Ornament & Decoration
249. Ornament
Fine arts and decorative arts
Chapel of St. Ignatius, Seattle, 1995–7
- Bells
Presentable
I have sometimes wondered whether our unconscious motive for doing so much useless work is to show that if we cannot make things work properly we can at least make them presentable.
Sine qua non
What we see of a device is rarely the essential part, the sine qua non, but nearly always the superstructure which economy has imposed on it.
It seems that the work we call purely utilitarian is not more useful than its more ornamental counterpart. It is merely more economical.
Merely ornate
There is nothing merely ornate about nature: every branch, twig, or leaf counts.
Errors & Crimes
"A builder who hides any part of the building frame, abandons the only permissible and, at the same time, the most beautiful embellishment of architecture. The one that hides a loadbearing column makes an error. The one who builds a false column commits a crime."
— Auguste Perret
The problem with ornament
An ArticleContemporary architects are, however, increasingly engaging with ornamentation. The zenith was Grayson Perry and Charles Holland of FAT’s fairytale House for Essex (p64), but it does not serve as an indicator because the involvement of an artist has allowed an enhanced engagement with ornament until it surpasses mere decoration and becomes embodied in the architecture in a way that architects do not allow themselves to do. Think of FAT’s old work: the ornament is all contained within a surface - a facade - which allowed them to separate out the (Modernist) architecture from the (kitsch) superficiality of the elevation. Like Venturi before them, their ornament allowed them to have their ornamentally iced cake - and eat the Minimal Modernist sponge underneath.
The ABC's of ▲■●: The Bauhaus and Design Theory
The cultivation of inherent faculties
Rousseau’s Emile argued that education is the cultivation of inherent faculties, rather than the imposition of knowledge. Taking this path, Pestalozzi recast the teacher as a protective figure who follows and stimulates the child’s inherent intelligence.
The basic course
The Basic Course was a general introduction to composition, color, materials, and three-dimensional form that familiarized students with techniques, concepts, and formal relationships considered fundamental to all visual expression, whether it be sculpture, metal work, painting, or lettering. The Basic Course developed an abstract and abstracting visual language that would provide a theoretical and practical basis for any artistic endeavor.
It is a little world
See how many a pretty thing
I always from the cube can bring:
Chair and sofa, bench and table,
Desk to write at when I’m able,
All the household furniture,
Even baby’s bed I’m sure;
Not a few such things I see;
Stove and sideboard here can be.
Many things, both old and new,
My dear cube brings into view;
So my cube much pleases me,
Because through it so much I see.
It is a little world.- Cubed
A universal correspondence
In 1923 Kandinsky proposed a universal correspondence between the three elementary shapes and the three primary colors: the dynamic triangle is inherently yellow, the static square is intrinsically red, and the serene circle is naturally blue.
The series ▲■● represents Kandinsky’s attempt to prove a universal correlation between color and geometry; it has become one of the most famous icons of the Bauhaus. Kandinsky conceived of these colors and shapes as a series of oppositions: yellow and blue represent the extremes of hot/cold, light/dark, and active/passive, while red is the intermediary between them. The triangle, square, and circle are graphic equivalents of the same polarities.
The arbitrariness of the sign
A key difference between verbal language and the modernist ideal of a visual “language” is the arbitrariness of a verbal sign, which has no natural, inherent relationship to the concept it represents. The sound of the word “horse”, for example, does not innately resemble the concept of a horse. Ferdinand de Saussure called this arbitrariness the fundamental feature of the verbal sign. The meaning of a sign is generated by its relationship to other signs in the language: the sign’s legibility lies in its difference from other signs.
Reduced to an act of selection
“The more exact and complete the criteria are, the more creative the work becomes. The creative act is reduced to an act of selection.”
— Karl Gerstner, Designing Programmes (1963)
Separation of surface and structure
The nineteenth century saw an increasing separation between the treatment of the surface and the structure of designed objects. Mass production and a mobile market economy encouraged the production of heavily ornamented yet cheaply fabricated products. Affordable manufacture allowed the burgeoning middle class to acquire “luxury” goods fashioned after objects formerly reserved for an elite.
Gifts and occupations
Between 1835 and 1850 Froebel worked on his “Gifts and Occupations” — a set of geometric blocks (Gifts) and basic craft activities (Occupations), that would become the centerpiece of his pedagogical theory. The Gifts and Occupations were introduced in a highly ordered sequence, which began in the child’s second month and concluded in the last year of kindergarten.
Typographic grid
Just one of many examples of beautiful typography and layout throughout the book. Love the page design.