Authors/farshid moussavi

Is an Iranian-born British architect, educator, and author. She is the founder of Farshid Moussavi Architecture (FMA) and a Professor in Practice of Architecture at Harvard University Graduate School of Design.[1] Before forming FMA, she was co-founder of the London-based Foreign Office Architects or FOA (1993-2011), recognised as one of the world’s most creative design firms, integrating architecture, urban design, and landscape architecture in a wide range of projects internationally. Moussavi was elected a Royal Academician in 2015, and subsequently, Professor of Architecture at the RA Schools in 2017.[2] She was appointed Officer of the Order of the British Empire (OBE) in the 2018 Queen’s Birthday Honours for Services to Architecture.

The Function of Style
Farshid Moussavi
This book interrogates further the formfunction relationship of its projects. It focuses particularly on the history of drawing techniques of describing different concepts of function. All is shown through drawings that describe amongst other criteria the structural function [arrangement of activities or materials], the physical function [such as acoustics, traffic, lighting], the psychological function or the social function of built forms.
During the 19th and most of the 20th century, discussions of style revolved around pure formalism or pure functionalism. Style, as the way of assembling forms, was trapped in producing consistency and sameness across architectural forms. This publication is the third in a series at the GSD focused at researching a contemporary idea of style in architecture.
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The Function of Ornament (ENG ED.)
Farshid Moussavi
A graphic guide to ornaments of 20th century building envelopes.
Rigorous drawings of iconic projects unveil the function of ornament as the agent for specific affects, dismantling the idea that ornament is applied to buildings as a discrete or non-essential entity. Each case exploits specific synergies between the exterior and the interior, constructing an internal order between ornament and material. These internal orders produce contemporary expressions whose affects are resilient in time.
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