Modern dialectics- Ornamentation vs.

Functionality 1

Architectural Function in the Post Modernism Movement

Students Name

University/College
 Modern dialectics- Ornamentation vs. Functionality 2

Introduction

In modern architecture, form follows function is the most familiar precepts. It details the

evolution of modern architecture and its decline. Based on an analysis of the organic architecture

by Frank Lloyd Wright, it is possible to look at the modernist principle that forms follow

function by analyzing the concept in the context of case studies. Indeed, the architectural

aesthetics and spatial organization show that indeed, form follows the function. According to

Louis Sullivan, form and function are linked. This analysis will consider the structures exterior-

interior form and connection through an analysis of the post-modernism movement. Even though

this method might not be seen as revolutionary today, they are unique and rich ways to link to

the buildings function with its form (Uechi, 2013). This principle details that a building or

object should be principally based on the purpose or intended function.

The within or the room itself shows the importance of having a principal interior space

or a single room in determining the architectural character that applies to a structure. Through the

idea of continuity, Frank Lloyd Wright proposes that vertical and horizontal structural elements

are made sculpturally with one another, so the post construction disappears (Wright, 1975).

Form and function as part of living art

The social conditions have granted architecture a historical privilege, a task that is worthy

of the first Gothic cathedrals and Greek temples. The idea that form follows function is

considered as a matter of nature. Form influences everything in the environment with a fragment

of its identity. A plant is differentiated from a bird, and a human is differentiated from a plant

and so on. The form does not help us to identify one living thing from another. Instead, it tells us

something about how they live their lives (Aouad, et al., 2013). The outward appearance acts as a
 Modern dialectics- Ornamentation vs. Functionality 3

resemblance of the inner roles. For instance, a tall building is seen as being characterized as part

of the spatial organization. This has been the model of many towers. It is marked with a

conspicuous ground floor, multiple floors that are used for offices and special-purpose floors

found at the top of the building. According to Sullivan, the top of the building is space for

mechanical services (Baker, et al., 2015). Furthermore, the organization of the building is a

natural aspect of the buildings practical concerns. Architecture is seen as a living art. Also, a

form follows function. The entire essence of a building relies on the height and spatial

organization. The soaring height, if expressed well, enlivened the building. In this case, the

natural form emerges from both.

Case study

The case study will consider the work of Wright. When he began to design houses, he

believed that the American home was oppressive. He considers modernist houses as just boxes

rather than houses. The interiors are comprised of boxes next to other boxes, or inside boxes.

This is also known as rooms. The boxes are combined within an outside boxing. The domestic

function was properly box-to-box. This was considered as unnatural. In this regard, the

residential plans included fewer boxes, but with a larger window area. This allows more natural

light to illuminate the indoor spaces (Bizley, 2010). This was the basis of the evolution of the

open floor plan. The radical look and appearance of the exterior is a reflection of what is going

on inside. The principal interior space or room plays a role as a singular force that directs the

architecture through the building. The inner purpose creates an exterior expression. In this

regard, designing the room is similar to designing the building (Clark & Pause, 2012). This

means that the desing concept is from functionality to ornamentation.

 Modern dialectics- Ornamentation vs. Functionality 4

The Unity Temple, completed in 1906, is a good example. This is the best way to display

the within in organic and particular architecture. The functionality is of the essence, and the

architect came up with a design from the form. The primary component of the structure is the

churchs central auditorium. A noble and great room determined the design of the structure. The

room follows the organic architectural principle of simplicity. It is a four-sided with a platform

on one side. There is a set of pews at the front of the podium. The main floor pews have

balconies, and stairways are placed at the end (Ching, 2007). These attributes link the building

together as a whole. They are linked, and they exert themselves so that they can shape the

exterior that merges to its interior. Mostly, this exemplifies that function and form are related.

Figure 1: Unity Temple auditorium plan

 Modern dialectics- Ornamentation vs. Functionality 5

Figure 2: Unity Temple ground floor plan

The balconies extend to create a form for the imposing gray mass that is around the

auditorium. Square columns that cross-sectioned partition the clerestory windows. The stairways

are quite prominent, and they separate the mass of the structure at the corners. In the structure,

the origin is the interior space (Farcy, et al., 2010). In his context, Wright comments that

architects should invert their perspective in architecture based on the internal and not the external

to come up with something that fits the human purpose. In this regard, the design was inspired by

the form.
 Modern dialectics- Ornamentation vs. Functionality 6

Figure 3: Interior

Figure 4: Exterior and elevation

Architectural evidences

The architectural evidence can be seen from the pictures below. The sequences of

drawings completed during the graphic design phase of building several projects shows how

architects integrate the form into function. These illustrations transform the site characteristics.

The architect determines the client has needs and starts to integrate the purposes into physical

forms. During the entire progression of design, the illustrations change and develop the structure

or architecture (Schumacher, 2012). Moreover, we find that the architecture looks like the

purpose or function of the structure or house. This relationship is intentional and beautiful.
 Modern dialectics- Ornamentation vs. Functionality 7

Windows should not be placed where they do not make sense. The kitchens should not be hidden

since it does not conform to the faades symmetry the stairways also have sufficient space.

Figure 5: The initial design stage

Figure 6: Design stage 2

 Modern dialectics- Ornamentation vs. Functionality 8

Figure 7: Final design

Antithesis

The opposing point of view arises from traditional architecture. This is a post-modernistic

approach. According to this architectural thinking, the architect determines the faade of a

building that was not dependent of the interior of the structure. A large number of buildings are

available to illustrate this includes Egyptians, Greeks, and Medieval time structures. An example

is the structure used in the American colonial structures from the late 1700s they had

architectural facades that were quite imposing and looked outstanding. The Georgian style of

colonial architecture followed a structure that was a formal box envelope (Lange & Lange,

2012). It also had regimented symmetry and a uniform window pattern. The balance is quite

rigorous, and the chimneys were mirrored from side to side.

 Modern dialectics- Ornamentation vs. Functionality 9

Figure 8: Georgian architecture

Even though the old-fashioned architecture may seem composed from the exterior, it

does not mean that there is a direct relation to the interior. In many cases, the interiors are made

to provide for the exterior look. This means that awkward wall locations, distorted rooms,

cramped stairways, and odd wall locations characterize them. Indeed, this creates a conflict

between the outside and the inside (Self, 2014). Despite these issues, the traditional architecture

is still attractive in our culture. This has led to revivals, faux styles, and knock-offs that have

remained in place for hundreds of years beyond their relevance.

Figure 9: Adaptations of traditional architecture

 Modern dialectics- Ornamentation vs. Functionality 10

The example provided above detail the traditional looking houses that have been built in

the current time. The architects must have made concessions in regards to the floor plans to

ensure that it accommodates the illusion of a traditional facade. Fortunately, his era has passed,

and architects have avoided sacrificing the functions of a structure. The function should inform

the aesthetics of the structure (Schumacher, 2012). Many architects have begun to look at the

perfect associations between the inside and outside of a building.

In the current era, buildings have become transparent and authentic. This allows

architects to interpret social needs and human behavior as they are. This means that architects do

not have to make a structure based on a pre-established faade. Inferring the facts such as site

limitations, codes, importance and client needs, and interpreting them into the constructed form

is the most important stage for an architect. This means that many designers begin projects

without an idea of what it would look like once it is completed. The appearance will act as a

function of its purpose, what it is doing, and how the building works. The development means

that architects are utilitarian thinkers and are keen to look at the concrete solutions and able to

avoid the fashion of a building (Stine, 2011). This progression is quite rewarding for clients who

consider architecture as an adventure.

In conclusion, the paradigm change in architecture is an integral change in the

contemporary era of design. It allows a change in the functional and aesthetics of design and it

permits the rational intellectual architect to enjoy the design progression. The process is the most

important part. The organic architecture follows concepts that support the principle that form

follows function. A humane architecture starts with the place to live in. In this context, the room

or the within is space is the evolution of the inner purpose dictating an outward expression.
 Modern dialectics- Ornamentation vs. Functionality 11

Bibliography

Aouad, G., Wu, S., Lee, A. & Onyenobi, T., 2013. Computer Aided Design Guide for

Architecture, Engineering, and Construction. 1st ed. New York: Routledge.

Baker, N. V., Fanchiotti, A. & Steemers, K., 2015. Daylighting in Architecture: A European

Reference Book. 1st ed. New York: Routledge.

Bizley, G., 2010. Architecture in Detail II. 1st ed. New York: Routledge.

Ching, F., 2007. Architecture : form, space, & order. 1st ed. Hoboken, N.J.: John Wiley & Sons.

Clark, R. H. & Pause, M., 2012. Precedents in Architecture: Analytic Diagrams, Formative

Ideas, and Partis. 4th ed. Hoboken, N.J.: John Wiley & Sons.

Farcy, E. d., Foure, C. & Viterbo, B., 2010. New York. 1st ed. New York: Knopf.
 Modern dialectics- Ornamentation vs. Functionality 12

Lange, A. & Lange, J. M., 2012. Writing about architecture: mastering the language of

buildings and cities. 1st ed. New York: Princeton Architectural Press.

Schumacher, P., 2012. The autopoiesis of architecture. 1st ed. Chichester: J. Wiley.

Self, R., 2014. The Architecture of Art Museums: A Decade of Design: 2000 - 2010. 1st ed. New

York: Routledge.

Stine, D. J., 2011. Commercial design using Autodesk Revit Architecture 2012. 1st ed. Mission,

KS: SDC Publications.

Uechi, N. T., 2013. Evolving transcendentalism in literature and architecture: Frank Furness,

Louis Sullivan, and Frank Lloyd Wright. 1st ed. Newcastle upon Tyne: Cambridge Scholars

Publishing.

Wright, F. L., 1975. In the Cause of Architecture, Organic Architecture Looks at Modern

Architecture, and Other Essays. In: n the Cause of Architecture: Essays by Frank Lloyd Wright

for Architectural Record. New York: s.n., pp. 1908-1952.