Ornaments are ubiquitous markers of everyday life and yet frequently ignored, disparaged and even contested. An Ornament nowadays is a paraphernalia used or to serve making something look more attractive but usually having no practical purpose, in to which contemporary definitions locate them in the domain of the exquisite and gratuitous. If truth be told ornaments allow us identify, communicate and organize our actions effectively, moreover they help us to express a unique experience of beautifying and also representing.
Ornamentation is a way to redesign and elucidate history. Ornamentation allows us to look at things in deeper and meaningful way.
The degree to which it has resonated with the public at large can be judged by the omnipresent presence in the homes of Habitat-shoppers of the Toord Boontje filigree light shade. One of their famous collection is The GARLAND LIGHT, which is a lovely long garland of metal flowers that can be wrapped along a light bulb. I love the way a garland has been used as an ornament on a bulb, it allows the users to experience ornamentation in everyday use, moreover placing it over a light bulb also allows you to enjoy the shadow it would form. It’s not an ornament that serves only visual pleasure and no other purpose, instead of using a dim light or any other common form to block the light, a garland has been placed on a bulb, not only does it make the light dim but also creates an interesting shadow. The thought of converting a garland which is usually made of flowers, to one made of glossy metal is quite eye catching and appealing.
The Garland
In Copenhagen, an entire hotel was redesigned from the inside out, as part of a Volkswagen-sponsored initiative called Project Fox. The project was to design four hotel rooms that would be permanent fixtures at Fox Hotel. Each of the room is designed in way to communicate a story about different realms of existence. It makes the person resonate with the mood the artist has created in the room.
The First room for instance was quite engrossing, as it had various elements in it. It looks like a room with many fantasies for children to imagine and enjoy. One such fantasy I can think of seeing this room is that you are having a jamboree with all the animals, the expressions and placement of the animals make you feel a sense of love and care. Placing it in the wildlife by some means connects you to nature, it creates a realization compassion for plants and animals, and also the nature or rather the tall trees in turn make you feel protected.
Project Fox
The past decade has turned over a new leaf for ornamentation by using geometric patterns, mandalas, enhancing detail, fleurons, motifs and the exploratory tendrils of lush flora. During the 19 th century ornamentation became more affordable and thus widely available feature in everyday household items, such as textiles, wallpapers, books, cups and saucers, so the debate that surrounded it began to take on a more virtuous, social and even political tone. It became inevitably bound up in discussions of beauty and taste.
Many theories on ornamentation came up and consequently many people who ran counter to it and also harmonised with these theories arose. All these theories came to pass as Modernization began, which gave rise to various opinions and theories.
Adolf Loos was a pioneer of modern architecture and contributed a body of theory and criticism of Modernism in architecture and design. He believed that things should be designed only keeping in mind its function and not aesthetics, and that by doing so It would help in keeping our culture alive, furthermore I think that his theory would help the society become more strong and also of greater value. He explains this theory in his essay Ornament & Crime, where he says “The evolution of culture marches with the elimination of ornament from useful objects". He feels that modern ornamentation is adding purposeless aesthetically appealing objects on useful things. In Loos's essay, "Passion for smooth and precious surfaces"he explains his philosophy, describing how ornamentation can have the effect of causing objects to go out of style and become obsolete and thus is a waste of time. He talks about Modernism in Architecture, he says that the people today value simplicity. His stripped-down buildings influenced the minimal massing of modern architecture, and stirred controversy. His buildings had lack of ornamentation on their exteriors, the interiors of many of Loos’s buildings are finished with rich and expensive materials, notably stone, marble and wood, displaying natural patterns and textures in flat planes, executed in first rate craftsmanship. He makes a distinction not between complicated and simple designs, but between "organic" and superfluous decoration. In his work He creates a harmonious relationship between all the elements as a whole.
He took as one of his examples the tattooing of the "Papuan” which is intense surface decorations of the objects about the person on himself—Loos says that, the Papuan has not evolved to the moral and civilized circumstances of modern man, who, should he tattoo himself, would either be considered a criminal or a degenerate.
He says that modernism would not appreciate this art that conveys spiritual strength, and would rather consider it a crime or an orthodox ritual.
Loos concluded that "No ornament can any longer be made today by anyone who lives on our cultural level ... Freedom from ornament is a sign of spiritual strength".
Tattooing of the “Papuan”
We have discussed earlier what the benefits of ornamentation are, Loos’s idea of putting an end to it, and also his concept of freedom from ornament being a sign of spiritual strength, is something I don’t see eye to eye with, I preferably think that freedom of using ornamentation is a sign of spiritual strength. Although I accord with his idea of using our resources in a justifiable manner, he says that beautification is not as important as the development and invention in the modern world.
These theories entered into picture after Loos returned back to Austria, to its capital Vienna, in 1896. . This era was known as the Viennese Secession. At this time Vienna was the conspicuous denial of modern America. The society looked back to the previous era and was not able to deal with the problems and possibilities of the new civil society. Loos started to write essays for Viennese newspapers, as it was not possible to for him to establish himself as an architect in Vienna during those state of affairs. He developed his theory of an unornamental way of design. His theoretical work culminated in his main work “Ornament and Crime” in (1908).
On numerous occasions Mr.Loos and Mr. Hoffmann ambushed each other. Mr.Loos would find faults in Hoffmann’s work and called unnecessarily ornate and materialistic. Adolf Loos and John Ruskin’s ideas were also in contrast with each other. Loos was against ornamentation, and said it was waste of time and money. On the other hand Ruskin invigorated architecture crafted by man and inspired by nature.
John Ruskin was the leading English art critic of theVictorian era, also an art patron,draughtsman, watercolorist, a prominent social thinker and philanthropist.He also made meticulous sketches and paintings of rocks, plants, birds, landscapes, and architectural structures and ornamentation. He praised symbolic representation of nature in architecture. He also admired gothic design as he believed it was the truest form of architecture. He had an antiquated sapidity for architecture. He said that new styles were not required as the existing styles were appurtenant. Rejection of mechanization and standardization gave rise to Ruskin's theories of architecture, and his emphasis on the importance of the Medieval Gothic style.
“Art is not a matter of taste, but involves the whole man. Whether in making or perceiving a work of art, we bring to bear on it feeling, intellect, morals, knowledge, memory, and every other human capacity, all focused in a flash on a single point. Aesthetic man is a concept as false and dehumanizing as economic man.”- John Ruskin.
His Idea of art not being just a matter of taste, but involves the whole man himself, is exceptionally enthralling. I myself am persuaded with this idea. I think each piece of art anyone does has extremely deep meanings, over and above that it reflects his personality or thoughts consciously or unconsciously.
Susan Yelavich is a recognized front runner in the field of design. In her famous article “ORNAMENT AND PATTERN’’ she talks about ocular airing of thoughts and ideas. It reflects her conception on every side of ornamentation alluringly. She implies that ornamentation can be a way of exhibiting a descriptive plot. She says that the contemporary designers, who practice ornamentation, fabricate tales woven from their own experiences. They turn out to become even stronger by their openness to outside influences. They need to be read. Whether carved on the walls of the Alhambra in Spain or stitched into the pattern of an American quilt, traditional ornament was meant to engage the mind through the eye.
Her exquisite proposition that ornamentation can be a way of exhibiting a descriptive plot is of similar character to John Ruskin’s Theory. This concept is extremely beautiful and delicate. I feel each and every art work should be created and critiqued keeping this inspirational thought in mind.
Women in the sixteenth, seventeenth, and eighteenth centuries were called into question with expressing themselves in a patriarchal system that generally refused to grant merit to women's views. Ornamentation was considered a feminine weakness. Besides this, ornamentation has remained alive and is strived by women too, Susan has set one such example.
Ananda K. Coomaraswamy was aTamilphilosopher andmetaphysician, as well as a pioneering historian andphilosopher of Indian art, particularlyart historyandsymbolism, and an early interpreter ofIndian cultureto the West.In particular, he is described as "the groundbreaking theorist who was largely responsible for introducing ancient Indian art to the West.
In his essay “ORNAMENT” he says how the words ornament and decoration have been used over the years as something that is congruous primarily to a lap of luxury, and secondarily about its hands on implication. He said that an ornament is one which has a symbolism and is aesthetically appealing, it is necessary for visual pleasure but could be added or removed at will. He gives an example of an Indian women. He says that the ornaments an Indian Women wears, like Bangles, Bindi, Wedding chain are all ornaments that represent a married women, without these she would look like a widow. It is her choice if she wears it or not.
I concur with his theory, I feel it is very important for all ornaments to be made either by reflecting some meaningful morals or thoughts, or by serving any purpose. Its aesthetics are important but should be secondary. By doing this, the ornament and the thought gets a greater value.
This theory arose due to devolution of interpretation of words. . People are likely to omit and fail to care for the purpose of an ornament and consider it a tradition or adorning addition which may not always be the case. These ornaments are then judged to be myths without knowing the actual reason of behind their existence.
I also agree with Loos’s idea of using ornamentation wisely by using our resources in a justifiable manner, he says that beautification is not as important as the development and invention in the modern world.
John Ruskin and Susan Yelavich’s concept of art being a story or a reflection to one’s personality was the most inspiring of them all.
I agree with Ananda Coomaraswamy’s theory that an ornament has a meaning and purpose to it, it wrong to judge an ornament and call it a superstition without knowing its history.
To choose a favorite amongst these four wouldn’t be fair as they all talk about equally important aspects of ornamentation.
As Ananda Coomaraswamy’s theory resonates with what I see quite often in my surroundings, it would be interesting to study more about him and also uncover various other mysteries hidden in our society.
After coming across various readings I feel, Ornamentation is the creation or addition of any form that reflects a meaning and also adds beauty to it.
Ornamentation in public spaces is usually not for beautification, it conveys many civil and political factors. One such example is the road signs on Bangalore. The design represents the Gopurams surrounding Bangalore.
Another example is the Kolam or rangoli outside houses. Kolam is a variety of rice which is powdered and decorated outside the house, so the antswould not have to walk too far or too long for a meal. The rice powder also invited birds and other small creatures to eat it, thus welcoming other beings into one's home and everyday life: a daily tribute to harmonious co-existence.
Thus Ornamentation are not just old myths, they are made to serve superior purposes.
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