Ornament: a language of architecture

Adryanne Quenneville

doi:10.32920/ryerson.14645451

Abstract

Ornament in architecture has only recently been questioned. Historically, the topic never wavered in uncertainty. From antiquity to the 20th century, ornament was explicitly considered - either in abundance or elimination. The subject has become difficult to grapple with due to its suppression in Modern, minimalist architecture. Ornament has persistently been cast aside since architects have been out of touch with its potential. This thesis documents how ornament once held a level of prominence within architecture and acknowledges its relevance in contemporary practice by offering methods for its implementation. Both historical classifications and contemporary examples of the term ‘ornament’ are examined to identify its definition today. Design research explores the ways in which ornament can be incorporated into future architecture: as a design approach rather than applied as decoration. This thesis reinstates the use of ornament in architecture by making a case for its aesthetic enrichment of the built environment.

Highlights

To use ornament in contemporary praxis is to include it in the design process rather than add it to the finished product
First and foremost, the words of Adolf Loos still resound in architectural discourse; they criticize ornament for impeding a new era of architecture compatible with the modern world
Adolf Loos may have been quick to dismiss ornament altogether but he was correct in condemning its use as a commodity

Summary

INTRODUCTION

There has been a recent shift in the priorities of the architectural profession in order to extend beyond Modern rationalism This to a degree that “the pursuit of excess is an important aspect of today’s architectural culture – no less responsible, but perhaps less concerned with efficiency than with effectiveness.” Contemporary design is becoming more attuned to its effects on those who use it — how one feels, how an atmosphere is created, how one reacts and engages with architecture — over simple matters of space planning and other pragmatic concerns. In addition to new building types, techniques and styles of ornament, the emergence of new materials (namely ironwork, steel and reinforced concrete) questioned how to incorporate ornament once structural members became hidden.8 This was a catalyst to the increasing use of ornamental veils that are part of a building’s design yet somewhat distanced from it — simple decorations to a shed. 1 - Wall; In/Out (of System) 2 - Ceiling; Up/Down (Platform to Concourse) 3 - Floor; In/Out (of Building) 4 - Stair; Up/Down (Concourse to Street)

PERSPECTIVE nts up down up down 75

CONCLUSION