Ornament (art) - Modern Ornament

Modern Ornament

Modern architecture, conceived of as the elimination of ornament in favor of purely functional structures, left architects the problem of how to properly adorn modern structures. There were two available routes from this perceived crisis. One was to attempt to devise an ornamental vocabulary that was new and essentially contemporary. This was the route taken by architects like Louis Sullivan and his pupil Frank Lloyd Wright, or by the unique Antoni Gaudí. Art Nouveau, for all its excesses, was a conscious effort to evolve such a "natural" vocabulary of ornament.

A more radical route abandoned the use of ornament altogether, as in some designs for objects by Christopher Dresser. At the time, such unornamented objects could have been found in many unpretending workaday items of industrial design, ceramics produced at the Arabia manufactory in Finland, for instance, or the glass insulators of electric lines.

This latter approach was described by architect Adolf Loos in his 1908 manifesto, translated into English in 1913 and polemically titled Ornament and Crime, in which he declared that lack of decoration is the sign of an advanced society. His argument was that ornament is economically inefficient and "morally degenerate", and that reducing ornament was a sign of progress. Modernists were eager to point to American architect Louis Sullivan as their godfather in the cause of aesthetic simplification, dismissing the knots of intricately patterned ornament that articulated the skin of his structures.

With the work of Le Corbusier and the Bauhaus through the 1920s and 1930s, lack of decorative detail became a hallmark of modern architecture and equated with the moral virtues of honesty, simplicity, and purity. In 1932 Philip Johnson and Henry-Russell Hitchcock dubbed this the "International Style". What began as a matter of taste was transformed into an aesthetic mandate. Modernists declared their way as the only acceptable way to build. As the style hit its stride in the highly-developed postwar work of Mies van der Rohe, the tenets of 1950s modernism became so strict that even accomplished architects like Edward Durrell Stone and Eero Saarinen could be ridiculed and effectively ostracized for departing from the aesthetic rules.

At the same time, the unwritten laws against ornament began to come into serious question. "Architecture has, with some difficulty, liberated itself from ornament, but it has not liberated itself from the fear of ornament," Summerson observed in 1941.

One reason was that the very difference between ornament and structure is subtle and perhaps arbitrary. The pointed arches and flying buttresses of Gothic architecture are ornamental but structurally necessary; the colorful rhythmic bands of a Pietro Belluschi International Style skyscraper are integral, not applied, but certainly have ornamental effect. Furthermore, architectural ornament can serve the practical purpose of establishing scale, signaling entries, and aiding wayfinding, and these useful design tactics had been outlawed. And by the mid-1950s, modernist figureheads Le Corbusier and Marcel Breuer had been breaking their own rules by producing highly expressive, sculptural concrete work.

The argument against ornament peaked in 1959 over discussions of the Seagram Building, where Mies van der Rohe installed a series of structurally unnecessary vertical I-beams on the outside of the building, and by 1984, when Philip Johnson produced his AT&T Building in Manhattan with an ornamental pink granite neo-Georgian pediment, the argument was effectively over. In retrospect, critics have seen the AT&T Building as the first Postmodernist building.