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.
Modernist planning was obsessed with absolute numbers, including the minimum dimensions of rooms, open space per capita, and the one-size-fits-all head counts of neighborhood units. This was often pegged at five to seven thousand and was used as a formula for determining the distribution of schools, shops, sports fields, and other facilities. The failure of such planning is not in its effort to be comprehensive or to equalize access to necessary facilities. It is, rather, the attempt to rationalize choice on the basis of a homogeneous set of subjects, a fixed grammar of opportunities, a remorseless segregation of uses, and a scientistic faith in technical analysis and organization that simply excludes diversity, eccentricity, nonconforming beauty, and choice. The utopian nightmare.