This document discusses the relationship between utility, art, form and function in design. It begins by exploring the difference between art and design, noting that while design has a function, most designs also convey meaning beyond mere utility. It then examines how both art and design can provide utility to audiences in terms of delight, intellectual stimulation and more. The document also discusses how form follows function in design and nature, with examples of ergonomic products and biological coevolution. Finally, it explores the concepts of style, signatures and typologies in art and design.

1. CHAPTER
7FUNCTION

2. Introduction
Utility
Double Trustee’s Desk. Shaker. Mount Lebanon, NY. c. 1840.
“That which has in itself the highest
use, possesses the greatest beauty.”
—Shaker Maxim
The Shakers, a nineteenth century
alternative community, created
design that embodied their devout
religious beliefs. Their products are
revered for their reductive form,
exquisite craft, and the plain and
humble focus on use.

3. The Greatest Good for the Greatest Number of People
There are growing numbers of designers, architects, and artists dealing with utility and
finding innovative, alternative methods for creating solutions to pressing social and civic
problems.
Why design a new silver-plated wine cork extractor, however functional, when
there are more pressing problems facing humanity?
P. J. and J. P. S. Hendrikse, designers. Q Drum. 1993.
Introduction
Utility

4. Utility
Art and Design Compared
The difference between art and design can
be ambiguous.
A simplistic difference between art and
design is utility—design has a function and
art does not.
However, most designs are more than
mere function. Clothing, for example, is
also a sign identifying your personal style,
social class, subcultural affiliations, etc.
Philip Treacy. Hat. Fall/Winter 2001/2002.

5. Art is not devoid of utility.
For its audience, art can provide
• Delight
• Intellectual stimulation
• Information
• Challenges to preconceptions
• Passionate emotional responses
• Inspiration to political action
Individual artists may celebrate or investigate various aspects of
• Phenomena
• Form
• Perception
• Psychological and social structure
• Her or his own deepest nature
Utility
Art
Mark Tansey. The Innocent Eye Test. 1981.

6. Marcel Duchamp. Fountain. 1917.
Utility
Art
Humanist psychologist Abraham Maslow’s theory of
isomorphism (similarity of structure or form) explains that
we understand our world based on what we already know.
Richard Dawkins explains
that memes are similar to
genes, and they replicate by
being spread from mind to
mind. Memes can be ideas,
styles, art works, tunes, or
theories.
Duchamp’s readymades
continue to be reinterpreted
by artists, one hundred years
later.

7. Utility
Art
In products such as
prostheses and
fishing lures, the
makers had to have
more than skill; he or
she had to carefully
observe the form,
proportions, color,
and texture of the
model, as would any
good figurative
artist.
Prosthetic fingers. Dianceht Company. Guadalajara, Jalisco, Mexico.

8. Utility
Form and Function
Form and function is a term used to express the relationship between the form of an object
and its use.
A closely related notion is form follows function—a dictum of Modernist architects who,
turning their backs on the styles of the past, sought new principles to shape their
architecture. It is, however, an idea that has been used throughout history, especially in the
creation of tools and structures.
Paper clip

9. Utility
Form and Function
Ergonomic design engages the idea that designed
objects must interact compatibly with the
user’s body.
For example, this ski pole was designed to fit the
hand of the skier and allow him or her to wield the
poles effectively and comfortably in all required
positions.
Peter Stathis, designer. “Thumb Sparing” Ski-Pole Grip. 1991.

10. Utility
Form and Function
Evidence of the close relationship of form to
function is seen everywhere in nature.
Uniquely specialized insects and animals
evolve in order to take advantage of specific
opportunities in the ecosystem.
The Madagascar Star Orchid evolved a slim,
exceptionally long eleven-inch throat with
nectar at the bottom.
Moths in turn developed longer tongues to
reach the nectar. This is an example of the
biological concept of coevolution.

11. Style
Signature and Typology
In art and design, style is usually considered to be a
particular manner or technique evident in the work.
If you have seen a few Giacometti sculptures, such as
Man Walking, based on your observation of the artist’s
signature elongation of the figure and forms built by
hesitant accumulation, you will always be able to spot a
Giacometti.
Alberto Giacometti. Man Walking (Version I). 1960. Bronze
overall (with base), 5' 11 3⁄4” x 10 1⁄2” x 3' 2".

12. Style is also a type of artwork, object, or architecture with distinguishing
characteristics that may be associated with a general concept or historical period. Such
classifications are known as typologies.
The BMW motorcycle shares visual characteristics with the streamline style of the 1930s.
However, much of the form is simply stylized, and not necessarily a functional aspect of
the aerodynamically inspired style.
Style
Signature and Typology
BMW R7 Motorcycle. 1935.

13. This young Japanese girl reminds us of
the other uses of the word style:
• A manner of conducting oneself
• Popular artifacts of the moment
(things that are in style)
• Fashionable elegance.
These notions tend to be fleeting, like
fads.
Does that make them less important?
Style
Signature and Typology
Young woman. Tokyo, Japan.