| At the beginning of this century American architect Louis Sullivan, proclaiming the principle "form follows function" is extended to the sphere of human activity pattern, spoofed in the wild, where centuries-old process of evolution based on natural selection, has created such a huge variety of material forms, surprisingly " fitting "to the functional characteristics of biological objects. In wildlife form truly follows function, "expresses" it may inform about it. The natural form is always functional and biologically "utilitarian." Shape of the object that serves society, depends not only on the functionality of the things that is related to the person with the maintenance of its physical existence, but always more determined and other sBECA ICADl, component functions. Drawing analogies between human creativity and shaping the nature of the activity led, however, to the interpretation of form as expressing and visualizing utilitarian and practical, material and useful features, i.e., in a much more narrowly than the mean L. Sullivan, not denied the complicated material and spiritual things functionality. The form follows function, interpreted in purely utilitarian terms, has become a fundamental principle of the trend in aesthetics, which in the early XX century. became known as functionalism and, having emerged in America, has spread far beyond its borders. The ideological origins of American functionalism, it reflects the ideological needs of the sBECA ICADl environment that gave rise to it, determined the pragmatic orientation made in its line of aesthetic regulations that were intended to express the aesthetic needs of the ruling class of America with their extreme pragmatism exaggerate practically useful. Formula Sullivan was destined for many years to become a kind of benchmark that determines the development of a new architecture and design in the U.S. and other countries. The reason is that the theoretical construct of functionalist aesthetic neopositivist basically, transformed into the creative practice of great artists, as were prominent architects of the first half of XX century, to be leaning in their views to functionalism, but in the works spontaneously gravitated towards materialism. Starting from the theoretical assumptions of functionalism, they failed in their practice and in theory to overcome its limited scope, plan ways to build more humane shaping aesthetic concepts. It is based on the structural and technological patterns, allowing registration of the "human factor" only to the extent dictated by the ergonomics. |