Form and Purpose

by Moshe Safdie, John Kettle (Other Contributor)

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144 pages, Paperback

First published January 1, 1982

About the author

Moshe Safdie was born in Haifa, Israel to a Syrian Jewish family. His family moved to Montreal, Canada, in 1953. In 1959, Safdie married Nina Nusynowicz. The couple had two children, a daughter and a son. His son Oren Safdie is a playwright who has written several plays about architecture including Private Jokes, Public Places.[2] His daughter Taal is an architect in San Diego, a partner of the firm Safdie Rabines Architects.[3]

In 1961, Safdie graduated from McGill University with a degree in architecture. In 1981, Safdie married Michal Ronnen, a photographer, with whom he has two daughters, Carmelle and Yasmin. Carmelle Safdie is an artist, and Yasmin Safdie is a social worker. Safdie is the uncle of Dov Charney, founder and former CEO of American Apparel.

Reviews

[Paul · Rating 4 out of 5]

A well-considered riposte to the excesses of Postmodernism. Safdie, disillusioned by contemporary architecture that seems to lack substance, argues for a return to basics—responding to the constraints of nature in a design process that evolves across generations, which was, he argues, prevalent worldwide until the past 500 years or so. Postmodernism is the apotheosis of a longstanding trend that prizes individuality above collective tradition, novelty above consistency, symbolic expression above fidelity to environmental needs. By following this path, contemporary architecture (like modern art) loses its sense of meaning and beauty, and this multiplies out to a total incoherence at the urban scale.

The final chapter sums up his diagnosis of the issue of the time: Postmodernism is an indulgent, individualistic exploration of surface-level questions because its architects are unable or unwilling to tackle complex social issues; the way out is greater understanding of and appreciation for community values and priorities. This may or may not be a realistic goal—and it lacks the easy, jaded detachment of, say, Robert Venturi—but there is definitely a moralistic appeal to it. As Safdie concludes: “He who considers himself the servant of his fellow beings shall find the joy of self-expression. He who seeks self-expression shall fall into the pit of arrogance.”

[Justin · Rating 3 out of 5]

Revisits the age old argument of form and function. I found it interesting that the author of Montreal's Habitat 68 would rail so much against contemporary design in favor of indigenous building methods. One chapter in particular he lets loose on fadism and fashion plaguing culture in general.