ASSIGNMENT NO : 1
FORM FOLLOWS FUNCTION
The design of the Form comes The use of the
object or building before function objects.
BY : 3 C
• JYOTI AHLAWAT
• SAJIDA SHAHNUM
• SNIGDHA KHANEJA
• TSERING CHOEZOM
The original – “Form follows function”
Louis Sullivan, exact word describing form follows function in his article.
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.
And
“It is the pervading law of all things organic and inorganic, of all things physical and
metaphysical, of all things human and things superhuman… that form ever follows function,
This is the law …”
The ever so famous quote used by all modernist architects
“form follows function” actually comes from Sullivan’s original
quote “form ever follows function”.
Louis Henry Sullivan was an American architect (1870-1920′s)
who has been called the father of modernism and the father
of skyscrapers.
When we say the that the form follows function we say that the purpose defines the look
and shape of the object and that’s efficiency.
The original – “Form follows function”
He defined the style in architecture which expresses the ‘verticality’ of high rise
buildings.
His architecture was defined my beautiful modular ornamentation on simplistic
building forms, striking a perfect balance in art nouveau and modernism.
The underlying idea behind this philosophy is “efficiency”. Efficiency in materials, space
planning and ornamentation provides a way to minimize the cost of construction and
increase the profit margin.
The idea of efficiency suddenly became central to the high rise architecture because of
modular construction that greatly supports repetition.
All of the new ideas in efficiency were shown in Sullivan’s first masterpiece- The
Wainwright building in St. Louis.
Louis Sullivan's phrase "form (ever) follows function" became a battle-cry of
Modernist architects after the 1930s. The credo was taken to imply that decorative
elements, which architects call "ornament," were superfluous in modern buildings.
Balancing money, Aesthetics, Supply-Demand & Innovation
What’s so special about form follows function?
Sullivan’s speciality was not cutting costs with efficiency, rather his abilities shined in
“optimization”.
It is the idea of striking a balance to optimize aesthetics, economics, experience and
usability of any architecture.
For example: he often used beautifully crafted terra cotta tile mouldings on the exterior
of the buildings. In this way, he optimized aesthetics of the building without sacrificing
the economics since the same tile was repeated in many place.
He used ornamentation only where needed, namely in pediments, cornice and common
areas in the interior of the buildings.
He always used custom ironwork railings and elevator doors since these are high traffic
areas.
He expressed verticality with exterior columns and believed that every inch of a tall
building should reflect its ‘tallness’. This can be seen in his choice of ornamentation,
facade and spatial organization.
LOUIS SULLIVAN : Father of Modern Architecture
Their buildings were not only functional examples of metal frame technology, but
successful artistically in unifying a skyscraper’s repetitious components.
The Wainwright Building (1890) is a ten-story, steel-skeleton structure that emphasizes
verticality with, for the first time, an aesthetically effective shell.
A major landmark in American architectural history, the Wainwright building was hailed
by Frank Lloyd Wright, as the first structure with “height triumphant.
Sullivan influenced a generation of architects by designing the
modern skyscraper as an organic whole. Whatever is beautiful
rests on the foundation of the necessary.”
He delineated three major visible sections in his works:
• A strong base with broad windows for shops,
• A middle section for offices with vertical elements to
dramatize height, and
• A capping cornice housing mechanical equipment.
• The tripartite division corresponds to practical
requirements.
The Wainwright Building (1890)
LOUIS SULLIVAN : Father of Modern Architecture
The Guaranty Building (1895-96) with its giant arches, even more gracefully meets the
challenge of imposing coherent visual organization on a tall tower.
Here, Sullivan doubled the number of vertical piers (every other pier is not load bearing)
to express not just function but as a design element forcing the eye to read the middle
ten floors as one continous, soaring unit.
In Sullivan’s treatment of Guaranty Building, the whole seems to grow organically. He
clad its strong simple form in floral ornament, which he likened to “poetic imagery.”
With a deft touch, Sullivan transformed pure structure and function into an aesthetic
statement.
CHICAGO STYLE
If we review the characteristics of Chicago Style, the most important items were as follows:
• Use of new material, new building techniques
• Elimination of historical ornaments
• Inventive and fresh surface decoration
• Expression of structure
• Abundance of antique styles
• Expression of building’s commercial purpose:
As a result, LOUIS SULLIVAN (1856-1924) is considered as the father of
American Modern architecture.
He saw that the new vertical towers demanded wholly a new aesthetic. He was one of the
earliest to use the steel frame .
Therefore, the exteriors of his designs echoed: not only the building’s function, but its
interior skeleton.
He rejected antique styles, and the 19th century European architecture, but did not avoid
using ornamentation .
FORM FOLLOWS FUNCTION IN OBJECTS
A design or a style or a shape of an object follows the function of the object.
For an example, a chair's shape is designed according to the exact purpose of
its existence. If the chair is built for people to have a quick nap, the chairs shape must
be long enough to make the people feel comfortable and cosy.
If an object has to perform a certain function, its design must support that function to
the fullest extent possible.
DIFFERENT FUNCTIONS DIFFERENT FORMS
REASON FOR CIRCULAR SHAPE OF APSE
GUGGENHEIM MUSEUM
Frank Lloyd preferred the Guggenheim Museum be built outside New York City.
The aerial photo of the museum, shows natural elements.
As we approach the museum’s entrance, the openness you previously felt is replaced by
the imposition of a hovering , low ceiling.
The entrance is simple and understated. At every step of the way design directs what
you see and when you see it.
According to design, visitors would enter the building, take an elevator to the top, and
enjoy a continuous art-viewing experience while descending along the spiral ramp.
With a pointer, trace the path that Wright intended for visitors to travel. In this way
design conform to the principle of “form follows function”.
In 1956 Wright designed one of his final buildings, the Guggenheim Museum in New
York.
It is the culmination of decades of innovations throughout his architectural career, and
shows the progression of his designs from linear to circular.
GUGGENHEIM MUSEUM
He based the design of the Guggenheim on one shape from nature : the spiral.
The floor plan is one single
fluid ramp spiraling up six
stories and resembling the
inside of a seashell.
There is conventional approach to museum design, which led visitors through a series of
interconnected rooms and forced them to retrace their steps when exiting.
In fact it is not divided into individual floors connected by staircases or elevators, but is
instead one single fluid ramp spiraling up six stories .
A skylight illuminates the interior from above, and the white concrete walls reflect the
light.
