In architecture, a folly is a building constructed primarily for decoration, but either suggesting by its appearance some other purpose, or merely so extravagant that it transcends the normal range of garden ornaments or other class of building to which it belongs. In the original use of the word, these buildings had no other use, but from the 19th to 20th centuries the term was also applied to highly decorative buildings which had secondary practical functions such as housing, sheltering or business use.[dubious– discuss]
18th century English gardens and French landscape gardening often featured Roman temples, which symbolized classical virtues or ideals. Other 18th-century garden follies represented Chinese temples, Egyptian pyramids, ruined abbeys, or Tatar tents, to represent different continents or historical eras. Sometimes they represented rustic villages, mills and cottages, to symbolize rural virtues. Many follies, particularly during famine, such as the Irish potato famine, were built as a form of poor relief, to provide employment for peasants and unemployed artisans.
The concept of the folly is highly ambiguous and it has been suggested that the definition of a folly "lies in the eyes of the beholder". At best, some general guidelines can be produced, all of which have exceptions.
They have no purpose other than as an ornament. Often they have some of the appearance of a building constructed for a particular purpose, but this appearance is a sham.
They are buildings, or parts of buildings. Thus they are distinguished from other garden ornaments such as sculpture.
They are purpose-built. Follies are deliberately built as ornaments.
They are often eccentric in design or construction. This is not strictly necessary; however, it is common for these structures to call attention to themselves through unusual details or form.
There is often an element of fakery in their construction. The canonical example of this is the sham ruin: a folly which pretends to be the remains of an old building but which was in fact constructed in that state.
Follies fall within the general realm of fanciful and impractical architecture, and whether a particular structure is a folly is sometimes a matter of opinion. However, there are several types which are related but which can be distinguished from follies.
Fantasy and novelty buildings are essentially the converse of follies. Follies often look like real, usable buildings, but never are; novelty buildings are usable, but have fantastic shapes. The many American shops and water towers in the shapes of commonplace items, for example, are not properly follies.
Eccentric structures may resemble follies, but the mere presence of eccentricity is not proof that a building is a folly. Many mansions and castles are quite eccentric, but being purpose-built to be used as residences, they are not properly follies.
Some structures are popularly referred to as "follies" because they failed to fulfil their intended use. Their design and construction may be foolish, but in the architectural sense, they are not follies.
Visionary art structures frequently blur the line between artwork and folly, if only because it is rather often hard to tell what intent the artist had. The word "folly" carries the connotation that there is something frivolous about the builder's intent. Some works (such as the massive complex by Ferdinand Cheval) are considered as follies because they are in the form of useful buildings, but are plainly constructions of extreme and intentional impracticality.
Amusement parks, fairgrounds, and expositions often have fantastical buildings and structures. Some of these are follies, and some are not; the distinction, again, comes in their usage. Shops, restaurants, and other amusements are often housed in strikingly odd and eccentric structures, but these are not follies.
Follies began as decorative accents on the great estates of the late 16th century and early 17th century but they flourished especially in the two centuries which followed. Many estates had ruins of monastic houses and (in Italy) Roman villas; others, lacking such buildings, constructed their own sham versions of these romantic structures.
In English, such structures came to be called follies: "a popular name for any costly structure considered to have shown folly in the builder" according to one authority, and were often named after the individual who commissioned or designed the project. The connotations of silliness or madness in this definition is in accord with the general meaning of the French word "folie"; however, another older meaning of this word is "delight" or "favourite abode"
However, very few follies are completely without a practical purpose. Apart from their decorative aspect, many originally had a use which was lost later, such as hunting towers. Follies are misunderstood structures, according to The Folly Fellowship, a charity that exists to celebrate the history and splendour of these often neglected buildings.
Follies in 18th-century French and English gardens
The temple of philosophy at Ermenonville
Follies (French: fabriques) were an important feature of the English garden and French landscape garden in the 18th century, such as Stowe and Stourhead in England and Ermenonville and the gardens of Versailles in France. They were usually in the form of Roman temples, ruined Gothic abbeys, or Egyptian pyramids. Painshill Park in Surrey contained almost a full set, with a large Gothic tower and various other Gothic buildings, a Roman temple, a hermit's retreat with resident hermit, a Turkish tent, a shell-encrusted water grotto, among other features. In France they sometimes took the form of romantic farmhouses, mills and cottages, as in Marie Antoinette's Hameau de la Reine at Versailles. Sometimes they were copied from landscape paintings by painters such as Claude Lorrain and Hubert Robert. Often, they had symbolic importance, illustrating the virtues of ancient Rome, or the virtues of country life. The temple of philosophy at Ermenonville, left unfinished, symbolized that knowledge would never be complete, while the temple of modern virtues at Stowe was deliberately ruined, to show the decay of contemporary morals.
Later in the 18th century, the follies became more exotic, representing other parts of the world, including Chinese pagodas, Japanese bridges, and Tatar tents.
The Irish Potato Famine of 1845-49 led to the building of several follies. The society of the day held that reward without labour was misguided. However, to hire the needy for work on useful projects would deprive existing workers of their jobs. Thus, construction projects termed "famine follies" came to be built. These include: roads in the middle of nowhere, between two seemingly random points; screen and estate walls; piers in the middle of bogs; etc.