The function of ornament in contemporary interior practice

M22-COURSE-ID4602 Contemporary Interior Practices

Swetha

PID21369

Abstract:

“Architecture is visual art where building speaks for themselves” – Julia Morgan Architecture has always helped in creating identity. Whether it may be in creating a visual image of the city, the symbolism of the power, or an ideology, it has been a resource that tells us about the past and connects the present and lives through the future. It had always been a visual source of communication, informing the culture, and the change, it reflects the idea of the society, their skills, the resources they possess, and so on.

But what are the mechanisms in it that allow it to become connected to the culture and context? How ornaments do acts as one such mechanism?

As read in Architectural Review-Journal: ‘Whether we think of the appliqué classicism of Postmodernism or the thin veneer of decorative facades engendered by digital production, ornament today is almost inevitably seen at a remove. That alienation is at the heart of the problem - and it is a problem because the ornament is the language through which architecture communicates with a broader public and each remove puts another degree of separation between the profession and the public.’ (Architectural review 2015)

Ornaments have long been a feature of architectural design. They represented varied symbolic meanings at various times, but the goal was always to interact with societies.

Though the function of ornament and the role they play in creating the expression of the space is still debated. There is no doubt that ornamentation acts as a visual resource in communicating from the Greek column capital, roman domes, gothic articulated vaults and spires, art Novo and art deco motifs and geometry, and so on. It had always been a feature in creating the expression of the space. Even in modern architecture which resisted all the ornament the transparency and detailing act as the ornament in conveying the expression of the space

The line between architecture and ornamentation is muddled in contemporary architecture. Modern embellishments no longer serve as the building's afterthought, rather they make up the entire framework of the façade. This enables the structure to express multiple symbolic meanings and provides visitors with a multi-sensory experience.

So what is considered an ornament and function keep changing with time and style? And what are ornaments in contemporary times what is their role of it in today’s context?

Defining Ornament and ornamentation:

“The ornament is that which, superadded to utility renders the object more acceptable through bestowing upon it an amount of beauty which it would not otherwise possess“ – (the art of decorative design)

Dresser definition of ornaments Today every word of the context evokes an argument from the statement superadded to the utility” which suggests that the ornament lacks functionality. The notion of beauty is a measurable thing

When we think about ornament our mind goes to the 19th century, highly decorated Victorian rooms containing opulent furnishings, tapestries, patterned wallpaper, rich colors, flowers, and sentimental pictures and drawings. It represented status and opulence with the revival of the past styles in the newfound material in that locomotive era. (Ornament 1977)

It is this image of ornamentation, which in the previous centuries was a rational design decision with a challenge to invention, skill, and a trail of taste the ornament becomes a matter of conscience.

This idea of the ornament is what made modern architecture resist the whole idea of ornamentation. In today’s context definition of Ornaments are any element added to an otherwise merely structural form, usually for purposes of decoration or embellishment.

Ornamentation is applied embellishment in various styles that are distinguishing characteristics of buildings, furniture, and household items. (https://www.britannica.com/topic/ornamentationarchitecture n.d.)

For a much simpler understanding, an ornament is a form of decorative detail that helps to beautify. These decorations are used to symbolize and produce a visual image. but can also be functional The ornamentation is the imagery that an ornament gives like grandeur, royalty, power, ideology, and so on ornamentation can be decorative identification of the structure.

According to the Britannica, ornament can be categorized into 3 major categories

Mimetic or imitative ornament mimetic, or imitative, ornament, the forms of which have certain definite meanings or symbolic significance; applied ornament, intended to add beauty to a structure but extrinsic to it; and organic ornament, inherent in the building’s function or materials.

Arguments on ornamentation

Ornamentation has been the subject of controversy for more than a century, with opposing and praising sides.

The concept of ornamentation was altered by the industrial age's increased use of machines in the production of goods. As a result of mass production and the desire for economic expansion, ornaments are suddenly inexpensive and only used as decorations The Modernists' moralizing arguments result from the new ethical obligation to remove decoration. The ornamentation is described as a tool used by capital to make and market more worthless goods. Marx, Morris, and Loos' arguments were in opposition to these industrial ornaments. (Architectural review 2015)

William Morris was a strong opponent of Victorian ornament and was particularly disturbed by decorative arts produced by machines in mass quantity with no value but to decorate. He observed the terrible working conditions of the factories, their environmental consequences on the surrounding countryside, and the exploitation of cheap labor that led to shoddy products. The influence of this socialist idea is what made him oppose modern ornament and start the Arts and Crafts movement. (Roots of Arts and Crafts n.d.)

Whereas Adolf Loos’s ‘Ornament and Crime’. Disregarded ornaments and proceeded toward ore functioncentered approach to architecture

“Weep out Behold the true greatness of our age that it can no longer bring forth ornament. We have vanquished decoration and broken through into an ornament less world” - Ornament and crime – Adolf loos (Loos 1913)

Architects of the 20th century rejected traditional forms and techniques in favor of what was believed to be a more rational building process based on program, construction techniques, and humanitarian considerations. The symbolism of the traditional form no longer had meaning for "the new world "and was consequently discarded.

Adolf loos believed the new style of our age is the one that is functional and lacks any sort of ornament. The new style should be based on a rational and logical conception where the honesty of the material and the honesty in the construction is considered the key feature.

Ornamentation and modernism

Modernists with their ideology to resist all nonfunctional symbolism redefined the whole idea of ornamentation and use simple forms being true to the material and detailing to create e structural expression of the building

In his book 'Complexity and Contradiction,' Rober Venturi provided the most complex understanding of ornament among architects and designers today. There was an important viewpoint toward re-educating architects about symbolism. (Robert Venturi: Complexity and Contradictio 1966) This resulted in a groundbreaking investigation into the perceptual and symbolic content of ornament. For him, the perception of modernism was quite orthodox, and his words challenged it. The use of a single 'Ionic' column by Robert Venturi in his addition to the Allen Memorial Art Museum speaks to the manipulation of ornament and ornament found in traditional orders.

Frank Lloyd Wright was in favor of ornament. FL Wright used the technique of ornament intenerated the plan for his buildings.

Louis Sullivan's works were intended to express the building's character with an idea of materiality and technique Sullivan intended to find a sensitive mixture of form, structure, and ornament in his buildings. This mixture produced certain effects in displaying the function and detail of the building. This amalgamation of structure and expressing a character developed surface ornament in his buildings. In Sullivan’s work, the system of ornament was indeed contained by the structural form. But it has a strong dependence on botanic shapes and growth, which came from the movements in Europe like art & crafts and Art Nouveau. The expression of ornament can effectively express and glorify the function of the building.

Sullivan's urban architecture was largely based on an emphasis on the dynamic lines and patterns produced by modern steel-frame construction, but he kept interspersed bands and patches of naturalistic ornament on parts of his buildings' facades.

The International Style, in which Walter Gropius and Le Corbusier were the chief figures, used transparency as the tool of ornamentation. It helps to achieve the direct representation of other f architectural elements of space structure and program. Like in the example I’m pei's louvre pyramid transparency is used to create the expression of the building. The material and the detailing itself become ornaments to it With the Fagus factory of Walter Gropius the stripped aesthetic of Bauhaus is used to ornament the interior where the material becomes the expression of the building and the ornament.

It wasn't until the 1970s, with the advent of the Post-Modernist architectural movement, that the International Style's functionalism was moderated to allow for the modest use of ornament, including classical motifs. Postmodernism used décor and deconstructivism used the geometry of the collage as the style in place of transparency. All these are used as the tool of ornament in constructing the building expression.

With the changing notion of what ornament is and what function it performs, we have entered the new age of ornamentation which is both functional and symbolic.

Ornament’s in the contemporary age

According to the book “the function of ornament “by farshid moussavi

The previously used tools for constructing the building experience have to be re-evaluated. Currently, there is a growing number of building types that are “blank” for example department stores, shopping malls, Cineplex’s, libraries, museum power plants, and so on. These buildings are independent of the inside-outside relationship. New environmental regulations designed to achieve greater energy efficiency further contributed to this new condition with the contemporary technology and the need for sealed and controlled environments necessitate bigger service voids, plant rooms, storage spaces, and server rooms, increasing the size of these buildings.. Glass now alone is unable to provide the effective level of the environment control and needs to enhance through layering.

“Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly, and growth. It is through ornament that material transmits effects. Ornament is therefore necessary and inseparable from the object. It is not a mask determined a priori to create specific meanings (as in Postmodernism), even though it does contribute to contingent or involuntary signification (a characteristic of all forms). It has no intention to decorate, and there is in it no hidden meaning. At the best of times, ornament becomes an “empty sign” capable of generating an unlimited number of resonances. Whereas décor and representation promoted by Postmodernism correspond to a self-limiting movement from the possible to the real which cannot create anything new, the ornament is in line with nonrepresentational thought and the creative actualization of the virtual. The decoration is contingent and produces “communication” and resemblance. Ornament is necessary and produces effects and resonance (The function of ornament 2008)

'Functionalism' has been taken as a modern approach in which beauty was referred to as an ornament that becomes a functional attribute to the efficiency of a built environment. 'Ornament indeed corresponded with the concept of beauty but the return of ornament is based on the condition of it being functional.

The role of the architects need no longer involve the entire fabric of the building, it can now address the surface of the envelope through to the entire fabric.

This liberation of interior and shell helped in developing interior spaces with fewer constrain and more opportunities to explore. This helped in the development of interior elements which is independent of the architecture with new-age ornamentation.

Types of new age ornament

Ornaments in contemporary practice can be categorized into 3 major categories. It is divided based on the role they play in the space-making for the interior.

Structural ornament

It deals with the spatiality of a volume This type of ornamentation helps in the organization of the interior space. It uses the tools like form structure screens and surfaces. It is when the space-making elements help in building the overall organization to create the expression. The form helps the organization create a hierarchy and navigation. The structure includes various typologies of structural frameworks. Screens are the layering in the interior spaces which connect the interior to the exterior. Surfaces are the other layers that help in space-making. The structural ornaments create expression through junctions and details too

Functional ornament

It deals with the content and context of the space. It talks about the program, function, branding, color, texture, etc. . . . When ornamentation is used to satisfy certain functions like visual narrative pathfinding, branding act. The color texture lighting pattern is used in the space-making element to satisfy the function.

Digital ornament

It is an aesthetic ornament that deals with the effects. It is the resultant interconnection between spatiality and context that produces the ornaments which transmit unique effects in every interior design project.

New methods and systems of fabrication and construction have opened up the possibilities for contrast and customization. The new age ornamentation is variedly experimenting with form, structure, and construction by using technology as an active tool

In contemporary interiors, the digital, visual, tactile, sensuous, representative, structural, functional, and constructional facets justify the usage of ornament metaphorically and directly making ornament a profound mode of concepts and expression.

Case study of ornament in contemporary times:

The case study below are few examples of what and how ornament is used in contemporary times and its function

The goal was to create a concept that had strong ties to Asian culture and traditions.

Identity, Journey, and Memory were the three key points that were defined at the outset of the project. Neri&Hu aspired to create a space that appeals to all senses, that captures the customer as they approach the building that creates an experience that continues to unfold throughout the journey through the store, and leaves a strong impression on visitors long after they have left.

To achieve this they have used the brass lattice as the space-making element it fills the space, and carves out the parts unfolding the journey. These brass lattice structure function both as a structural and functional ornament. These help in defining the volume and also creating functional spaces. It renders the effect of infinite space. The brand of the flagship store and its ideology of the brand is visually communicated to the user through the ornament in the interior

AMORE Sulwhasoo Flagship Store SEOUL, SOUTH KOREA by Neri&Hu Design and Research Office

Figure 1 – Interiors of flagship store designed by Neri and Hu (amore-sulwhasoo-flagship-store-neri-and-hu-design-andresearch-office n.d.)

Starbucks Coffee - FUKUOKA-SHI, JAPAN - Kengo Kuma & Associates

Using a unique system of weaving thin wood diagonally, the project aimed to create a structure that blends in with such a townscape. This weaved element runs through the wall and ceiling surfaces making the space. Here it is the ornament that creates the expression of the space that defines the volume, giving it a sense of direction and exploring more complicated joints.

Digital Art Museum – Tokyo – Mori Building Company

It is an example of what is previously defined as the blank building in the function of ornament. The whole experience of the space is created using digital aid. It takes a borderless approach to art architecture and interior. The expression of the space is through user interaction with the art. Digital ornament is used to create a dimensionless experience.

Figure 2 Interior of Starbucks Coffee - FUKUOKA-SHI, JAPAN - Kengo Kuma & Associates (starbucks-coffee-kengo-kumaassociates n.d.)

Figure 3 – digital art museum – Tokyo (https://www.azuremagazine.com/ n.d.)

Wire Mesh Installation - Emirate of Abu Dhabi - Design Lab Experience

UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio

The Seed Cathedral was built with 60,000 transparent fiber optic rods, each with a different seed at the tip. The assemblage of the displayed seeds forms curvilinear patterns all over the building, whereas the tips of the seeds form a hairy texture on the outside. The pavilion alternates between inducing tactility with its distinctive assembly of fiber rods and evoking surface effects with patterns that are perceived differently from a distance and up close. This optical fiber structure serves all structural-functional aesthetic ornament in the interior

Figure 4 – Wire mesh Installation in the emirates of Abu Dhabi by design lab Experience - (wire-mesh-installation- n.d.)

This installation depicts the classical elements projected in the space through the layering of wire mesh. The light takes the role of ornament rendering the material and creating the visual effect of space.

Figure 5 – seed cathedral – UK pavilion - (uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio n.d.)

Conclusion:

The idea of what forms the ornament keeps changing with time. So its function. From being the imitation, covering the errors, and symbol of power it had shifted to more functional and expressive features in the interior spaces.

The ornamentation helps in creating identity, and visual language, it expresses the socio-cultural feature of the society it acts as a tool of narration and visual communication.

Apart from this ornament informs about the craftsmanship of the society the technique or skill processed and it tests the extreme of material property.

In this new digital era, the ornament has also evolved to absorb the changes. With ai and digital innovation, the ornaments help in creating an interactive experience in space.

Thus the definition of what form an ornament keeps changing but ornament and its function of creating an expression in the space stays.

References

Archdaily . n.d. amore-sulwhasoo-flagship-store-Neri-and-hu-design-and-research-office.

https://www.archdaily.com/788282/amore-sulwhasoo-flagship-store-neri-and-hu-design-and-researchoffice.

. n.d. Starbucks-coffee-Kengo-Kuma-associates. https://www.archdaily.com/211943/starbucks-coffee-kengokuma-associates?ad_medium=gallery.

. n.d. wire-mesh-installation- https://www.archdaily.com/871641/edoardo-tresoldi-wire-mesh-installationfeatures-architectural-fragments-constructed-at-1-1.

Archdaily. n.d. UK-pavilion-for-shanghai-world-expo-2010-heatherwick-studio.

https://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwickstudio?ad_medium=gallery.

Architectural Review. 2015. "‘Ornament is the language through which architecture communicates with a broader public." ORNAMENT.

Dresser, Christopher. 1862. the art of decorative design.

https://www.azuremagazine.com/. n.d. Mori-building-digital-art-museum.

https://www.azuremagazine.com/article/mori-building-digital-art-museum/.

https://www.britannica.com/. n.d.

https://www.britannica.com/topic/ornamentation-architecture.

https://www.utoledo.edu/. n.d. Roots of Arts and Crafts.

https://www.utoledo.edu/library/canaday/exhibits/artsandcrafts/roots.html#:~:text=Morris%20was%20a ppalled%20by%20the,no%20function%20but%20to%20decorate.

kieran, Stephen. 1977. Ornament.

kubo, Farshid moussavi, and Michael. 2008. The function of ornament.

Loos, Adolf. 1913. Ornament and Crime.

Venturi, Robert. 1966. Robert Venturi: Complexity and Contradiction.

List of Figures

Figure 1 – Interiors of flagship store designed by Neri and Hu (more-sulwhasoo-flagship-store-Neri-and-hu-designand-research-office n.d.)

8

Figure 2 Interior of Starbucks Coffee - FUKUOKA-SHI, JAPAN - Kengo Kuma & Associates (Starbucks-coffee-KengoKuma-associates n.d.)....................................................................................................................................................9

Figure 3 – digital art museum – Tokyo (https://www.azuremagazine.com/ n.d.)

Figure

9

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4 – Wire mesh Installation in emirates of Abu Dhabi by design lab Experience - (wire-mesh-installation- n.d.)

Figure 5 – seed cathedral – UK pavilion - (uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio n.d.)