Ornament and Architecture - Essay Example

Or nt and Architecture An or nt is basically a decoration that is applied to a part or parts of an objet or building so as to embellish it. Architectural ornaments may be made of such materials as formed clay or plaster, precious metals, stone, or wood. The ornaments may be impressed onto the surface of an object or the object may be painted altogether. Ornamentation has been applied in architecture since the beginning of civilizations although it apparently lacks in the modern setting. As one walks along the many streets in the US, one thing that is seen are buildings constructed devoid of ornament. This does not apply only to urban areas, as even residential neighborhoods and small cities are also densely populated with houses and buildings lacking character and good design. What is lacking in these buildings is what is referred to as ornamentation. Thus, we take ornamentation as the process of harmonizing different elements inherent in the works of architects. Nevertheless, the question that one may ask is whether ornamentation truly necessary in buildings? Majority of architects argues that ornamentation is very fundamental since it attach beauty to buildings an argument which I concur with. This paper will explore the value of ornamentation in enhancing beauty in architectural work. The origin of architectural ornamentation can be traced back to the 19th century when classical design is said to have reached its peak in the U.S in what is popularly known as the the American Renaissance. What was evident on the architectural pieces at the time is that they had a style that was commonly used by Marcus Vitruvius Pollio in the first century B.C. What is notable in Vitruvius work and those who heed to his records regarding the classical style, design and ornamentation is that they were based on imitations (Polio 56). Furthermore, the technology applied during this time followed strict rules, which did not give room for innovation since preconception hindered harmonious ornamentation. Leon Battista Alberti (1404-1472), like Vitruvius, is another architect who influenced a lot artwork during the American Renaissance. He considered ornament as something applied or added. In fact, he defined ornament as a type of additional light that was aimed at complementing beauty (Alberti 7). I believe, from this definition, that beauty is something inherent in property, which is supposed to be manifested in the body of a beautiful, whereas ornament instead of being inherent is added or attached to a piece. Alberti argues that beauty is found in nature and may be the main reason for building. He states that, Most noble is beauty, therefore, and it must be sought most eagerly by anyone who does not wish what he owns to seem distasteful. Nature herself, as is everywhere plain to see, does not desist from basking in a daily orgy of beauty-let the hues of her flowers serve as my one example (Alberti 12). Nevertheless, several questions arise from Alberti’s argument because ornamentation is done on the whole work and is part of the whole. Therefore, it is not reasonable for him to have thought that beauty and ornament were separate. Furthermore, it is not reasonable to say that an attached or added ornament is beautiful. Ornamentation of a building is supposed to enhance beauty. Louis Sullivan was the first architect to have understood that ornamentation of a building is essential in enhancing beauty. His works mainly centered on creating an architectural works dependent on context of the project, with integral ornamentation. Sullivan focused mainly on principle of design rather than preconceived rules. He mainly believed in the principle “form ever follows function” (Dorra 111). From this principle, Sullivan made attempts to fuse his naturalistic ornament with the building’s structure as was seen in Wainwright Building at Saint Louis, Missouri (1890-91) (Dorra 112). The building is a classical example showing how Sullivan used naturalistic ornament with the fabric in constructing the building as shown in figure 1. Adolf Loos, a Viennese architect, however, downplays the value of ornamentation as seen in his article “ornament as crime” (1908). In his thesis, he refers ornament back to erotic symbolism and denouncing it as “a squandering of labor” (Asendorf 186). From this statement, he appears to propagate a rationality which outlaws all manner of pleasurable waste. He demonstrated his thesis with his 1910 Steiner House building, which he constructed without using or applying ornamentation as shown in figure 2. Nevertheless, Van de Velde disagrees with Loos’ argument saying that ornamentation is a vital element in when high level of beauty is to be achieved in a building (Asendorf 186). In conclusion, In line with Alberti’s suggestion, people should value beauty in architectural pieces and in life. Furthermore, ornamentation in architecture should aim to achieve the highest beauty possible. This said, it must also be admitted that ornaments may be a superficial gesture which may be not be necessary and uneconomical. In nature, just like in buildings, the highest level of beauty is achieved where all the elements work in harmony with one another and form a unified whole. In a bid to achieve this level of beauty, architects cannot afford to abandon ornamentation. Rather, they must realize its true role as fundamental path to reaching the highest level of beauty possible. In addition, architects should be able to move forward by applying hind sight even as they remain cautious not to apply solutions that are preconceived to solve major problems. In order to have inspiring beauty, it is important that a building is constructed considering its specific context, and not another time, place or culture. The building should be autonomous in respect of its purpose and place. In addition, the styling must remain as autonomous as the architect who designed it. Figure 1. Wainwright Building, 1890-91, Saint Louis, Missouri by Dankmar Adler and Louis H. Sullivan. Figure 2 Adolf Loos’ Steiner House, Vienna, 1910-MA. Work Cited Alberti, L.B. On the Art of Building in Ten Books. New York, NY: Mit Press, 1988 Print. Asendorf, Christoph. Batteries of Life: On the History of Things and their Perception in Modernity. London: University of California Press. 1993 print. Dorra, Henri. Symbolist Art Theories s: A Critical Anthology. London: University of California Press. 1995 print. Pollio, V. (2005). Vitruvius: The Ten Books on Architecture, Hoboken, NJ: Lightning Source Incorporated, 2005 Print. Read More