View allAll Photos Tagged FormFollowsFunction
MLC Centre architecture cannot be overlooked. With elegantly contoured, stark white concrete, white quartz and glass, the façade presents itself as a handsomely moulded sculpture.
Harry Seidler AC QBE is a luminary of Australian architecture. Widely considered as the first architect to fully express the Bauhaus aesthetic here. The MLC Centre remains one of his most definitive works on the Sydney Skyline.
244m to antenna and 227m to roof. The MLC Centre was Sydney’s tallest building in Sydney from 1977 to 1992. It is currently the fifth tallest building behind the Meriton World Tower (230m), Deutsche Bank Place (240m), Citigroup Centre (243m) and Chifley Tower (244m). The tallest structure in Sydney is still the Sydney Tower at 309m.
Looking up at the award-winning Sharp Centre for Design at OCAD University in Toronto. Although quite striking with the 12 multi-coloured, pencil-like supports, I downplayed the colour as to highlight the contrasting shapes, angles, light and textures with this capture.
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Bauhausarchitecture by Mies van der Rohe, almost 100 years old, but so fit, really timeless architecture
This image is of Fort Edward in Windsor, Nova Scotia. It is a simple structure where the form is informed by its function. The overhanging second storey is to allow soldiers to fire at adversaries storming the fort through holes in the floor. Wood was abundant in British North America. The heavy timber construction was easier to work with than stone yet surprisingly resistant to fire.
-Added to the Cream of the Crop pool as my best of 2006.
timeless bauhaus architecture, almost 100 years old, but so fit
Mies van der Rohe business park, Krefeld
This gentleman trying to blend in with the surroundings. On the ferry to Fogo Island, Newfoundland Canada.
Bank building designed by Louis Sullivan in 1917, in SIdney, Ohio. Interior and Exterior images. July 2019, summer, Digital photography.
Form follows function — houses built for views of Currumbin Beach, the Gold Coast and the Pacific Ocean, and sea breezes.
The classic motorcycle jacket, specifically the "Double Rider" style, originated in 1928 when Irving Schott of Schott NYC designed the "Perfecto" for Harley-Davidson. The iconic double-breasted leather "Perfecto" is widely considered a masterpiece of the "form follows function" design philosophy.
It was featured in "Beyond Rebellion: Fashioning the Biker Jacket" (2014) held at The Museum at FIT (Fashion Institute of Technology). This exhibition traced the jacket's transition from a strictly utilitarian riding garment into a high-fashion and pop-culture icon. The exhibition, which toured at museums like the Chrysler Museum, gave the jacket full-blown art museum treatment, highlighting its sleek aesthetic born from practical necessity.
Every square inch of the original Perfecto was designed with a specific job in mind. The asymmetric zipper is angled to block the wind from cutting through the jacket and to prevent it from bunching up uncomfortably when the rider crouched over the handlebars. Unzipped but cinched at the waist, the large collar acts as a funnel channeling air into the jacket, allowing the leather garment to be worn on a moving motorcycle in hot weather.
Accordion-like pleats in the shoulders allow riders full range of motion. Extended sleeves and a lowered back keep the rider completely covered while positioned on the motorcycle. Zippers on the sleeves allow the hands to slip through and then the leather tightened around the wrist for wind resistance and so gloves can fit over the sleeves. The thick cowhide provides abrasion resistance in the event of a crash and rain resistance on the open road.
Before World War II, it was strictly functional gear, but after the war, veterans returning to civilian life brought an outlaw biker subculture into the mainstream. The jacket’s cultural shift to a symbol of rebellion occurred when Marlon Brando wore a Schott Perfecto in the 1953 film The Wild One. Following Brando, icons like James Dean popularized the rugged biker look off-screen. By the 1970s and 1980s, the asymmetrical leather jacket was adopted by the punk rock movement, solidifying its place as a staple in both counter-culture and high fashion.
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This is not a grand entrance or a towering facade. It is a small, quiet punctuation mark on a wall—and it tells you everything you need to know about the aesthetic philosophy of Streamline Moderne.
The design is built around a single, perfect circle, recessed slightly into the textured, sandy-gold stucco. It is dark, shadowed, and impenetrable—a void that holds the eye. But what makes it interesting is what surrounds it. Two horizontal, rectangular bands extend outward from the circle—one left, one right—creating a shape that feels both mechanical and organic, like a stylized gear or an abstracted letterform. The lines are clean, the geometry is precise, and the ornamentation is entirely structural.
Architects of the 1930s believed that form should follow function. They didn't add decorative flourishes to buildings; they let the necessary elements of the structure—vents, windows, doorways—become the decoration. This detail is a perfect example of that philosophy. It is almost certainly a functional vent or a lightwell, but the architect took the time to design it with a deliberate, graphic geometry. The circle feels aerodynamic, like a porthole on a ship, and the horizontal bands echo the long, sweeping lines of the overall facade.
The golden-hour light hitting this wall is what brings the whole composition to life. The sun is low, warm, and highly directional, casting a deep, curved shadow on the left side of the circle and a sharp, linear shadow beneath the horizontal bands. It transforms a simple, two-dimensional surface into a three-dimensional study of light, depth, and form.
This is a detail that rewards you for stopping. It is not flashy. It is not meant to be photographed from a distance. It is a quiet, graceful piece of functional geometry, caught at the exact moment when the sun turns a plain stucco wall into a canvas.
Bank building designed by Louis Sullivan in 1917, in SIdney, Ohio. Interior and Exterior images. July 2019, summer, Digital photography.
i sup-hose i should explain. sam made this after complaining that his leg's "structural integrity was being compromised". given what his feet have been up to, he might be referring to growing pains. i thought this was pretty funny and i'm glad i took a picture because, as with most of sam's creations, it bit the dust shortly after production.
For commercial reasons inns were usually found along the major roads. Yet Bethlehem was a small town in the upper mountains of Judea, and no major Roman road is known to have passed through it. Since it seems to have been an insignificant village at the time, it's doubtful that an inn even existed there then.
This gives yet more reason to realize that what Luke really wrote is that there was no room in the guest chamber. Certainly, due to the Roman census being taken at the time and the huge number of people traveling to their birthplaces, available space in the guest quarters was scarce.
Bethlehem was Joseph's ancestral home, he probably had relatives there. And being a descendant of King David, whose hometown this was, he would have been highly respected upon his arrival. Think of a descendant of George Washington coming to his hometown of Alexandria, Virginia, after a long lapse of time. The townspeople would've shown him respect.
Bank building designed by Louis Sullivan in 1917, in SIdney, Ohio. Interior and Exterior images. July 2019, summer, Digital photography.
Design : Dietrich Lubs W 50 1992
Design : Dietrich Lubs W 60 1995
Design : Dietrich Lubs W 70 1995
Design : Dietrich Lubs W 75 2001
Design : Peter Hartwein/Markus Orthney AW 200 2004
Bank building designed by Louis Sullivan in 1917, in SIdney, Ohio. Interior and Exterior images. July 2019, summer, Digital photography.
Alva Motto
Card + Envelope :
Louis Sullivan
Form Follows Function
Cinq Points
1896
'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 the life is recognizable in its expression, that form ever follows function. This is the law.'
Louis Sullivan
The Tall Office Building Artistically Considered
1896
Discman :
Sony
CD Walkman
D - NE004
CD :
Produkt
Form
Rastermusic
CDR010
Badge :
Alvar Aalto
Don't Forget To Play
Cinq Points
1957
iTunes :
Bretschneider + Steinbrüchel
12K
12K33
Obrigado Mrs GMA ...
Use Hearing Protection
GMA
Bank building designed by Louis Sullivan in 1917, in SIdney, Ohio. Interior and Exterior images. July 2019, summer, Digital photography.
Repetitive yet dissimilar forms are most beautiful. Form follows function.
This staircase found at a public housing estate in Hong Kong features bright yellow paints painted on each step to help the predominantly elderly retired residents as they walk up each way.
SML Universe corporate colors are good for some things—even the Hong Kong Government seems to agree.
# SML Data
+ Date: 2013-05-07T15:01:02+0800
+ Dimensions: 3365 x 5048
+ Exposure: 1/250 sec at f/5.0
+ Focal Length: 170 mm
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 100-400mm f/4.5-5.6L IS USM
+ GPS: 22°25'20" N 114°13'35" E
+ Location: 中國香港馬鞍山恆安邨 Heng On Estate, Ma On Shan, Hong Kong, China
+ Serial: SML.20130507.7D.41123
+ Workflow: Lightroom 4
+ Series: 人流 Human Logistics, 形 Forms, 建築 Architecture
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Found SML Colors: 藍和黃的樓梯 Stairs in Yellow and Cyan” / 香港公共屋邨人流建築之形 Hong Kong Public Housing Human Logistics Architecture Forms / SML.20130507.7D.41123
/ #人流 #HumanLogistics #形 #Forms #SMLForms #SMLColors #建築 #建筑 #Architecture #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban #樓梯 #Stairs #FormFollowsFunction
Fun with geometry. Form follows function.
# SML Data
+ Date: 2013-05-02T13:03:55+0800
+ Dimensions: 5001 x 3334
+ Exposure: 1/640 sec at f/5.6
+ Focal Length: 220 mm
+ ISO: 100
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 100-400mm f/4.5-5.6L IS USM
+ GPS: 22°25'15" N 114°13'37" E
+ Location: 中國香港馬鞍山恆康街1號馬鞍山運動場 中国香港马鞍山恒康街1号马鞍山运动场 Ma On Shan Sports Ground, 1 Hang Hong Road, Ma On Shan, Hong Kong, China
+ Workflow: Lightroom 4
+ Serial: SML.20130502.7D.40811
+ Series: 體育 Sports, 形 Forms
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“直線和曲線 Lines and Curves” / 香港體育建築之形 Hong Kong Sports Architecture Forms / SML.20130410.7D.37655
/ #形 #Forms #SMLForms #體育 #体育 #Sports #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban #地 #Floor #Lines #Curves #Track #Red #FormFollowsFunction
There is this odd-shaped building with very wonderful forms at the West Kowloon Waterfront Promenade (西九龍海濱長廊), a park near the West Kowloon Cultural District (西九文化區 WKCD) which was built completely on reclaimed lands [1, 2].
With its very sculpted forms and striking yellow paint, it looks almost like Bumblebee from the Transformer series [3]. I have always wonder what it was when I photograph West Kowloon from Tsim Sha Tsui.
It looks like a sculpture, but I was told that it was likely a ventilation structure for the Western Harbour Crossing (WHC 西隧), the third tunnel to cross Victoria Harbour in Hong Kong [4, 5]. Based on its architectural style, it might very well be the property of MTR, Hong Kong’s metro system, whose Airport Express passes this junction from the Kowloon station to Hong Kong station.
MTR buildings tend to have very recognisable forms like this, and is the reason why I picked that. But if I find someone in the know I will definitely ask. Unfortunately, even on Google Maps this building is unmarked.
# Notes
1. West Kowloon Waterfront Promenade: Wikipedia: EN: en.wikipedia.org/wiki/West_Kowloon_Waterfront_Promenade
2. 西九龍海濱長廊: Wikipedia: ZH-HK: zh.wikipedia.org/zh-hk/西九龍海濱長廊
3. Bumblebee (Transformers): Wikipedia: EN: en.wikipedia.org/wiki/Bumblebee_(Transformers)
4. Western Harbour Crossing: Wikipedia: EN: en.wikipedia.org/wiki/Western_Harbour_Crossing
5. 西區海底隧道: Wikipedia: ZH-HK: zh.wikipedia.org/zh-hk/西區海底隧道
# SML Data
+ Date: 2013-05-08T18:23:40+0800
+ Dimensions: 5472 x 3648
+ Exposure: 1/30 sec at f/4.0
+ Focal Length: 17 mm
+ ISO: 320
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: CanonEF 17-40mm f/4L USM
+ GPS: 22°17'58" N 114°9'26" E
+ Location: 香港西九龍海濱長廊 West Kowloon Promenade, Hong Kong
+ Workflow: Lightroom 4
+ Serial: SML.20130508.6D.05524
+ Series: 建築 Architecture, 形 Forms, Crazyisgood
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“無名大黃蜂 Anonymous Bumblebee” / 香港基礎設施建築之形 Hong Kong Infrastructural Architecture Forms / SML.20130508.6D.05524
/ #建築 #建筑 #Architecture #形 #Forms #SMLForms #Crazyisgood #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban #西九 #WestKowloon #Yellow #FormFollowsFunction #WTF