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Architectural Philosophy...
The Equilibrium of Appropriate Balance and
Econo-Functional Aesthetic Balance (E-FAB)

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Preface
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(updates 2012) I, William J. Martin
<http://www.architizer.com/en_us/people/profile/william_j_martin/>, WJM
Architect, formally developed my architectural design philosophy
concepts as expressed here, in 1991, just prior to the launch of the
Architectural firm. These ideas have been influenced by my education in
the U.S. at Carnegie-Mellon and at Pratt Institute, as well as
architectural and art history, studies of economic concepts,
observations of the attitudes and emotions of non-design persons, and
the practical real world knowledge gained by being directly involved in
the design of actual constructed buildings of all types.
I wanted to become an architect to help people. People need well
designed shelter for themselves, families, businesses and all type of
endeavour that requires sheltered space. Architecture has the power to
create beautifully effective shelter for the needs, hopes, dreams and
memories of humankind, both collectively and individually.
This design philosophy is an attempt to reconcile and bring design
factors into an equilibrium, and create a NEW sustainable "architectural
gestalt" [6], to transcend architectural fashion. A treatise to explain
and understand why it is necessary to intellectually balance design
factors empowering all architects and designers to create a built
environment that transcends the sum of its individual parts.
The past comments of great architects including the International Style
*Architect Mies Van der Rohe* inspire me to explore this. Humbly, I have
come to better understand his design struggle. Mies said architecture is
great "only when it is an expression of its time. Architecture is the
battleground. It is a struggle to find the "*essential factors.*" I
sense, I feel, there is a void of missing "factors" and "starchitecture"
will not fill this void, there must be something more.
This is a work in progress. It has not been properly edited and is not
intended to be in its final form. Updates periodically keep this design
methodology current through 2011.
It is assumed that academics and students will respect this work as a
statement of a unique philosophical point of view. Like all points of
view, it is directly reflective of the context in which it was developed
and is personal to the author. Phrases in quotes not attributed to a
source are phrases coined by William J. Martin to describe this
philosophical architectural point of view. Therefore it is requested
that if colleagues, academics or students use any portions or excerpts
of this work, including coined terms and phrases, that proper credit be
given to William J. Martin, Architect.
/(click to listen to Talk Radio program about E-FAB) <efabtalkradio.htm> /

Design Factors
Finding the Equilibrium of "Appropriate Balance" between design factors
requires Architecture and Building Design be recognized as a
Socio-economic Artform. Architecture and Building Design should serve
the people that utilize, not those who design.
*Does architectural design imply aesthetic principles are inherent? *
Since architectural design arranges objects in spatial locations and
considers their relationship to eachother and persons, aesthetic [5][6]
principles are inherent and are applied whether or not they have been
considered by the designer. Aesthetic principles exist in any building
design and cannot be separated from the design, therefore making them
inherent.
Aesthetics is a fundamental design factor.
*Does architectural design imply purpose? *
Designing by definition implies it is done for some purpose [6]. Purpose
implies the design is created to perform some desired function [5]. The
term function as meant here, refers to the purpose of the entire
function and sub-functions. The Functions cannot be separated from the
design.
Functions is a fundamental design factor.
*Does architectural design imply a real space?*
A real building design occupies, or will occupy a real space. Real
three-dimensional space? length, width, and height are fundamental to
the design of real buildings. Real materials? earth, wood, steel,
concrete, plastic are fundamental to making the architectural design
into a physically real building. In order for a building design to
become a real building, you must build the building.
The process of building involves human manpower and building materials.
The industries that produce the materials are economic entities that,
for a price, will produce the materials needed for the building
construction. Human manpower is a socio-economic entity that, for a
price will construct the building from the materials. When I use the
word ?price?, I mean at some economic cost to the society engaged in
constructing the building.
The economics of building also has a socio-political facet. Buildings
are regulated by laws that create limitations, social expectations, and
requirements on the building for a presumed general benefit. In many
past societies, religion and politics dominated building design in this
manner (example: cathedrals of Europe). These aspects of building a real
design are encompassed in the social science of Economics.
Environmental impact and green design sustainability are assessed
through economic analysis.
Economics is by definition a social science concerned with analysis of
the production, distribution, and consumption of goods and services [6]
AND the thrifty and efficient use of material resources [5]. The process
of obtaining and placing building materials, by utilizing or
transforming natural resources by man and machine, is an economic and
social endeavor. Therefore the architectural design of real spaces
requires that the economic components be considered in the process of
creating the design. Economics cannot be separated from the design of a
real three-dimensional building.
Economics is a fundamental design factor.

The Three Fundamental Factors of Architectural Design

* Aesthetics Factor
* Functions Factor
* Economics Factor
*These three factors represent the absolute minimum derivative
constituent parts without which architecture would not be what it is.
--THIS IS IMPORTANT--*
The*Appropriate Triangular Balance* between design factors results in
higher design.
Physically, the triangular shape is an inherently stable structural
shape and provides an appropriately descriptive concept model for the
balancing of the three factors.
*The Equilibrium *[6]*of "Appropriate Balance" describes the state of
intellectual balance between opposing design forces and actions that is
deliberately designed to be in harmonious balance.*
The artistic balance created by design is theoretically in place for the
entire life of the building. To me, it is the artistic soul of the building.
I call this artistic soul *"Econo-functional Aesthetic Balance"* or E-FAB.
Economic theory describes a concept known as a ?production possibilities
frontier? [4]. This plainly stated is as follows: Assuming finite
resources (human labor as well as natural resources), there exists a
maximum possibility of producing goods and services. By evaluating and
analyzing the use of material and labor resources, it is possible to
determine the most efficient way of utilizing the finite resources. By
studying how best to apply these finite resources, one can produce the
maximum output by minimizing economic waste.
The appropriate triangular balance that I describe is analogous to a
production possibilities frontier. By considering the design factors as
three parts of a whole, maximizing each factor, and striving to create a
thoughtful balance between the factors, better design can theoretically
be achieved by applying each factor in the most appropriate way. The
designer seeks to maximize the "Econo-functional Aesthetic Balance"
Assuming the designer is given finite resources, finding the right
balance between the factors will have a great impact on the success of
the design.
This is an entirely new way of thinking about the architectural design
of buildings. Never before has an economic factor been embraced as a
significant elemental component in the process of artistic architectural
creation. Previously architects have tried to ignore an economic factor
and have stubbornly refused to admit that an economic factor could play
any meaningful creative role in the process of design. This stubborn
denial has cost society and the architectural profession dearly. In the
past few decades, frustrated clients have begun to turn away from
architects and sought others to comment on matters of design. Design
decisions that were once solely the architect's have been usurped by
other related professions using economics and "value Engineering" to
degrade the quality of the architect's design after the fact. This has
led to a general degradation of the quality of our built environment.
This would not happen if architects recognized, accepted, and included
as fundamental the "Economic Factor" in the process of creating their
building designs.
It is only natural for clients and building users to desire value in
their buildings. Architects need to be creative and provide real
recognizable value through the thoughtful design of all three factors.
The value of aesthetics, balanced with the value of function, further
balanced with value of minimizing economic waste needs to be clearly
demonstrated to clients, building users and society.
"The greatest architectural creativity springs from respect for the
factors that constrain the design."

*E-FAB Man - part Vitruvian Man, part Modular Man and more, blended into
E-FAB balance*

E-FAB compared to the conventional wisdom of the past

Each factor, individually, represents one portion of a total theoretical
design. All three factors are present in any design and *no real
building can exist without all three factors present* in some manner.
The designer?s objective should be to balance all three portions to
achieve the maximum "Econo-functional Aesthetic Balance". When
successfully balanced, the whole architectural design, with the
equilibrium created, artistically exceeds the sum of its parts. It
transcends itself and reaches a higher plane of artistic expression.
From my observations of the built environment, I see many buildings
suffer from either the:
---"Seduction of the Aesthetic", where the primary effort is put into
creating the visual beauty of form, OR the
---"Obsession of cost control", where the primary effort is put into
constructing as cheaply as possible, OR the
---"Compulsion of Efficient Function", where the primary effort is put
into planning only the fundamental purpose of space.
Focusing on any one or two factors without considering the third results
in the design being theoretically unbalanced and falling short of its
full potential to reach the maximum "Econo-functional Aesthetic Balance"
In the first century BCE, Roman *Architect Marcus Vitruvius Pollio*,
also known as simply -- *Vitruvius* --authored his book De Architectura.
This book is known today as The Ten Books on Architecture [1]. Vitruvius
is famous for asserting in Book 1 Chapter 3, that a building must
exhibit the three important qualities of /firmitas, utilitas, venustas/
? often translated as firmness, commodity, and delight. That is, a
building must be strong , useful, and beautiful.
This is also known as the *Vitruvian Triad*. Vitruvius had identified
these three qualities, on which, good architecture would depend.
Vitruvian /delight/ is concerned with the aesthetics of buildings. This
corresponds to the Aesthetics factor as being fundamental to architecture.
Vitruvian /commodity/ is concerned with the spatial layout presenting
?no hindrance to use?. This roughly corresponds to spatial function,
location and orientation of a building design. While this does
correspond to the Functions Factor, it does not describe any balance
between functions and sub-functions or balance with other factors.
Vitruvian /firmness/ is concerned with solid foundations and the wise
choice of building materials creating a firm structurally sound building.
Vitruvius describes the three important qualities but he does not
describe the need to create balance between these qualities. There is no
econo-functional aesthetic balance here since there is no expressed need
to create balance in the Vitruvian Triad.
In Book 1, Chapter 2, and as a separate fundamental principle not
included in the three, Vitruvius discusses 2 stages of economy. The
translation from the latin states the first stage of economy is the
?proper management of materials and of site, as well as a thrifty
balancing of cost and common sense in the construction of works?.
Here again, Vitruvius describes the quality but he did not describe the
need to create balance between qualities.
The second stage of economy is the planning for the various class
divisions of Roman society.
The Roman classical style of architecture was largely borrowed from the
Greeks and built throughout the Roman World with little regard for the
needs of local subjugated populations. The conquering Romans were simply
not sensitive to this. Imposing Roman order and control was their
paramount concern.
The Equilibrium of "Appropriate Balance" seeks to create balance between
Vitruvian qualities that is deliberately designed to be harmonious and
create Econo-functional Aesthetic Balance.
*Architect Louis Sullivan* (1856-1924) said, Form Follows Function
(F-F-F). With this statement, Sullivan tells us that he believes the
architectural form of a building should follow the function of its
underlying structure and purpose. His derivative F-F-F statement has
been continuously mis-interpreted since he said it in 1896. It is many
times used as justification for making the function of a building the
primary consideration in it's design. Sullivan meant F-F-F in a more
poetic way [2]. Like the way a persons skin is their outer appearance
and covers the structure of the skull. The form of the skin follows the
function of the shape of the skull and the two work together to create
the expressive beauty of the person. The human face is capable of a
great many expressions and so is the architectural design of buildings.
Sullivan's style of lightness grew out of the availability of new
construction materials. At that time, iron and steel structures were not
previously available to architects. Iron and steel structures did not
require heavy solid exterior bearing walls. Tall building designs could
now be light and full of windows. At the same time, Sullivan's exterior
forms followed the function of these new materials in a poetic skin over
bone analogy.
Sullivan's design breakthough was directly connected to the social and
economic context of mining iron and making steel in the late nineteenth
century United States. Sullivan's new approach to design would not have
been possible outside of this economic context. The poetry of F-F-F does
not acknowledge social and economic context as a factor in the creation
and design of buildings. This has always made me feel a major
fundamental component had been left out of Sullivan's F-F-F.
"Appropriate Balance" demonstrates that Form Does NOT follow Function.
Form and Function are given weight and should balance. However, this
still fails to account for the Economic Factor.
Perhaps it should have been *"Form Follows Function Follows Economics".
Or in an "Appropriate Triangular Balance" possibly "Form Balances
Function, Function Balances Economics, Economics Balances Form".*
Or as I have stated, "Econo-functional Aesthetic Balance"
The great International Style *Architect Mies Van der Rohe* (1887-1969)
said, "God is in the details." Anyone who has engaged in the serious
design of real buildings knows, God is NOT in the details; the Devil
resides in the details. Mies saw "God" in the inter-dependant
relationship of a buildings elemental components. "Appropriate Balance"
sees Mies's "God" in discovering the Appropriate Balance between the
three design factors. *God is the "Econo-functional Aesthetic Balance"*
Mies also said, Less is More. Despite the economic connotations of this
statement, Mies, like Sullivan before him, meant this in a poetic
aesthetic sense in creating the greatest effect with the least means.
Deriving aesthetics from a buildings elemental components creates the
beauty Mies describes with Less is More. This approach to architectural
design can be somewhat restictive in that it limits how the aesthetic is
derived. The introduction of a building component that was purely
decorative and not elemental would be considered taboo by Mies.
From the viewpoint of E-FAB, Less is NOT More. Less is NOT a bore [3].
*Less is less.* "Less is More" is probably the single most destructive
phrase to come out of the modernist architectural lexicon. The poetry of
Mies was mis-interpreted and mis-used by building developers who used
the phrase to justify stripping buildings of all significant meaning as
objects of art in order to build as cheaply as possible.
It is historically unfortunate that breakthroughs in the mathematical
understanding of economics emerged contemporaneously with the stylistic
expression of modernism and "Less is More" became the perverse slogan of
builders driven by greed. The impact of this continues today.
Less and More should never have been equated. Less and More should
create a theoretical balance. Can More be achieved with a little less?
This may tip the equilibrium out of balance. E-FAB strives to achieve
the poetry of Less and More through appropriate balance between the two.
Less balances More in a manner that retains significant meaning and the
artistic soul of the building. *The lesson of Less is More is that it
should have been "Less balances More". *
In a /Time Magazine/ article June 14, 1954,[7] Mies is quoted as saying
"The old way was to look at architecture as a display of forms. We
concentrate on the simple, basic structure, and we believe the
structural way gives more freedom and variety. *Remember, we are not
trying to please people. We are driving to the essence of things."*
In the greater context of art and history, I understand. In physics,
around this time, Einstein was working to derive an single equation to
explain and unify sub-atomic and universal forces. After Einstein had
shown us E=mc^2, there was a growing belief that everything could be
reduced to a single equation; A simple, beautiful, theory of everything.
In an artistic way, Mies was part of this movement and "driving to the
essence of things."
However, from the viewpoint of E-FAB, pleasing people cannot be
separated from achieving appropriate balance. It is at this point, in my
thinking, that Mies ceases to be a true architect and crosses over into
something that is more like sculpture than architecture.
"Starchitecture" leaves me with this same impression.
It is possible to over-derive. To reduce something to less than it's
minimum constituent parts. Reduction to a point where it is no longer
itself. It may be aesthetic, but it is overall, less than it could be.
Later in the same article, Mies says Architecture is great "only when it
is an expression of its time. Architecture is the battleground. It is a
struggle to find the *essential factors.*"
On this, E-FAB is in agreement.

E-FAB and Style

The architectural style that results from ?E-FAB? does not fit into a
single set of defined aesthetic principles. It is not Modernism,
Post-Modernism, Classical or Colonial. It is "E-FABism" E-FAB designs
are intellectually aesthetic and directly reflect the client/ users
needs. E-FAB designs are sensitive to local past, present and future
cultural conditions. An E-FAB design created in the Philippines or India
would not look like an E-fab design created in the U.S., however all
three designs would share the underlying principles of E-FAB and would
be appropriate in their respective settings. Respect for local building
methods, new technologies and materials, as well as local cultural,
religious and economic factors would be present in all three designs.
The ?style? results from local indigionous architectural concepts being
re-defined and re-invented using E-FAB principles. The resulting style
can be described as *?Vernacular E-FAB?* and fits seamlessly and
harmoniously into its setting, whether urban, suburban or rural in
nature. The beauty of this kind of style flows poetically from the
"Appropriate Balance" intelligently created through E-FAB principles.
Style is no longer only about the aesthetics remaining when the building
is completed, it is now a far more profound and higher expression of
human creation. The principles used to create the design are
intellectually retained in the poetic vernacular expression of the
architecture for the life of the building. To me this is the very soul
and the art of architecture.
The *Vernacular E-FAB Architectural Style* and EFAB-ism is a completely
new way to think about architectural aesthetics and style.

E-FAB and Green Design

Many indigionous building methods have qualities that are
environmentally sensitive. Many come from renewable source material, and
allow for reduced energy consumption. In the Southwest United States
indigionous buildings utilize adobe bricks as a building material. The
adobe brick has heat retention and dispersion qualities that take
advantage of the natural energy flows of the local climactic condition.
Made from locally sourced materials, adobe is a renewable and re-usable
resource. This makes adobe an ideal building material from the viewpoint
of green design since the materials have a lower impact on the
environment and the building will need less energy to maintain comfort.
This is just one example, but it illustrates the point of how E-FAB
principles applied to local indigionous architecture can have a profound
impact. Balancing the latest technology with indigionous design of
renewable local materials achieves both E-FAB and Green Design. Well
designed buildings can be built using environmentally responsible
localized construction materials and methods. The green design movement
is Econo-functional Aesthetic Balance. *Vernacular E-FAB is green.*

The Blind Design Paradox

Application of this philosophy is demonstrated by the "Blind Design
Paradox".
This example begins with deliberately reducing the aesthetic factor to
visual aesthetics to make a point. The paradox is useful since many
people tend to think of aesthetics as derived only from visual beauty.
Designing for the visually impaired has obvious implications for the
aesthetic factor. Designing a successful object or building is, in many
cases, heavily dependent upon visual aesthetic. The Paradox of a
designed building not needing a visual aesthetic, highlights the concept
of "Appropriate Balance". The visually impaired building user is unable
to appreciate the visual aesthetic and beauty in a visual aesthetic
design factor. Focusing in on creating only visual beauty of form in
this situation is not appropriate and is theoretically not relevant from
the perspective of the building user.
By separating the visual aesthetics from the other two factors, the
"Blind Design Paradox" takes the focus off of the visual beauty of
design and highlights the important role of balancing all three factors.
*Visual aesthetics alone does NOT constitute good design.* The
underlying point of this example demonstrates the role of the
"Equilibrium of Appropriate Balance" when all three factors in the
design interact.
In the "Blind Design Paradox", the "Appropriate Balance" between the
factors is achieved not through visual beauty, but through the textural
and acoustic design of architectural elements. In fact, the space could
be visually unaesthetic, poorly proportioned, and devoid of any light or
color. These normally important aspects of design are theoretically not
important to a visually impaired building user since they cannot be
visually perceived.
The visually impaired building user appreciates the beauty, not
visually, but through the textures and acoustics of architectural
elements while utilizing the function of the spaces designed for them.
The "Aesthetics Factor" is affected by refining it as the beauty of the
physical texture and acoustical properties of the materials selected by
the designer to create the aesthetic and balance the functional and
economic requirements. In this example the primary effort is not put
into creating the visual beauty of form. This factor utilizes tactile
and acoustic beauty to create the aesthetics of the design.
The "Functions Factor" is affected by the design of space that needs to
make use of material textures not visual material appearance. An example
of this is flooring texture to communicate room type and function, wall
textures to assist users in locating and orienting themselves, and even
acoustic cues designed into the building. This factor considers the
functional purpose of the building to make it perform for the visually
impaired building user and balance with the aesthetic and economic factors.
The "Economics Factor" is affected by the re-allocating of economic
resources to obtain the appropriate diversity of textured materials and
acoustic cues necessary to realize the design and accomplish a balance
with the function and aesthetic factors. This factor considers the
reasonable availability of these materials or whether new materials or
technologies will need to be developed. This should also reasonably
consider the economic means of the user as defined by the resources
allocated to accomplish the construction of the design.
It is important to understand that even in this theoretical example, the
Formal Aesthetic Factor is not eliminated or even decreased in
importance. It has shifted from visual beauty to tactile and acoustic
beauty and still must be balanced with the other factors to achieve
equilibrium and maximize the "Econo-functional Aesthetic Balance". If
the Three Factors are appropriately balanced the equilibrium created
will transcend the sum of its parts. This creates architectural beauty
that is far more profound.

Examples of unbalanced design

There are existing examples that demonstrate the less than pleasing
effect of design that has NOT reached its full potential in our built
environment. These examples include:
--Casino Hotel designs that over-emphasizes the aesthetic factor.
Function and economic factors are overwhelmed by the desire to carry out
a design theme stolen from past historical architecture and
inappropriatly embellished with glitz.. I suppose it could be argued
that if you put many of these casino hotel designs in one place, it
becomes contextually appropriate. However in the broader historical
context, these buildings will probably be quickly demolished should they
fail as businesses.
--Overall roadway design that over-emphasizes the function factor.
Aesthetic and economic factors are overwhelmed by the desire to connect
every "point A" to every "point B" with asphalt ribbons that cut and
damage the landscape, separate and isolate people from eachother, and
reduces our ability to renew economic resources and encourages the
wasting of existing economic resources.
--Utility poles and overhead wires for electric power distribution
over-emphasize the economic factor. Aesthetic and function factors are
overwhelmed by the economic desire to distribute electric power to as
wide an area as possible via ugly brown poles and a wiring system that
has a 30% transmission loss.

Example of balanced design

Applying E-FAB to existing buildings helps to understand the design of a
building and how well it balances the three factors.
A real building example of the "Equilibrium of Appropriate Balance"
between factors is the Empire State Building in New York City. The
Empire State Building is an excellent illustation of achieving
"Appropriate Balance" in design.
This building was aesthetically well proportioned for the context of New
York City, therefore maximizing the aesthetic factor. The building
functioned well for it?s intended purpose, therefore maximizing the
function factor.
Constructed as a real estate syndication during the Great Depression,
the building reflected the economic context of its creation, therefore
maximizing the economic factor.
Completed in 1931, the building design factors even now continue to be
appropriately balanced. This, in my opinion, is the mark of a great
architecture that transcends and becomes a higher form of artistic
expression. When the transmission antenna was added years later, the
building gracefully accepted it as if it was always meant to be part of
the design. This added aesthetically and rebalanced the aesthetic factor
beautifully. The building fulfilled a greater purpose functioning to an
even higher degree and rebalancing the function factor. The economic
affect of the antenna enhanced the value of the building and rebalanced
the economic factor to the benefit of society. The poetry of the
appropriate balance of the Empire State Building inspires me continuously.
As shown above, Appropriate Balance principles can be applied to
evaluate the success of existing building designs.
*Future E-FAB discussions may include the evaluation of:*
The World Trade Center Twin Towers
The Freedom Tower
/added may 05--As I had predicted, the new Freedom Tower design will
have to be changed. The design was selected based only on the beauty of
the design with no other considerations (Seduction of the aesthetic).
The design now has to be modified for practical safety concerns. What
will happen next is new design proposals will center on making the tower
or towers super strong with little consideration of the beauty of it
(Compulsion of efficient function) We may even see the old towers
proposed again but with super strong materials to fortify the original
design. After that has run it's course, the design will then fall victim
to the cost projections (obsession of cost control) Approaching design
from this traditionally flawed method will result in the final design
being far less than it could have been. Would it not be better to
consider and balance all three design factors together. If the
principles of the Equilibrium of Appropriate Balance were applied, the
resulting design would reach a higher level of architectural expression.
The Econo-functional Aesthetic Balance would create great monument to
freedom, a true Freedom Tower. I am hopeful, but I am not holding my
breath. /
The Great Pyramids of Egypt
The Great Wall of China
Cathedrals of Europe
Fallingwater
St. Peters in the Vatican
Pyramids of the Maya Civilization

Conclusion
As shown above, Econo-Functional Aesthetic Balance principles can be
applied to evaluate the success of existing building designs. How well
some existing buildings "balance" will be discussed here in the future.
Some balance better than others.
My hope is that architects will come to understand the importance of
creating an Equilibrium of Appropriate Balance. This will lead to a
better understanding of the value of an architect's design. When someone
other than the architect decides to modify a building design through
value engineering, the whole design suffers when parts are excluded or
deleted from the design with no artistic consideration given to the
impact on the whole design. This leaves the client and building users
with "half a design". In the end it will not be the "value engineer" but
the architect who will receive the criticism for an unbalanced design.

References--
*[1] Vitruvius, 1st Century BCE "The Ten Books on Architecture"*
*[2] H. W. Janson, 1977, "History of Art", */2nd Edition/,
Prentice-Hall, Inc., Englewood Cliffs, NJ USA, and Harry N. Abrams,
inc., NY, NY, USA, pp 703
*[3] Paul Heyer, 1993, "American Architecture", */Ideas and Ideologies
in the Late Twentieth Century, /Van Nostrand Reinhold, NY, USA, pp 16
*[4] Baumol and Blinder, 1982, "Economics", */Principles and Policy 2nd
Edition, /Harcourt Brace Jovanovich, Inc., NY, USA, pp 430-433
*[5] Ching, 1995, A Visual Dictionary of Architecture, *Van Nostrand
Reinhold, NY, USA
Aesthetics-- The branch of philosophy that deals with the nature of art,
beauty, and taste, with a view to establishing the meaning and validity
of critical judgments concerning works of art.
Design--The creation and organization of formal elements in a work of art.
Economics-- Careful, thrifty, and efficient use and management of resources.
Function-- The natural or proper action for which something is designed,
used, or exists.
*[6] Merriam-Webster's Collegiate Dictionary, Tenth Edition, 1993,*
Merriam-Webster, Inc., Springfield, Ma, USA
Aesthetics-- Appreciative of, responsive to, or zealous about what is
pleasurable to the senses.
Design-- To create, fashion, execute, or construct according to a plan.
To devise for a specific function or end.
Gestalt-- A structure, configuration, or pattern of physical,
biological, or psychological phenomena so integrated as to constitute a
functional unit with properties not derivable by summation of its parts.
Economics-- A social science concerned chiefly with description and
analysis of the production, distribution, and consumption of goods and
services AND Thrifty and efficient use of material resources.
Equilibrium-- A state of intellectual or emotional balance. OR a state
of balance between opposing forces or actions that is either static or
dynamic.
Function-- The action for which a person or thing is specially fitted or
used, or for which a thing exists: purpose.
*[7] Time, June 14,1954, "Less is More", *Time Magazine, Inc., NY, USA

*WJM invites any statements or questions regarding this philosophy of

architectural design.*
*Feel free to email comments to comments@wjmarchitect.com
<mailto:comments@wjmarchitect.com>.*
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