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Unlike most art forms, architecture has the intrinsic aspect of function. In line with this, the function of a structure dictates the manner in which a structure comes together, or its form. It is through the structure’s form that the function can be performed. The excerpt ‘Form Follows Function’ (n.d.) proves such, stating that “when function changes, form changes,” implying the heavy influence of function on form in architecture. The term “form follows function” was coined by Louis Sullivan in his essay ‘Tall Office Buildings Artistically Considered’ where he defended that “the exterior "shell" of the skyscraper should change in appearance to reflect interior functions” (Craven, 2019). Though this axiom inspired many modern architects like Frank Lloyd Wright, it still stands true when applied to the analysis of architecture from other prominent time periods or in other significant styles.

The relationship is indirectly illustrated by Cardinal Ratzinger in the chapter of his book, entitled ‘The Significance of Church Building’. Ratzinger (2000) explains that church buildings functioned as a place that allowed believers to “gather together for the liturgy”, distinguishing it from the classical temple only typically reserved for the religious or the specific deity it has been dedicated to. It is evident in this instance that form follows function given the contrast of a classical temple and a more contemporary church building. While a temple typically has room intended for a high priest in his worship, a church is more spacious as it is made for the function of gathering believers, allowed to take part in the worship and ceremony transpiring.

Ultimately, understanding the function of a structure sheds light on how and why it takes that form.

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The History and Function of the Sainte-Chapelle

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The History and Function of the Sainte-Chapelle

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The Sainte-Chapelle was built by King Louis IX in the thirteenth century in Île de la Cité, Paris, to serve as a reliquary, a home for the relics of the Passion of Christ, one of which is the Crown of Thorns. The Crown of Thorns alone is said to have cost a sum that exceeded that of the construction of the Chapel.  The magnificent and opulent chapel was fully built in just 6 years. The events surrounding this famous landmark were significant in both the history of Christianity and of French politics (Anon n.d.)

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The chapel was built in the style of the French Rayonnant Gothic architecture. This explains features from the thin skeleton in the interior of the building made up of the bundled colonnades and the mullions of the windows to its tall and slender façade at the exterior.

Two functions, however, are manifested and emphasized by the notable details of the building, namely its function as a venue accessible only to the king and his household and a sanctuary of worship. (Anon n.d.)

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Though this building is currently a museum and a famous tourist destination, the Sainte-Chapelle in the thirteenth century was a beautiful and ornate chapel in the courtyard of the King of France’s palace. Other than being a reliquary for the relics purchased by Louis IX, it served as the main chapel for the king and his household. Details in the interior of the building were faithful (no pun intended) to the gothic styles of churches and were full of divine symbolisms, from obvious representations to figurative such as the minute sculptures of angels in the spandrels (triangular space between the curves of an arch), often holding crowns or vessels used in the celebration of the Eucharist and the lancet windows that were pointed at the cap of the glass, allowing the eyes of its beholders to travel upward towards heaven. One subtle but powerful effect that the church provided its visitors was the light that entered the stained glass windows (Smarthistory, 2017). Rick Steves (2014) noted that “light is divine” as he toured around the Sainte-Chapelle, as if God was commanding “let there be light” as one steps in the upper chapel.

These details are the inconspicuous reminders of the original purpose of this beautiful structure: a sanctuary of God.

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Sainte-Chapelle, Paris

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Sainte-Chapelle, Paris

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This chapel was attached to the Royal Palace of King Louis IX, accessible only to him, the queen, and the members of the royal household. The largest evidence for this is the division of the building into the lower chapel, used by the soldiers, courtiers and the help, and the upper chapel, the sublime and ornate portion of the building that served as both the reliquary for the relics of Christ’s Passion and the place of worship for the king. Niches on the opposite ends of the chapel adjacent to the reliquary were used by the king and queen during ceremonies and rituals (Smarthistory, 2017).

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Form Follows Function (n.d.). p. 105-107

Craven, J., 2019. The Meaning of 'Form Follows Function'. ThoughtCo. Available at: https://www.thoughtco.com/form-follows-function-177237 [Accessed September 24, 2019].

Saward, J. & Ratzinger, J., 2000. The Spirit of the Liturgy, San Francisco: Ignatius Press.

Anon, Sainte-Chapelle, Paris. Art Encyclopedia. Available at: http://www.visual-arts-cork.com/architecture/sainte-chapelle.htm [Accessed September 24, 2019].

Anon, Sainte-Chapelle: A gem of High Gothic architecture. Sainte-Chapelle: A gem of High Gothic architecture.

Smarthistory (2017) Sainte-Chapelle, Paris. Available at: https://www.youtube.com/watch?v=vigjJih8Pn4 (Accessed: 23 September 2019)

Rick Steves (2014) Paris, France: Sainte-Chapelle's Dazzling Interior. Available at: https://www.youtube.com/watch?v=828f2Tlojvc (Accessed: 23 September 2019)