Abstract
This paper begins to suggest what might happen to ornament under the Modernist reign of abstraction and rationality. Rather than accepting the usual understanding of ornament as a category outside of modernist aesthetics, rejected by its criticism, it suggests that within the development of Modernism (and a ‘pre-Modernist’ position to which Loos would belong), ornament was a much more complicated and knotty question. The ideological motivations for a reform of the role of ornament, played out by Loos through clothing and objects of everyday use as well as architecture, and appropriated by Le Corbusier, had a significant effect on the history of architecture.
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