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Topic: Ornament (architecture)

	"The Sensory Necessity for Ornament", by Nikos A. Salingaros.
		"The Sensory Necessity for Ornament", by Nikos A. Salingaros.
		Ornament is a necessary component of any architecture that aims to connect to human beings.
		Ornament is an indispensable part of this connection, but we have forgotten how ornament is generated.
	www.math.utsa.edu /ftp/salingar.old/sensoryornament.html (4313 words)

	Paper Palaces: The Rise of the Renaissance Architectural Treatise & The Architectural Treatise in the Italian ...
		Similarly, just as in Wittkower's Architectural Principles, the analogy between microcosm and macrocosm is presented as the core of V itruvian theory, even though it really became important from the late Quattrocento onward, as was recently shown by Christine Smith in her Architecture and the Culture of Early Humanism.
		II Ornament as such was not the explicit theme of a Renaissance architectural treatise or substantial parts of it, with the exception of Alberti's chapters on ornament and beauty in De re aedificatoria and Gherardo Spini's unfinished and unpublished I tre primi libri sopra listituzioni intorno agl'ornamenti (1568-70).
		Discussions on ornament took place under the guise of debates about invention, imitation, and license; but the terms of the debate were ruled by the concept of decor (that which is fitting, a translation of the Greek to prepon), introduced by Vitruvius to guide the architect's aesthetic judgment.
	www.encyclopedia.com /doc/1G1-84209177.html (6053 words)

	ornament · The Design Encyclopedia
		Ornament as created today has no connection with us, has no human connections at all, no connection with the world as it is constituted.” Loos’ views on the connectedness of ornament are similar to Jensen and Conway’s, authors of Ornamentalism: The New Decorativeness in Architecture and Design.
		Ornament is essentially free: free to move the eye, to intrigue the mind, to rest the soul; free simply to delight us.”
		Not only is ornament produced by criminals but also a crime is committed through the fact that ornament inflicts serious injury on people’s health, on the national budget and hence on cultural evolution.
	www.thedesignencyclopedia.org /ornament?s=decorative (635 words)

	Structure/ornament and the modern figuration of architecture Art Bulletin, The - Find Articles
		In the efforts to anchor architectural form in its historical context, form itself has become self-evident and the procedures of formal analysis often tend to be taken as a given.
		That a critical inquiry into the interpretive problematics of the properly architectural has been deemed irrelevant by many architectural historians is largely because the current revisionism has tended to restrict itself to questioning the scholarship of the earlier part of the twentieth century.
		The Romantics and their contemporaries created a two-part model for interpreting architecture: buildings were located in the newly created, self-contained historicity of the evolution of architectural form, and simultaneously they were understood to be historically determined and contextually expressive objects.
	www.findarticles.com /p/articles/mi_m0422/is_4_80/ai_54073966 (728 words)

	Ukrainian Museum (NYC) Exhibits/Lectures - BRAMA
		Ornament is Not a Crime, the title chosen for the present exhibition, is a reference to the radical dictum proclaimed at the dawn of the 20th century by the great Austrian architect Adolf Loos.
		In the Ornament und Verbrechen and his other theoretical works, the renowned master of avant-garde architecture argued for the complete removal of ornamentation from architectural designs, as he considered the phenomenon of ornament to be akin to crime.
		Ornament is Not a Crime exhibition was presented in 1997 in the gallery of the Austrian Consulate General in Cracow, and in the Museum of Architecture in Wroclaw, Poland.
	www.ukrainianmuseum.org /ex_ornament.html (1128 words)

	The Language of an Organic Architecture
		Integral element of architecture, ornament is to architecture what efflorescence of a tree or plant is to its structure.
		The term “third dimension” is used in organic architecture to indicate the sense of depth which issues as of the thing not on it.
		If what I have myself written upon the subject of architecture and any one on the 560 building I have built are studied with this nine-word lexicon in mind, I am sure we will have far less of the confusion and nonsensical criticism upon which inference, imitation, doubt and prejudice have flourished.
	www.schildrotharchitect.com /language_of_an_organic_architect.htm (1648 words)

	Interior Design
		An outstanding sculptor and ornamenter whose work adorns the Harold Washington Library in Chicago, the National Airport in Washington, D.C., and many other buildings, Kent Bloomer maintains that ornament is neither pure "art" in the contemporary sense of the word nor mere decoration, but rather a category unto itself, with its own unique language.
		Illustrated with the author's evocative line drawings and photographs of ornament from ancient Greece to the modern cityscape, the book is a hymn to the riches of architectural ornament.
		Vitruvius, in the first century A.D., regarded ornament as an essential property of architecture; in the fifteenth century Alberti, the father of the architectural profession, devoted four of his ten books on architecture to ornament.
	www.wordtrade.com /arts/architecture/interiordesignR.htm (3166 words)

	Interstices 4: Aping Architecture, Anna Miles
		Architecture as ornament is located in the context of Voysey's textile designs as something infantile.
		In establishing the origin of architecture, it is distinctions between ornament and structure that are repeatedly traversed.
		The baboons slung over the curves of the architectural arches initiate disturbing perspective anomalies and an uneasy marriage of architecture and nature that is reminiscent of King Kong.
	www.architecture.auckland.ac.nz /common/library/1995/11/i4/THEHTML/papers/miles/front.htm (2564 words)

	New Organic Architecture
		Organic architecture is rooted in a passion for life, nature, and natural forms, and is full of the vitality of the natural world with its biological forms and processes.
		His two Goetheanums were a dramatic illustration of this new style of architecture that united spirit and matter with a living interaction between part and whole, the crucial link being the metamorphosis between the small (seed) and the large (plant) whereby the new form is always, as in nature, prefigured in the previous form.
		He also applied ideas of metamorphosis to art and architecture, the dynamics of form active in all living organisms, whereby an orderly and cyclic transformation can be traced in all plant forms from seed to calyx to blossom to fruit (and to seed again)--a concept central to the development of organic architecture (see page 40).
	www.ucpress.edu /books/pages/9678/9678.intro.html (6262 words)

	FROM ART NOUVEAU TO MODERNISM
		The evolution of culture is synonymous with the removal of ornament from utilitarian objects.
		Ornament generally increases the cost of an article, nevertheless it happens that an ornamented object whose raw material cost the same and which demonstrably took three times as long to make is offered at half the price of a smooth object.
		And if there were no ornament at all - a situation that may perhaps come about in some thousands of years - man would only have to work four hours instead of eight, because half of the work done today is devoted to ornament.
	www.tau.ac.il /~arthis/ARCH/4-Loos.htm (3736 words)

	[No title]
		An important feature of Islamic architecture is the enclosed space, with the result that houses were generally built around a courtyard with few or no windows on the outside.
		Islamic architecture is the entire range of architecture that has evolved from Islam as a social, cultural, political and religious phenomenon.
		The transformation of Islamic architecture and ornament during the eleventh and twelfth centuries signaled profound cultural changes in the Islamic world.
	www.lycos.com /info/islamic-architecture.html (408 words)

	Louis Sullivan after functionalism by Michael J. Lewis
		In his 1908 essay “Ornament and Crime,” Adolf Loos famously compared the ornament of a building to the tattoos of a criminal, thereby giving a lofty anthropological basis to what might otherwise be regarded as a matter of personal taste.
		He showed that Sullivan’s architecture and ornament were reciprocal aspects of the same creative impulse—the ornament no less integral to the idea of the building than the foundations that sustained it.
		Their ornament, however, was the freest and most original he had ever made, breaking free of the architectural lattice of panels and spandrels which had previously confined it.
	www.newcriterion.com /archive/20/sept01/lewis.htm (4415 words)

	Intentional Queer Space
		Gender has always been explicitly or implicitly a subject and object in architecture, whether in terms of function, realms and modes of habitation, or whether in terms of the perceived or agreed upon masculinity or femininity of a particular formation or inflection of style.
		Aside from a communication through architecture of the sense of the masculine and feminine, it has been argued by Aaron Betsky and others that queer space can also be identified as a communicated sensibility.
		The stripping of architecture of ornament, ornament which usually communicates culture and history (whether national or local or community) was intended to bring the Marxist end of history, but instead has impoverished the possibility of local cultures.
	www.friendsof1800.org /VIEWPOINT/argument.html (1415 words)

	Architecture.com: Event Architecture And ... Ornament
		DESCRIPTION: "The evolution of culture is synonymous with the removal of ornamentation from objects of everyday use," Adolph Loos.
		Architecture and ornament have had a uncomfortable relationship since the clean sweep of Modernism.
		Join a distinguished panel to discuss new ideas about ornament in architecture, and how these ideas have been manifested in recent cutting-edge projects.
	www.riba.org /go/Events/RegionEvent_2002.html (99 words)

	Sullivan's City - The Meaning of Ornament for Louis Sullivan & Louis Sullivan - The Poetry of Architecture. . - ...
		The highly controlled contrast between architectural mass expressed by plain materials, such as brick or stone, and the organic, often polychromatic complexity of the iconographic schemes is not accidental or wilful.
		An example of this kind of analysis is Twombley's discussion of the social and democratic ideas that Sullivan used to underpin the decoration, inside and out, of the exquisite series of bank buildings he designed in small towns in Ohio and Iowa between 1905 and 19-20.
		Narciso Menocal's more comple x analysis of the meaning of Sullivan's iconography from the Getty Tomb (1890) onwards describes the architect's attempts to create a new, organic and developing architecture, in which for him the process of resolving deep human and psychological conflicts was as important as the thing designed.
	www.findarticles.com /p/articles/mi_m3575/is_1261_211/ai_84670342 (656 words)

	Carmel Fallon with Ribbons in her Ha
		Towards the end of that presentation, the architect Jane Cee mentioned that the plaster ornament on the friezes around the building would not be restored or replaced.
		She also was of the opinion that the ornament was not important and that no one would notice its absence.
		An ornamental band (the frieze) is the enriched part of the entablature.
	www.friendsof1800.org /VIEWPOINT/ribbons.html (569 words)

	PAJ_2001_8
		In 1929, on the occasion of the publication of drawings of her house E 1027, Eileen Gray wrote an essay criticizing avant-garde modernism’s descent into the “cold calculations” of abstraction.
		Her materialist remedy for abstraction seems naïve, yet her words echo with ideas from contemporary architectural debate. Gray’s argument that modern architecture does not need ornament but rather “beautiful material” recalls Adolf Loos’ polemic and his built work in Vienna.
		[2] She alludes to Le Corbusier’s famous definition of architecture. Her words also recall a statement by John Ruskin that the play of masses in architecture is less expressive than the decorative detail as the form of a person’s body is less expressive than their face.
	www.waac.vt.edu /paj/gray_read.htm (698 words)

	hot news - School of Architecture to Showcase Latest Technologies’ Take on Craft Traditions
		The School of Architecture will present “.tpo: technology performance ornament,”* an exhibition of recent work by five architectural designers addressing issues of ornamentation and material performance through innovative uses of digital- fabrication technologies.
		It is an acronym of "technology performance ornament", because—in addition to the fact that they all work with digital files—these are the three issues that unite the work of all four exhibitors.
		“Though ornament is often associated with earlier craft traditions, this work reveals an expanded vocabulary for the production of contemporary architecture and design.” Paid public parking for the exhibition is available in the Comstock Avenue lot.
	www.syr.edu /news/2005-03-14_7023.html (367 words)

	Amazon.fr : Garden Ornament: Five Hundred Years of History and Practice: Livres: George Plumptre,Jamie Garnock,Hugh ... (Site not responding. Last check: 2007-08-18)
		This book is a useful and visually instructive history of architecture and ornament in gardens that are the horticultural equivalent of the tower of Babel.
		Taking the principal categories of ornament in turn, he shows how, over the last five hundred years, garden designers have used stone, wood, and metal to enhance and modify the natural features of the landscape.
		He then analyzes the role of ornament in modern garden design, showing how long-held and tested principles of design can be applied imaginatively in the typical modern garden.
	www.amazon.fr /Garden-Ornament-Hundred-History-Practice/dp/0500280797 (562 words)

	New York Architecture Images- Art Deco / Art Moderne
		Art deco is a style of ornament imported from France after the 1925 exposition that provided an ornamental overlay on office buildings that were built under the 1916 zoning law.
		So it is important to note that the style is not synonymous with the zoning law but with a type of ornament that was used after 1925 on buildings in New York.
		But they had a highly ornate decorative quality—using, for example, stylized sunbursts, frozen fountains, and zigzag ornaments—and it was this style of ornament, used on both the pavilions and the modern decorative arts shown at the fair, that the Americans brought back with them.
	www.nyc-architecture.com /STYLES/STY-artdeco.htm (1267 words)

	Architectural Ornament
		Gothic architecture provides a good example of the use of ornament.
		The placement of ornament served structural purposes as well as providing a means of communication in a period when most people were illiterate.
		Ornament, moldings and cornices were placed on buildings at critical locations, to pull the water off the building.
	www.stonecarver.com /ornament.html (501 words)

	93.01.03: Play on Architecture
		Since architecture affects each person daily, from the home in which one lives, to the place in which one works or goes to school, to the community in which one roams, it would be useful to have a language with which to communicate about architecture.
		Architecture always implies “more than its obvious and immediate meaning.” (Which leads me to the realization of why architecture, a symbolic art, does not usually exist in our curriculum!) Through drama, movement, and architecture (as a symbolic language) I see opportunities for people to understand and connect with architecture in new and creative ways.
		Although each piece of architecture has something in common with other pieces of architecture, each is a unique creation because of its special place in space, and its particular time of creation.
	www.yale.edu /ynhti/curriculum/units/1993/1/93.01.03.x.html (5790 words)

	Louis Sullivan at 150 : a comprehensive, six-week schedule of public programming leading up to the symposium.
		With this early influence and his talent for drawing, Sullivan developed a style of ornamentation that reflected nature through symmetrical use of stylized foliage and weaving geometric forms.
		Sullivan believed that ornamentation was not just an afterthought, but was integral to the building’s overall design.
		Sherman Paul, author, Louis Sullivan: An Architect in American Thought, wrote, “Ornament and structure were integral; their subtle rhythm sustained a high emotional tension, yet produced a sense of serenity.
	www.chicagohistory.org /sullivan150/about/ornament.php (439 words)

	Parsons - History of Decorative Arts & Design Faculty, Peter Fuhring
		Projects: the Decloux collection of ornament prints, Cooper-Hewitt; the prints or ornament and architecture of Jacques Androuet du Cerceau.
		This three volume catalogue of the prints of ornament, decorative arts, architecture, gardens, fountains, fêtes, stage set designs, modelbooks, and calligraphy of the seventeenth century will appear with 1000 illustrations in fl in white later this fall.
		Design into Art: Drawings for Architecture and Ornament (1989), two-volume catalogue of the Hans and Paul Vredeman de Vries prints in the Hollstein series (1997), Juste-Aurele Meissonnier: Un génie du Rococo (1999), numerous articles and reviews.
	www.parsons.edu /faculty_and_staff/faculty_details.aspx?dID=79&sdID=104&ptype=2&id=3764 (164 words)

	Real Estate News and Tips for Consumers - Inman News
		During the last half of the 19th century, the advent of mass production suddenly made ornate millwork affordable to the middle class, and the result was a mania for ornament.
		True to the millwork catalogs of a hundred-odd years ago, today's ornament is sold in similar mix 'n' match fashion, and the range of available items is just about as vast.
		Victorian architecture used a whole slew of specialized "gingerbread" decorations--from plinths to spindles to buttons--whose names were all but forgotten for most of this century.
	db.inman.com /inman/content/subscribers/inman/column.cfm?StoryId=971203ag&columnistid=Gellner (551 words)

	Land+Living: Villa Müller
		I remember this building from architectural history classes, but must admit that it had slipped into the deep recesses of my memory until I saw an article in the Prague Post published this week.
		The house was purchased by the City of Prague in 1995 and is administered by the City of Prague Museum.
		The resurgence of ornamentation in architecture is a releif for those who see architecture as nurturing rather than just shelter.
	www.landliving.com /articles/0000000827.aspx (448 words)

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