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.
"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."
Contemporary 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 text 'added' and 'removed' drifts upwards from the toggle button and fades away.
So we all know Super Mario, right? And if you think about when you’re collecting coins in Super Mario, it doesn’t stop the game and pop up an alert dialogue and say, “You have just collected ten points, OK, Cancel”, right? It just does it. It does it in the background, but it does provide you with a feedback mechanism.
The feedback you get in Super Mario is about the number of points you’ve just gained. When you collect an item that gives you more points, the number of points you’ve gained appears where the item was …and then drifts upwards as it disappears. It’s unobtrusive enough that it won’t distract you from the gameplay you’re concentrating on but it gives you the reassurance that, yes, you have just gained points.