FORM & FUNCTION
24-25 fall Basic Design for Visual Communication I
Prepared by Duygun & Kardelen
SKETCHBOOKLAR
bloknotlar
meydana
TASKS DURING
THIS LECTURE:
take notes
draw dıagrams
start makıng adesıgn dıctıonary
most ımportantly; PARTICIPATE TO DISCUSSIONS!
FORM FUNCTION
FORM FUNCTION
Vitruvian Triad: Firmitas, Utilitas, Venustas 15 BC
Crystal Palace, Joseph Paxton 1851
Louis Sullivan - “Form Follows Function” 1896
Bauhaus Movement 1919-1933
Le Corbusier - “A house is a machine for living in” 1923
1930s-1940s Streamline Moderne
1956 Eames’ Chairs - Charles & Ray Eames
Modernist Architecture 1950s-1970s peak
Postmodern Architecture & Design 1970s-1980s
Apple Macintosh - Steve Jobs & Jony Ive 1984
1990s-present Minimalism & Functional Design
Human-Centered Design
Sustainable Design Participatory / Collaborative Processes
Decentralized Production / Maker Culture
how to explore whıch
comes fırst
FORM FUNCTION
WHY GAME
why
why
why not!
why because we can!
why
why
ok. sounds logical
exploration & innovation
area unlocked first Principles Thinking Method
WHAT FOLLOWS
THE OTHER?
FUNCTIONAL &
NONFUNCTIONAL
REQUIREMENTS
VOTING
https://plainmagazine.com/15-useless-product-designs/
what how why
what how why
visible shape methods & strategies purpose
physical configuration technologies & uses reasons to do something
what how why
visible shape methods & strategies purpose
physical configuration technologies & uses reasons to do something
role in power dynamics
primary use balance emotional impact identity
size line components ergonomics communication
shape volume proportions symbolism
pattern mechanisms cultural reference
modularity
material
what how why heritage
texture
color technology iconography
configuration metaphor
durability
utility safety latent function
affordance
social significance
adaptability
cultural impact
efficiency
ritualistic use
role in power dynamics
primary use balance emotional impact identity
size line components ergonomics communication
shape volume proportions symbolism
pattern mechanisms cultural reference
modularity
material
what how why heritage
texture
color technology iconography
configuration metaphor
durability manifest use
utility safety latent function
affordance
social significance
adaptability
cultural impact
efficiency
ritualistic use
what how
Mendini, A. (1994). Anna G corkscrew [Corkscrew design]. Alessi.
size
245 mm
70 mm
Mendini, A. (1994). Anna G corkscrew [Corkscrew design]. Alessi.
technology
components
material
molded components
injection molding, die casting chrome-plated zamak
thermoplastic resin
Mendini, A. (1994). Anna G corkscrew [Corkscrew design]. Alessi.
color
no patterns used
reflective, shiny surface pattern
smooth, polished texture
texture
matte, a soft
and non-slip feel
Mendini, A. (1994). Anna G corkscrew [Corkscrew design]. Alessi.
shape
symmetrical structure
vertical composition
feels balanced?
large base,
volume
heavy at the bottom
can fit at the palm
Mendini, A. (1994). Anna G corkscrew [Corkscrew design]. Alessi.
shape
conical, cylindrical, circular, and helical forms
configuration
all attached to the central cone
large base,
volume
heavy at the bottom
Mendini, A. (1994). Anna G corkscrew [Corkscrew design]. Alessi.
role in power dynamics
primary use balance emotional impact identity
size line components ergonomics communication
shape volume proportions symbolism
pattern mechanisms cultural reference
modularity
material
what how why heritage
texture
color technology iconography
configuration metaphor
durability manifest use
utility safety latent function
affordance
social significance
adaptability
cultural impact
efficiency
ritualistic use
how why
LATENT USE
MANIFEST USE
the secondary, unintended, or hidden
the intended / obvious use of an
ways that an object is used by users
object, product or system
USE
use beyond or different from
its original intended purpose
how objects come to represent certain
ideas, values, or identities, even if this
was not the designer’s original intent
material function symbolic meaning
experiential function
part of social narratives,
identities / cultural symbols
emerge over time through users' creativity,
adaptation OR the changing social context
around the object
LATENT USE
MANIFEST USE
not planned by the designer
planned by the designer
creative & improvised
obvious to the user USE
purpose-driven
SMART PHONE
manifest use latent use
SMART PHONE
to facilitate communication,
a mirror by activating the front-facing camera
internet browsing, and app use.
as a paperweight or a flashlight
the brand or model of a smartphone as a
symbol of social status or lifestyle choices
manifest use latent use
PENCIL
manifest use latent use
PENCIL
writing
to roll the cassette in order to
save batteries in 80’s and 90’s
manifest use latent use
LIGHTER
manifest use latent use
LIGHTER
lighting a cigarette or a cooker
to use it as a bottle opener
becoming an object with agency through which
people meet and have conversations and a
social encounter that might also potentially
turn into a friendship
BLUE JEANS
BLUE JEANS
BLUE JEANS
!!!
cultural affiliation
social status
identity
casual wear
durable
workwear
freedom & egalitarianism
for laborers
miners &
symbol of rebellion
cowboys
global fashion item
MASON JARS
MASON JARS
preserving food through canning
a symbol of a rustic, sustainable, and DIY lifestyle
symbolizing simplicity, nostalgia, or environmental consciousness
manifest use latent use
TYPEWRITER
manifest use latent use
TYPEWRITER
typing
a vintage object representing nostalgia,
creativity, or retro aesthetics
VINYL RECORD
VINYL RECORD
music playback
a symbol of authenticity, musical appreciation,
or subcultural identity
manifest use latent use
ARCHAEOLOGICAL ARTEFACTS
POTTERY
manifest use latent use
POTTERY
functional objects, such as vessels
for cooking, storage, or serving food
social symbolism
elaborately decorated pottery was used in rituals or burial practices,
suggesting that the pottery held spiritual or status-related significance
kraters were used in symposiums
(social drinking parties) and became
symbolic of wealth and status
manifest use latent use
BRONZE AGE WEAPONS
manifest use latent use
BRONZE AGE WEAPONS
ritual objects
status symbols
warfare, hunting, survival activities
weapons could signify the rank or social
importance of the person buried with them
or serve as offerings to gods
manifest use latent use
CEREMONIAL MASKS
manifest use latent use
CEREMONIAL MASKS
ritual performance
political authority or elite identity
political or social significance
Mesoamerican cultures (e.g., the Olmec or Aztec),
were often created for use in religious rituals,
where they served as part of ceremonial performances
leaders who wore them could have been seen as more powerful or divine
ANCIENT COINS
ANCIENT COINS
a medium of exchange in economic transactions
trading, taxation, and payment
political or social significance
political messages and served as tools for propaganda
rulers often minted coins with
their own portraits or important
symbols, for communicating power,
reinforcing their rule, or celebrating
military victories
manifest use latent use
Year/Period Key Event/Person/Movement Details Impact on "Form Follows Function"
Roman architect Vitruvius stated that good
architecture should provide strength
(firmitas), utility (utilitas), and beauty Emphasized the need for utility (function) in
Vitruvius (~15 BC) Vitruvian Triad: Firmitas, Utilitas, Venustas
(venustas). This early philosophy design alongside beauty.
foreshadowed the later discussion on function
and form.
The Crystal Palace, designed for the Great It was one of the early examples of designing
Exhibition in London, was a revolutionary for function, leading to a structure whose
1851 Crystal Palace, Joseph Paxton
design based on functional needs: form was dictated by its materials and
prefabrication, glass, and iron. intended use.
In his article "The Tall Office Building
Artistically Considered," architect Louis Sullivan’s phrase became the foundation of
Sullivan coined the phrase “form ever follows modernist architecture and industrial design,
1896 Louis Sullivan - "Form Follows Function"
function,” arguing that the shape of a building advocating for practical, purpose-driven
or object should be based on its intended design.
purpose.
The Bauhaus school, founded by Walter The Bauhaus’ influence reinforced that form
Gropius, emphasized functional, practical follows function in everyday objects, furniture,
1919-1933 Bauhaus Movement
design for mass production. They argued that and buildings, with an emphasis on simplicity,
beauty arises from simplicity and efficiency. usability, and modern materials.
Le Corbusier, a pioneer of modern
is functionalism approach influenced the
architecture, promoted the idea that a
H
Le Corbusier - "A house is a machine for living International Style, shaping the skyline of
1923 building's form should derive from its
in" modern cities with clean lines, flat roofs, and
function, focusing on efficiency and rational
open spaces.
design principles.
This design style, popular in the U.S.,
Form followed function even in aesthetic
emphasized aerodynamic forms inspired by
movements like Streamline Moderne, where
1930s-1940s Streamline Moderne modern technology (e.g., trains, cars) but was
—
still driven by functional efficiency reducing
sleek, rounded shapes reflected the speed
and utility of new machines.
wind resistance and improving performance.
The Eames’ molded plywood chairs This design philosophy profoundly impacted
epitomized the idea of form following industrial design, influencing mass-produced
1956 Eames’ Chairs - Charles and Ray Eames function: lightweight, stackable, comfortable, furniture that prioritized comfort and
and easy to produce for mass-market ergonomics while maintaining aesthetic
consumption. appeal.
rchitects like Mies van der Rohe and Philip
The “less is more” mantra of this period
A
Johnson embraced the functionalist approach
/ 7
starting from 20s 1950s-19 0s M odernist Architecture in designing skyscrapers and public buildings
solidified the dominance of the form follows
function principle, particularly in public and
with clean, minimal forms (e.g., the Seagram
corporate spaces.
Building).
A rchitects like Robert Venturi and designers in
the Memphis Group rebelled against This movement marked a shift away from
7
19 0s-1980s D
Postmodern Architecture and esign
modernism, reintroducing ornament, playful
forms, and cultural references. They
strict functionalism, but form follows function
continued to shape much of the industrial and
challenged the strict functionalism of the corporate world.
previous era.
The launch of the first Macintosh computer
introduced a balance of form and function,
This showed that form follows function
with an emphasis on ease of use and sleek
doesn’t mean sacrificing aesthetics; instead,
1984 pple Macintosh - Steve Jobs, Jony Ive design. Jony Ive later expanded this with
the two can coexist and enhance one another,
A
products like the iPod and iPhone,
especially in user-centered design.
emphasizing form and function in consumer
tech.
M inimalist design has become a global trend, Everyday consumer products continue to
1990s-Present M D
inimalism and Functional esign
heavily influenced by form follows function.
Brands like Muji and IKEA emphasize
prioritize functional simplicity with sleek,
minimalist forms, driven by practicality and
simplicity, functionality, and affordability. user needs.
Design philosophies now prioritize not only
function but also user experience and Form still often follows function, but new
Present H D D
uman-Centered esign, Sustainable esign
sustainability. Human-centered design
focuses on the end-user's needs, and
factors like sustainability and emotional
appeal are being integrated into the design
sustainable design emphasizes minimal process, leading to a more holistic approach.
environmental impact.
