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	[No title]
		When ornament is applied to an object, it is referred to as decoration an becomes a finished piece.
		Because ornament is not there to hold things up or make things work, it is not bound by all the utilitarian constraints that threaten, at times, to suffocate us.
		Ornament is essentially free: free to move the eye, to intrigue the mind, to rest the soul; free simply to delight us." Ornament can be useful, in that it satisfies a need.
	www.thedesignencyclopedia.org /ornament?do=export_raw (567 words)

	Form follows function - Wikipedia, the free encyclopedia
		In 1908 the Czech architect Adolf Loos famously proclaimed that architectural ornament was a crime, and his essay on that topic would become foundational to Modernism and eventually trigger the careers of Le Corbusier, Walter Gropius, and Mies van der Rohe.
		If you're willing to admit that ornament on a building may have social usefulness like aiding wayfinding, announcing the identity of the building, signaling scale, or attracting new customers inside, then ornament can be seen as functional, which puts those two articles of dogma at odds with each other.
		In the late 1910’s the two principles of “form follows function” and “ornament is a crime” were effectively adopted by the designers of the Bauhaus and applied to the production of everyday objects like chairs, bedframes, toothbrushes, tunics, and teapots.
	en.wikipedia.org /wiki/Form_follows_function (1077 words)

	Crime
		Ornament and Crime Ornament and Crime is an essay written by the influential Austrian architect Modernism in architectur...
		Political crime In the standard sense of the phrase, a political crime is an action deemed illegal by a government in or...
		Violent crime A violent crime or crime of violence is a crime in which the offender uses or threatens violent force upon...
	www.brainyencyclopedia.com /topics/crime.html (939 words)

	Eduard Führ (Cottbus)
		The ornament was not conceived as a complement to the function, rather for Siedler and Niggemeyer just the opposite was true, namely that the useful, rational and functional destroyed individual humanity and the urban community which realized itself through and in ornament.
		Ornament is, to be sure, also lineament for him, yet he thinks of this above all in terms of realistically illustrative or abstracting illusions or imitations applied to the things or the architecture.
		Ornament is observed with great care, one could even say with reverence, for we know today that ornament must be a symbolic language, in a certain sense a holy script.
	www.tu-cottbus.de /BTU/Fak2/TheoArch/Lehrstuhl/deu/ornament_engl.htm (5997 words)

	Ornament and Crime -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-11-02)
		Ornament and Crime is an essay written by the influential Austrian architect (Austrian architect (1870-1933)) Adolf Loos in 1908, and translated into English in 1913, under its challenging title.
		It struck him that it was a crime to waste the effort needed to add ornamentation when the ornamentation would cause the object to soon go out of style.
		Loos introduced a sense of the "immorality" of ornament, describing it as "degenerate", its suppression as necessary for regulating modern society.
	www.absoluteastronomy.com /encyclopedia/O/Or/Ornament_and_Crime.htm (212 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 (626 words)

	Some notes on continuity in the work of Adolf Loos and Aldo Rossi (Site not responding. Last check: 2007-11-02)
		The absence of any predominant tectonic expression in the forms of the Otto Hass Hof is not an 'act of mourning' as may be described, nor is it meant to be read as the literal antithesis of the expressionism of Van der Velde or the Werkstatte.
		Ornament cannot be a question of taste or an aesthetic policy, it is a matter of the development of modes of production.
		The concept of style and ornament in essence is manifest in a concern for the ends of construction and communication.
	www.tulane.edu /~swacsa/papers/15.htm (4580 words)

	eye \| feature
		Ornament is clearly an integral part of the dominant visual language of the moment.
		The most famous and enduring of these was the architect Owen Jones’s didactic Grammar of Ornament, published in 1856, which laid out 37 propositions relating to the appropriate uses of decoration and pattern and showcased in brilliant colour (made possible by the recent introduction of chromolithography) thousands of examples of ornament from around the world.
		Ornament continued its long fall out of favour in architecture, industrial design and graphic design for the better part of the twentieth century.
	www.eyemagazine.com /feature.php?id=126&fid=553 (1008 words)

	Arquitectura Viva 87 · Synopsis
		Alternatively martial and martian, the modern discipline has worshipped rigor and the future, building a mental landscape where ornament is a crime against efficacy and progress.
		Ornament plays a role that is not very different from that of hypocrisy or diplomatic protocol, urbanity or precaution in social intercourse, the cosmetics or the theater of encounter.
		And it will be said that ornament is ephemeral, and one more time this will need to be acknowledged; but in the history of perception nothing lasts longer than fleeting motifs, tenacious inhabitants of circular time.
	www.arquitecturaviva.com /Antiguos/ArquitecturaViva87(i).htm (491 words)

	Adolf Loos - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-11-02)
		In addition to his built projects, Loos is noted for his essay / manifesto "Ornament and Crime" written in 1908.
		In this he expressed the idea that the progress of culture is associated with the elimination of ornament from useful objects, and that it was a crime to have craftsmen waste their time on ornamentation that served to hasten the time when an object was obsolete.
		Accordingly, the most primitive societies use a lot of decoration and the most advanced societies have no superfluous ornament, or at least there is benefit in suppressing ornamentation which serves no useful purpose.
	www.eastcleveland.us /project/wikipedia/index.php/Adolf_Loos (353 words)

	Form follows function - ArticleWorld (Site not responding. Last check: 2007-11-02)
		Czech-Austrian architect Adolf Loos, whose 1908 essay Ornament and Crime was the other battle-cry of architectural modernism, had worked with Sullivan.
		It is often argued that form follows function and ornament is crime are not as synonymous as they are perceived to be.
		Sometimes, critics argue, function requires ornamentation, for example as a wayfinder for pedestrians, as a social and symbolic announcement of the purpose of the building, or to encourage people to enter.
	www.articleworld.org /index.php/Form_follows_function (707 words)

	[No title]
		A subtext to a number of artists' dealings with the decorative is the Austrian modern architect Adolf Loos' essay 'Ornament and Crime', written in 1908 at the height of the Art Nouveau movement.
		Loos proclaimed ornament as 'degenerate' where the 'urge to decorate' should be resisted.
		Cheap decorative ornaments and figurines are blindfolded, beheaded, mutilated in an ever-evolving repertoire of objects in the installation 'I thought I was the audience and then I looked at you'.
	www.axisweb.org /atATCL.aspx?AID=737 (879 words)

	Le Corbusier and Decoration
		Decorative arts, for Le Corbusier, should be separated from the tools; he also blamed the deceit in ornamentation, as it disguised the flaws in manufacture, i.e.
		Le Corbusier was influenced by Adolf Loos, the first designer to reject the need for ornament in interior design, and the debate within the Deutsche Werkbund between Henry Van de Velde and Hermann Muthesius.
		Karl Grosz wrote an article 'Ornament' in 1911 from Form and Function, in it he agreed that industry submerged practical items into cheap decoration, and he suggested that "any further development could only be sought for by returning to simplicity".
	www.geocities.com /rr17bb/LeCorbusier.html (1569 words)

	Adolph Loos (Site not responding. Last check: 2007-11-02)
		Ornament is wasted manpower and therefore wasted health.
		As ornament is no longer organically related to our culture, it is also no longer the expression of our culture.
		The ornament that is produced today bears no relation to us, or to any other human or the world at large.
	members.aol.com /mewarchitect/loos.html (204 words)

	cheerful (Site not responding. Last check: 2007-11-02)
		Ornament and Crime declares decoration to be a waste of labour, materials and capital.
		Thus it might be said that Loos’ Ornament and Crime provided a manifesto for an emergent Modernist design movement which insisted on stripping designed objects of ornamentation, and supplanting the charms of decoration by the severe, purist pleasures of cubic geometry.
		The rigorous aesthetic allergy to kitsch, ornament, the superfluous, anything approaching the luxurious, contains an element of barbarism, to be understood in the sense of Freud’s theory of a destructive cultural unease.
	www.militantesthetix.co.uk /waltbenj/cheerful.html (4747 words)

	Matthew Shepard Christmas Ornament
		People who do not feel they can create their own Christmas ornament may want to purchase a personalized Christmas ornament with the name of a victim of a hate crime on the ornament.
		Helping children make a Christmas ornament for Matthew Shepard would be a wonderful way to teach that gay people need to be treated as valuable members of society.
		The ornament says Matt on it and is made to honor Matthew Shepard.
	www.stophate.us /ed.html (374 words)

	Ornamental Agility - March 1, 2007 - The New York Sun
		If, as the early modernist architect Adolf Loos famously contended, ornament is crime, then Philip Taaffe can expect a stiff sentence.
		In his opulent, layered, and shamelessly decorative paintings, ornament is rampant, eclectic, and serial.
		Taaffe's work, is at once affirmation and denial: Although there is an emotional and sexual energy that recalls the use of ornament by Gustav Klimt, a willingness to submit his motifs to bland regimentation has the nihilistic nonchalance of Andy Warhol.
	www.nysun.com /article/49607 (674 words)

	Dynamist.com
		We have overcome the ornament, we have won through the lack of ornamentation." Far from being a period without style, or new ornament, the end of the nineteenth century was inundated with ornament and style.
		Once ornament was supposedly done away with, or at least "rehabilitated" into modernist dogma, one could have expected that it was only a matter of time before design itself would be recast as a crime against culture.
		At the end of the twentieth century, designers find themselves in a world in which ornament, decoration, and style are reduced to meaningless superficial effects; form is only to be derived from function;[9] and design itself is little more than a commercial construct.
	www.dynamist.com /tsos/keedy.html (3868 words)

	Notebook (Site not responding. Last check: 2007-11-02)
		Since older furniture had ornaments and profiles that were cut and inlaid, and since the modern woodworker was incapable of designing any, the architect took advantage of him.
		The woodworker's lack of ability can be explained by the fact that he is a modern man. The architect, on the other hand, is capable because he is not modern.
		The modern man, as I already suggested ten years ago, is no longer able to produce an ornament.
	www.noteaccess.com /APPROACHES/Adolf.htm (533 words)

	Louis Sullivan after functionalism by Michael J. Lewis (Site not responding. Last check: 2007-11-02)
		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)

	ventilate.ca - KDlab Interview
		Ornament and Crime is the brainchild of one of our strategic partners, Ed Keller, of a.CHRONO, who sums up the current state of the project as follows:
		"Ornament and Crime is a work of "hard" science fiction set twenty-two years in the future.
		In Ornament, we forecast that this event will not only radically transform social interactions and cause global political change, but that it will also breed a range of competing realities, each of which is spun out as a scenario in the computergame.
	www.ventilate.ca /issue05/kdlab.html (1185 words)

	Adolf Loos : architect biography (Site not responding. Last check: 2007-11-02)
		Adolf Loos argued that because ornament was no longer an important manifestation of culture, the worker dedicated to its production could not be paid a fair price for his labor.
		For Adolf Loos, the language of the environment of the metropolis was centered in the absence of all ornament.
		His work entitled "Ornament and Crime" was translated in 1920 in Esprit Nouveau, a publication edited by Le Corbusier, Paul Dermee, and Ozenfant.
	architect.architecture.sk /adolf-loos-architect/adolf-loos-architect.php (1797 words)

	Of Crime (Site not responding. Last check: 2007-11-02)
		Ornament is degeneracy, suitable only for the lower orders of mankind.
		The only excuse for ornament is to support the lower orders.
		Ornament is a lie hiding the great truth of the solution.
	www.vrplumber.com /thesis/tb.depth.antidepth.ornament.htm (217 words)

	VMFA: Exhibitions: Designed for Delight: Alternative Aspects of Twentieth-Century Decorative Arts
		Although the notion that "ornament is crime" was widely held up until the 1960s, an alternative stream has never ceased to flow throughout the century, Curry says.
		In the section titled "Is Ornament a Crime?" visitors will see that the ways of enriching form - with floral patterns and geometric shapes - have remained important design elements throughout the century.
		Illustrating ornamentation are a floral textile by painter Raoul Dufy and an Alessandro Mendini cabinet decorated in the style of Kandinsky.
	www.vmfa.state.va.us /designed.html (652 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)

	Adolf Loos Summary
		In addition to his built projects, Loos is noted for his essay/manifesto "Ornament and Crime" written in 1908.
		In it, he expressed the idea that the progress of culture is associated with the deletion of ornament from everyday objects, and that it was a crime to force craftsmen or builders to waste their time on ornamentation that served to hasten the time when an object was obsolete.
		In the same essay Loos asserted that "All art is erotic," and that a European man who tattoos himself is either a criminal or a degenerate; if a tattooed man dies out of prison, Loos reasoned, it is only because he did not live long enough to commit his inevitable murder.
	www.bookrags.com /Adolf_Loos (1329 words)

	Decorative arts (Site not responding. Last check: 2007-11-02)
		Ornament and Crime is an essay written by the influential and self-consciously "modern" Austrian architect Adolf Loos in 1908, that was translated into English in 1913, under its challenging title.
		"The evolution of culture marches with the elimination of ornament from useful objects" Loos proclaimed, linking the optimistic sense of the linear and upward progress of cultures with the contemporary vogue for applying evolution to cultural contexts.
		He took as one of his examples the tatooing of the "Papuan" and the intense surface decorations of the objects about him; Loos considers the Papuan not to have evolved to the moral and civilized circumstances of modern man, who, should he tatoo himself, would either be considered a criminal or a degenerate.
	www.jahsonic.com /Decorative.html (595 words)

	whipup.net (Site not responding. Last check: 2007-11-02)
		There are some Modernists (you know who you are) who, like Adolf Loos in 1908, equate ornament with crime.
		When the ornaments are all the same, it looks nice for a moment, but then you lose interest.
		When the ornaments are all different, we spend time looking, touching and getting to know each ornament individually.
	whipup.net /2006/05/16/making-peace-with-ornament (618 words)

	CTheory.net
		The erasure of unnecessary ornamentation was rebuilt as the secular context in which modern society was to rethink.
		For to place the presence of ornamentation on top of the absence of the grid of the proto-skyscraper is to draw attention not so much to the decoration as to that which has been so decorated.
		Sullivan, by separating ornamentation from the building beneath opens up what, in Loosian dialectics, could be termed a secular space: a gap that became developed into the liminal universality of whiteness, or steel and glass.
	www.ctheory.net /text_file.asp?pick=418 (5177 words)

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