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Architecture: Form, Function, and Object

September 3, 2020 by Andrew Hawkins — 12 Comments

“Form follows Function.” was a phrase coined by the late Louis Sullivan in 1896 in his article
titled The Tall Of ce Building Artistically Considered. In reality, the phrase was “Form ever
follows function”, and was based on Roman ideas of Vitruvius of architecture being solid, useful,
and beautiful. There have been several other writings that followed in history on this subject
based on this idea as well. “Ornament and Crime” comes to mind quickly. This modern idea
developed in the late 19th and early 20th century in architecture and still has what I would call a
stronghold in the profession and discipline. This statement essentially became the mantra of
Modernism. But is this still an appropriate way to think about architecture and design?
*** Quick note for clarity… I am creating some abbreviations for my use here; Form Follows Function noted
as F3, Form over Function (FOF), and Capital A “Architecture” as the notion of what is beyond the basic
building structure of architecture. ***

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Function yields to Form. This would be another way of stating this position. Architecture is the
re ection of the program and the spaces it creates and serves. These elements begin to give the
project its Form. This faction believes in the notion of Form Follows Function. The functions of
the spaces are the priority in the design process. They represent the primary elements to drive
the design and the Form itself. I would go so far as to even state the idea that the programmed
spaces are what give this Architecture its meaning. This was embraced by the Modernists of the
early and mid-20th century in many aspects of their work. The tectonics, the materials, textures,
forms, colors all were in uenced and a result of the program or function of the space. There is a
very large part of me that falls in line with this ideology. Program is primary. Certainly, this is the
truest statement ever made. Right?

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I would say that somewhere in the Post-Modernist era architects began to revolt against this
idea on many levels. The idea of Architecture as Object began to be more prevalent. This in many
ways is an older and more “classical” approach to Architecture. I would even say that this
postmodern ideology has its roots in classical architectural thought, not in the classical sense of
ornament, but more in the notion of Architecture as an Object. This can be evidenced in many
postmodern designs of buildings that are meant to be understood as singular objects, and quite
directly I might say. (looks in the direction of Michael Graves) So from this, I would propose that currently
there are two (hopefully three) modes of thought within architecture concerning form and
function.

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Frank Gehry, Louis Vuitton Foundation – photo credit Iwan Baan 2014

In the opposition to the F3 mentality would it be “Object over Occupants?” … “Form over
Function?” Those are my best efforts to turn a quip or catchphrase for the opposing theory. I am
sure there may be some other much more eloquent way to phrase it. Simply put it becomes
most likely “Architecture as Object”. I would say that this group of architects tends to see
Architecture as a form of Art more than the previous group. That may be overstating it a bit as I
am certain the F3 group still considers their work as art. Yet I would say this group places a
stronger emphasis on Art. So this ideology believes the framework that the Form of the
Architectural Object is the most important concept in design. The program or usage is
secondary to the notion of the overall form’s creation and expression. The expression of the
Form is the “capital A” Architecture. The Form is the ultimate de nition of the design and it is
paramount to all other elements. Once the form is designed then the program is put into the
Form that has been created. Often times squished or molded into some spaces possibly not well
suited for the function. In my opinion, this is what many people think all Architects believe,
mainly because many of the most well-known architects fall into this camp. Think of Frank
Gehry, Zaha Hadid, Rem Koolhas, Daniel Libeskind, etc. as the image that is mostly associated
with Architecture. In some ways, I think this is the detriment to our profession as the built works
feel very disassociated from the general public and ideologies they readily understand or maybe
simply relate to. While as an architect, I can understand the work and see it has some merit, I
think that it is very focused on Architecture as Art and Object. And this has given away some of
our authority in the world as a whole. I know that others may state that the loss of full creativity
is the reason for our depreciation in agency also. It is a consistent argument within our ranks.

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Glenn Murcutt, Magney House – photo credit Anthony Browell

Then I think there is also a third and nal faction of architects that attempts to join these two
separate ideologies into one. I think that many current architects may fall into this category to
some extent. They understand the importance of programmed space but also strive to create
meaningful and expressive forms. But even in this pursuit of duality, one element will take
precedent over the other. They cannot be equals. While that may be a possibility, I think it is in
all honesty very improbable. If I am incorrect, please provide me some examples. Yet the power
of this faction comes from the acknowledgment that the two other factions have it incorrect in
their singular view. That Architecture must be a balance of both in order to reach that next level
of capital “A”. So the success here comes in the attempts to resolve the previous con icts of the
20th-century theories about Architecture into a solution that is both extremely functional and
extremely expressive.

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Louis Sullivan Prudential Building (1896) and Zaha Hadid proposed CECEP’s Tower in Shanghai (2020)

So is one of these attitudes the correct point of view? I am honestly not certain these days.
While I have always been a strong proponent of Form Follows Function, I am starting to think
that the third option is really what Architecture needs to regain its relevance. In my humble
opinion, this may be one of the greatest challenges currently in architecture. (Yes, after climate
change) This has been brewing in the back of my mind for some time, but now as I spend more
time in academia and theory; it has pushed itself into my forefront and urged me to reevaluate
my position. An act that I think may be forever in progress, but a healthy process for sure.

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Fay E Jones Thorn Crown Chapel Eureka Springs, Arkansas – photo thorncrown.com

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There is a sector of the work being done currently that has taken the idea even to the point of
Function Dictates Form, which produces some very benign and possibly loathsome architecture.
ARCHITECTURE
(de nitely lower case “a” here) While as a principal BOOKS+
of my own of ce I can understand the push of
budgets, limits of time, and will of clients can completely reshape your project in some
instances, we should all strive for better. This is what will give us a return to our in uence over
the built environment as a whole and allow our profession to do what it does best and solve
problems in a holistic and meaningful way. Food for thought…

Until next time,

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Lee Calisti, AIA • 3 months ago

Andrew, forgive me for being late to the party. I love this discussion, as I feel most of us have grossly taken Mr.
Sullivan out of context for a century, and I applaud you for trying to correct that.

It seems to me that in the context of his explaining why a tall building has the form he believed in, he looked to
nature for justification - everything that preceded us. Within nature, he posits, there is an inextricable link
between the manner in which something works and its appearance. I conclude this is closer to your last
hypothesis. In other words, neither is more important, nor can one take priority. We don't make a gesture of an
overhang unless that protection is needed by the site and position on the earth. We make something tall because
the site cannot fit anymore space, or we place something on a corner with material properties (glass) because the
demands of the city or program require that response. Sadly, the more we try to explain it, the more one can pick
it apart. This is no fault of the theory, but in the one explaining it.

The quote comes from the paragraph below.

"Whether it be the sweeping eagle in his flight, or the open apple-blossom, the toiling work-horse, the blithe
swan, the branching oak, the winding stream at its base, the drifting clouds, over all the coursing sun, form ever
follows function, and this is the law. Where function does not change form does not change. The granite rocks,
the ever-brooding hills, remain for ages; the lightning lives, comes into shape, and dies in a twinkling."

Architecture would benefit if we understood this link, and gave attention to those who embrace it, rather than
attention give to the weird, narcissistic, or indulgent.
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Jon Donhy > Lee Calisti, AIA • 3 months ago • edited

In other words, an edifice that looks like it accommodates it's purpose and context.
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Aaron A • 3 months ago

The article assumes that beauty itself is not a function
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Jonathan Brown • 3 months ago

The evolution of culture is synonymous with the removal of ornament from utilitarian objects.
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py

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Dudes have nipples.
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Amir Makieli • 4 months ago
I think maybe we can look at it as: Form is liberated by Function.
Function is the drive, with all of it's intricate considerations, but then that allows you to sculpt an artistic form
around that envelope (an within the zoning envelope). I thin this sort of falls into that 3rd category you
mentioned, because like you, I don't think either of the first two options are absolutes. There's got to be some
wiggle room.

Question, do you feel your designs in professional practice have changed over the years as your feelings on this
concept have changed?

Also, Where does Bob stand on this debate (He never seems to join the conversation in your posts)?

Cheers.
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Jon Donhy • 4 months ago

Would you add "C" for context? In the 60's we were taught that C was the first consideration and had a large
impact on form. Without C, programming could be a waste of time. Example: Falling Water.
John Donaghey
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Erik Thorsen • 4 months ago

Hi Andrew,

Wow - that's a big and deep topic you've opened up here. Food for thought, indeed...

My $0.02 on the subject of architecture that combines the best of both attitudes, and strikes a balance between
the two.(i.e.understanding the importance of programmed space, but also striving to create meaningful and
expressive forms): I'd argue there's a fairly good candidate for the title of "building/architect who actually pulled
that off": the Sydney Opera House by Jørn Utzon.

*Deep breath*. Long rave coming (sorry) but bear with me here. At first glance, it would be highly tempting to
classify the SOH as almost purely "Form" (and at the cost of "Function"). A sculpture, rather than a building.
While it was under construction (i.e. being finished), I was studying architecture in the Netherlands. The "gurus"
of the day were Corbu and Gropius and the like, and even some Russian functionalists. No mention of F Ll W or
Gaudi, ever. The design of the SOH was severely mocked, and most of my peers agreed that it was a very "non-
functional" building.

But I remember seeing a TV interview with Utzon, where he explained some of the thought behind the concept.
(You probably know this better than most, but for the record:)
Firstly, he stressed the circumstance that people would be seeing the building from literally thousands of angles:
see more

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skin in the game • 4 months ago

Form and function are just mental exercises without FUNDS! Architecture is fund-a-mental?
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kerry hogue • 4 months ago

no mention of the mantra "less is more" ?
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Andrew Hawkins > kerry hogue • 4 months ago

Well yes, that is a modernist mantra as well, but I didn't see it as part of the debate over "form" in
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architecture. I feel that "less is more" is more of an aesthetic mantra and could be applied to both types of
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kerry hogue > Andrew Hawkins •ARCHITECTURE

4 months ago BOOKS+
yes, though he purveyed pure form.
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