Functionalism

ARCHITECTURE
Functionalism, in architecture, the doctrine that the form of a building should be determined by practical
considerations such as use, material, and structure, as distinct from the attitude that plan and structure must conform
to a preconceived picture in the designer’s mind.
Although Functionalism is most closely associated with modern architecture (and to some extent with modern
furniture), it is by no means an exclusively modern conception. Apart from the fact that even the most fanciful
architecture has practical functions to fulfill, there have been times in the past when functional considerations have
been unusually dominant, and the artistic character of the buildings of such times has been directly derived from the
way the challenge of function has been met. Historical European examples include the military architecture of the
early Middle Ages, certain periods of Gothic ecclesiastical architecture, and much of the industrial and commercial
architecture of the 19th century. The expression “the functional tradition” is applied to this emphasis on
functionalism, which appears and reappears throughout the history of architecture independently of changes in style.

The Functionalist creed, however, is especially associated with the modern style of architecture, which developed
during the second quarter of the 20th century as a result of changes in building technique, new types of buildings
required, and changing cultural and aesthetic ideals. In fact, as architects began to show discontent with the
historical revivalism that had been paramount in the 19th and early 20th centuries, a type of architecture based on
the clear outward expression of the function of the building was bound to develop. The slogan “form follows
function,” coined in the 1880s by one of the pioneers of modern architectural design, Louis Sullivan and the dictum
of the architect Le Corbusier “a house is a machine for living,” which dates from 1920, both state the idea
uncompromisingly. The latter assertion, however, although typical of the polemical statements made in the 1920s,
when the battle for a more functional approach to architecture was being most strenuously fought, was not meant
literally, as other statements of Le Corbusier indicate. The supporters of Functionalism in architecture have on
occasion asserted that good architecture is automatically produced by the fulfillment of practical needs; yet in this
fulfillment there remain many alternatives among which the architect must choose, and such a choice may determine
the difference between good and bad architecture.

Le Corbusier’s and similar statements do, nevertheless, reflect the insistence of the modern architect that the process
of design begins with an analysis of the building’s function and of the best technical means of meeting it and that
aesthetic character, instead of being superimposed, emerges as a part of the same process. For this reason, the
emphasis on Functionalism in modern architecture implies a reunion of architecture and engineering, which had
become separated in the 19th century.

Functionalism is an important part of modernist architecture. In this lesson, we are going to explore the history and
use of this style and check out a few great examples.

Functionalist Architecture

Painting has often been argued as having purpose. It may be to encourage meditative reflection on the human
experience, to rally those of shared political mentality, or to produce an emotional reaction, but this purpose is
defined purely by the art. Architecture is a bit different. Buildings have concrete function, and are defined by both
their use and aesthetic. But which is more important, the function or the appearance? To the adherents of
functionalist architecture, the answer is clear: buildings are defined first and foremost by their purpose, and that's
exactly how they should appear.

History of Functionalism

The debate on the role of architecture dates back millennia, at least to the 1st century BCE Roman architect
Vitruvius, who claimed that buildings needed to be useful, stable, and beautiful. Over time, architects tended to give
preference to one of these traits over the others. By the 19th century, many architects were focusing mostly on style.
The form, shape, and appearance of buildings were modeled foremost by the style they adhered to. However, by the
end of the century there were some who opposed this idea. They believed that the function of a building should be of
utmost importance, and that the form should be based around that.
This idea was encouraged by new industrial technologies in the United States and Europe that allowed for larger
structures built of mass-produced materials like steel and plate glass. As buildings of this kind have never been
created before, there was no historic precedent and architects had to debate what styles would best fit these new
buildings. An American architect named Louis Sullivan famously proclaimed in the 1880s that ''form follows
function'', claiming that his new designs (eventually called skyscrapers) did not need elaborate facades or strict
styles. They were defined first by their function as office spaces, stores, or residences. The form and style were
based around that function. This idea became popular in the United States and Europe. The Swiss architect Le
Corbusier followed up Sullivan's mantra by defining a house as a ''machine for living'' in the 20th century.
Functionalism was on the rise, formally coming into its own by the 1930s.

Characteristics

So, what exactly does a building defined foremost by function look like? Functionalism, in terms of aesthetics, is
characterized by low levels of ornamentation and extraneous decoration, as well as a prominent display of raw
materials. Following the idea that function comes first, the building materials used to make a structure are often left
uncovered and undecorated. This means that flat concrete slabs, steel sheets, and even wood beams or floors are left
exposed, meant to be viewed exactly as they are. By the mid-20th century, these elements also represented the mass-
production of the modern era. Rather than relying on hand-crafted designs, functionalist structures could proudly
display identical, industrially-produced elements created for their functional purpose, not their craftsmanship or
design.

Functionalism, in architecture, is the principle that architects should design a building based on the purpose of that
building. This statement is less self-evident than it first appears, and is a matter of confusion and controversy within
the profession, particularly in regard to modern architecture.

The place of functionalism in building can be traced back to the Vitruvian triad, where 'utilitas' (variously translated
as 'commodity', 'convenience', or 'utility') stands alongside 'venustas' (beauty) and 'firmitas' (firmness) as one of
three classic goals of architecture.

In the early years of the 20th century, Chicago architect Louis Sullivan popularized the phrase 'form ever follows
function' to capture his belief that a building's size, massing, spatial grammar and other characteristics should be
driven solely by the function of the building. The implication is that if the functional aspects are satisfied,
architectural beauty would naturally and necessarily follow.

Sullivan's credo is often viewed as being ironic in light of his extensive use of intricate ornament, since a common
belief among functionalist architects is that ornament serves no function. The credo also does not address whose
function he means. The architect of an apartment building, for instance, can easily be at cross-purposes with the
owners of the building regarding how the building should look and feel, and they could both be at cross-purposes
with the future tenants. Nevertheless 'form follows function' expresses a significant and enduring idea.

The roots of modern architecture lie in the work of the Franco-Swiss architect Le Corbusier and the German
architect Mies van der Rohe. Both were functionalists at least to the extent that their buildings were radical
simplifications of previous styles. In 1923 Mies van der Rohe was working in Weimar Germany, and had begun his
career of producing radically simplified, lovingly detailed structures that achieved Sullivan's goal of inherent
architectural beauty. Corbusier famously said "a house is a machine for living in"; his 1923 book Vers une
architecture was, and still is, very influential, and his early built work such as the Villa Savoye in Poissy, France is
thought of as prototypically functional.

In the mid-1930s, functionalism began to be discussed as an aesthetic approach rather than a matter of design
integrity. The idea of functionalism was conflated with lack of ornamentation, which is a different matter. It became
a pejorative term associated with the most bald and brutal ways to cover space, like cheap commercial buildings and
sheds, then finally used, for example in academic criticism of Buckminster Fuller's geodesic domes, simply as a
synonym for 'gauche'.