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.
Brian Eno is well-represented in iOS. His other apps like Bloom, Trope and Air invite listeners to touch the screen to make their own composition. Reflection ($30.99) is different, there is no interaction for the listener. The interface has three buttons: a pause button, a sleep timer, and AirPlay. Reflection produces endless permutations of Eno’s 2017 album, an hour and five minute long title track.
“Just calling it an app is akin to saying Falling Water is just a building,” writes one app store reviewer. “I would not call this an app,” agrees another, “Between the music and visuals it’s more like sonic architecture.” The visuals consist of slowly morphing rectangles that only seem to change in the split second you look away from the screen.