Pseudo-Functionalism in Modern Architecture (Book Review Sample)

FRIEDRICH KIESLER AND PSEUDO-FUNCTIONALISM
By Students Name:
Code + Course:
Professor:
University Name:
City, State
Date:
This paper presents an analysis of an article Pseudo-Functionalism in Modern Architecture by Frederick Kiesler. Functionalism refers to an emphasis on the use of a project as opposed to the design and the manner in which the project looks like. Pseudo-functionalism is the major theme identified in this article. It refers to the design of a structure or building, without focusing on the actual purpose of the building instead paying more attention to its outlook. This paper identifies the specific points that Kiesler made in his article, tracing the evolution of architecture from the primitive to the modern man. The article presents a critique of this concept, identifying the reasons Kiesler wrote it and its historical context. It is important to explain that the reason for writing this article was to criticize the growing notion that architecture is all about designs and outlooks. Therefore, the author uses the term pseudo-functionalism, implying that the architectural designs were fake because they did not satisfy the main objective of the building, which was to provide shelter and cover for human beings.
To understand the works of Kiesler and his pseudo-functionalism approach, there is a need to identify and understand his historical background and architectural works. As a designer and an architect, the main interest of Kiesler was to be creative in coming up with original architectural designs by combining historical and modern designs of architecture. Kiesler believed that the historical designs of architectural works belonged to functionalism. Their designers were not motivated by money but wanted their buildings and architectural designs to serve a specific function. Therefore, in developing his pseudo-functionalism theory in modern architectural designs, Kiesler managed to investigate the needs and desires of people during his time.
The author lived during the periods of 1890 to 1965, which was a period characterized by industrialization and modernity. It saw the emergence of a wealthy group of people who were concerned with class, status, and beautiful architectural designs. To satisfy the needs of these groups, architects began to design houses for money, creating flashy and beautiful designs without considering the quality of the houses and their intentions. A good example of such kind of an architect was Louis Sullivan. The architectural beliefs and principles of Sullivan were directly in conflict with that of Kiesler. Sullivan believed that the form of a building should come before the function of the building. Through this assertion, Sullivan was justifying the development of beautiful and flashy architectural designs. Kiesler rejected this concept, explaining that the environment should determine an architectural design.
He highlighted that architects had to review the function of the projects they were undertaking and come up with a building that adapts to the specific function. It is the reason most of his architectural designs comprised wood, metal, and glass. The use of these materials was dependent on the environment in which his architectural design was to be utilized. An example of a design that he produced based on the principles of functionalism was the 1947 correalistic furniture (Fig. 1). In this design, Kiesler came up with simple furniture without a couch. The simplicity of this furniture is an indication of the beliefs and principles of Kiesler regarding designs. By looking at this furniture, its major intention is to allow its user to sit on it. That is the principle use of a chair and it satisfies the element of functionalism.
 INCLUDEPICTURE "/cms/media/a_sujet/05kiesler%20reedition/start/thumbnails/Corr-Moebel-T.jpg" \* MERGEFORMATINET 

Fig 1: Frederick Kiesler: “Correalistic Furniture”.
Kiesler denotes that architecture is an evolving field that has passed through the primitive age, the middle age, modernity, and it is still evolving. He uses these developments to advocate the need to use the principles of functionalism to design and build houses. For example, the primitive age was a period where individuals were unskilled in the design and building of houses. All that they did was to put up structures as long as they served the purpose of protecting them from the sun, predators, and other hazards. However, the modern designs of architecture have shifted from the focus on the purpose of houses and buildings to a concern associated with the outlook of their designs. Kiesler explains that it is unacceptable and it involves the dehumanization of humankind. According to the author, the house itself will not be practical, which means that it will not serve its purpose. For any house to be serviceable, the designers should come up with a ground plan and build the house according to this plan. He further states that the ground plan is an imprint of the volume of the house and it will enable designers and architects to create buildings that cater for the needs of the people residing in them.
In criticizing this element of pseudo-functionality, Kiesler develops the concept of physical and psychic conditions in the design. These are new concepts, but Kiesler explained them in a manner that was easy to understand. In his view, physical conditions are man-made and do not last long. He underlines that the aesthetic elements of a design aim at satisfying physical conditions. Kiesler also explains that the satisfaction derived during this process does not last long because it creates a mask of happiness, as the aesthetic designs do not satisfy the psychic conditions. The latter are the elements that must exist for human beings to survive. Any architectural work that does not satisfy these conditions will not serve the needs of the people and they will abandon them later on. Thus, the majorities of the designs of Kiesler were simple and did not comprise aesthetics. Architectural designs such as the Endless House, the Bed Couch, and the Party Lounge (Fig. 2) are other examples of designs by Kiesler that are simple and depict the elements of functionalism.
 INCLUDEPICTURE "/cms/media/a_sujet/05kiesler%20reedition/start/popups/PARTY_DRAW_P.jpg" \* MERGEFORMATINET 

Fig 2: Frederick Kiesler: “The Party Lounge”.
Therefore, it is possible to denote that the major argument of the author is that modern functionalism is pseudo. In proving these facts, Kiesler explains that the origin of the modern functionalism is abstract paintings, which emerged in the era of industrialization and were common in the period from 1950 to 1980s. The artists of these paintings were motivated by money and the paintings were not real. He further states that abstract art is deceptive because it improves on the existing standards of functionality by creating abstract ideas and superficial thoughts. These ideas and thoughts are not achievable under the normal circumstances; hence, they are called abstract. Therefore, by equating modern functionalism to abstract paintings, Kiesler implies that it is not real.
In advocating the functional approach in design and architecture, Kiesler explains that true functionalists are not limited by standards. Instead, they adapt to the environment and design their products based on the environmental conditions at the time and the prevailing needs. Through this action, Kiesler believes that architecture will be a worker of the people and not of the self. Through this assertion, the author equates an architect to a social worker. It is a known fact that social workers provide services to the people. Their intention is to help the vulnerable by providing their skills as social workers. The same is applicable to architects who should use their skills for purposes of serving the community and not gaining money for themselves.
Colomina supports the assertions made by Kiesler that the modern architecture is a shift from the traditional use of space and subjectivity. She highlights that the mass media had a negative impact on architecture due to the shift from the focus on utilizing space to a focus on the use of aesthetics. In her opinion, it is unacceptable. By closely looking at this statement, it is possible to denote that modernity began in the early parts of the 20th century, mainly between the 1930s and the 1950s. During this period, the mass media emerged. Kiesler also talked about this period and he referred to it as the age of modernity. During the 1930s-1950s, the society was characterized by mass consumerism, which means that it was interested in the acquisition of services and products, including the services of architecture.
Owing to this mass consumerism, architects began using aesthetic values to design their products. Colomina explains that by shifting away from the principles of space and subjectivity, architectural designs do not meet the needs of the people. The use of aesthetics in these designs is commercial in nature. Therefore, Colomina advocates the traditional view of architectural designs, which should serve the needs of the community as opposed to the financial gains of the designer. Through this assertion, Colomina agrees with Kiesler that an architect is a social worker, whose aim is to serve the community by coming up with designs that will satisfy a particular need.
Simmel also agrees with the statement that modern architectural designs are pseudo-functionalist. In his analysis of modernity and architectural designs, he argues that they are abstract in nature due to the use of aesthetics. Simmel further denotes that the utilization of an abstract design creates an illusion that is not real, which is a departure from the traditional notions of design and architecture. Under the traditional notion, architectural desig...