned Georgian House to a 100 metre sprinter tend to look good to us because we intuitively ‘feel’ they work well.
Take the Jaguar D-Type – designed in the early 1960s purely from an engineering standpoint to maximise its aerodynamics in every aspect of its form. The result was an almost indecently curvaceous yet sleek car which only a philistine would criticise on its aesthetics. This seems to prove the theory, although perhaps buildings are a more complex matter of cultural expectations – for example Zaha Hadid’s extraordinary visions may often be highly functional, but also divide opinion on their form and function. Even the pop star Moby weighed in recently, slating a ZHA hotel room design for allegedly putting being ‘photogenic’ above comfort.
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The function and form debate becomes somewhat obscured as we approach the Stirling Prize award, with its judges taking in a wide swathe of criteria in reaching their decision. It comes not long after the snap-judgement cavalcade of the Carbuncle Cup (which incidentally Rory Bergin castigates on page 10). It is something of a shame that the general debate looks narrowly at a building’s external factors rather than examining it more deeply before we pronounce on a building’s worth.
A true scrutiny of beauty alongside function, rather than more shallow, and inevitably personal, ideas of whether something is ‘appealing’ to a viewer might be more useful.
Hopefully in ADF’s case you’ll agree that good-looking design is intrinsically linked with usability!
James Parker Editor
Cover
Oculus, World Trade Center, New York City
Santiago Calatrava’s winged subway connection opens to the sky page 14
BIRMINGHAM DENTAL HOSPITAL A sparkling new stand-alone dental facility
AYLESBURY ESTATE, LONDON HTA’s masterplan harnesses streetscape to regenerate an inner London district
10.16
On the cover... © Hufton and Crow Oculus is a winged commemoration of the September 11th attacks on the World Trade Center, but also functions as a Transportation Hub and now also a Westfield shopping mall. Designed by Santiago Calatrava, it opened this Autumn. For more information, go to page 14.
www.huftonandcrow.com
hope as you open ADF this month you’ll notice we have changed a few things. While the overall mix of content is the same, you’d be forgiven for thinking that we had overhauled the whole magazine. We have a really smart looking new design, and I hope you agree it works. A big
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ADF OCTOBER 2016
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