Aside from historicism, a principal variant of architectural anti-formalism derives from functional beauty theory, which has its roots in (a) a late modern tradition of judging an object beautiful if fit for its intended function (Parsons and Carlson (2008) find this tradition in Berkeley's Alciphron (1732) and Hume's related suggestion (Treatise (1739-40)) that beauty of artifacts consists in their appearing to bear utility), and (b) Kant’s proposal that architecture is an artform capable of generating dependent beauty. (In the latter case, beauty stands in relation to concepts with which we associate architectural objects, which for such objects are typically the ends towards which they are created.) One modern version proposes gauging the beauty of a designed object by reference to designer’s intent in crafting a functional solution; for S. Davies (2006), where an object displays functional beauty, aesthetic considerations and the object’s primary function each act to shape the other. Per Parsons and Carlson (2008), the problem with such intentionalist accounts in architecture (or elsewhere where functional beauty pertains) is that functions change. To work around this difficulty, they suggest, we need a theory focused on “proper functions” for the artifacts in question. This view is modeled on a selected effects account of biological functions, as translated into a marketplace-driven scheme, where evolution of design solutions is driven by demand over time.