Joseph Rykwert: Ornament is no crime (1975)

Fig1: Abu Dhabi Grand Mosque
Shows how rhythm and color creates perception of a space
Photo credit: Aashika Shibu

In Joseph Rykwert's view, since the space is an intrinsic extension of the self, it can be deduced that good architecture should stimulate the imagination, with the aim of expanding the mental borders of creativity and the intellect. This strictly relates to aesthetic qualities of the design, where the rhythm and styles expressed by the ornamentation have a direct impact on the perception of the space (Fig1). Rykwert also questions the level of ornamentation required to reach the Utopian balance that Loos suggests; whether to opt for a highly decorated composition or a more minimalistic arrangement (like in the case of a column) (Fig2a&b). More realistically, ornamentation should reach a satisfactory level at inspiring and stirring emotions, simultaneously leaving room for the imaginative dimension.

Fig2a: AUS CAAD Building
Minimalistic approach in columns
Photo credit: https://universes.art/de/art-destinations

Fig2b: Abu Dhabi Grand Mosque
Ornamental approach in columns
Photo credit: Aashika Shibu

Rykwert concludes that the architects should effectively learn to work in collaboration with the painter and sculptor, in order to produce one whole work of art. Ornamentation shouldn't be considered in isolation as a mere aesthetic manifestation, but rather as a cumulative evolution of culturally defined meaning. This idea runs parallel with Peter Eisenman who also suggests an aesthetic approach towards design rather than that of mere function. Additionally, the designs of Zaha Hadid is also inclined towards thinking of architecture as an ornament itself whether in the case of her buildings or clothing designs (Fig3a&b).

Fig3b:  Zaha Hadid, Rein Vollenga bracelets and the staircase by LdS
Photo credit: https://www.bizzita.com

Fig3b: Zaha Hadid bracelets for Caspita and her designs for an amazing yacht by Blohm & Voss
Photo credit: https://www.bizzita.com

Further reading: https://www.bizzita.com/jewelry-blog/inspiration/when-jewelry-meets-architecture-wonderful-designs-and-amazing-similarities

The ornaments used to be the trend once and now the contemporary architecture took over. This change has affected the perspectives of how architects and designers think. In general, the architects and designers are inclined towards to the client’s need and not to their own interests. Thus, when minimalist, clean and smooth surfaces are becoming a trend, the ornament has started to become something extra and not necessary. Nevertheless, the works of all time need to be respected as these works of the past inspire us to create and invent new architecture.

Fig4: Las Vegas stip as imagined by Venturi
Shows how billboards, signs and facades acts as ornaments
Photo credit: www.pinterest.com

However, the issue of ornament claimed by Rykwert is not a question towards whether ornament or not. It is the issue that what should architecture regain after its process of refinement.  When Venturi decided to build a “Ugly and Ordinary” box in Las Vegas, he proposed “decorated sheds” as normal modern building with “ornaments” such as facades, billboards and signs (Fig4). Then, why use “ornament” again? From my perspective, ornaments are still “enrichment of the essential structure of a building” and should not be used for destruction of the space. For example, in a lobby and reception of a residential building, simple patterns, neutral tones, natural colors etc. are generally preferred rather than bright colors or sculptures on the lobby. In essence, a simple, classy, sophisticated building that has less ornaments would be much more ideal and appealing to most of the clients/buyers/tenants.

Therefore, ornament is not a crime but an extension of architecture. As long as ornament roots in the soil of nature, just like music, sculpture and painting, it will always have meaning rather than being redundant. Perhaps the real problem that architects have already encountered today is how to handle architecture itself as a sort of ornament. Again, architecture has sailed to complexity by manipulating primitive structures from social context. The truth is, almost all architecture that is produced today follow some logic and gain their meaning despite how simple or complex their form is.