Abstract
Ornament was one of the key concepts in the nineteenth century discussions on architecture and decorative arts. In the beginning of the twentieth century, modernism abandoned ornament from its vocabulary. In the last decades of the twentieth century, the heritage of Modernism and its rejection of ornament were critically analyzed and ornament became a topical subject once more. Geometry played an important role in the search for rational and intellectual basis for the architecture and decorative arts in the beginning of industrial age. Arabic ornamental practice with its geometrical foundation served as one precept in searching and formulating appropriate design principles for architecture and decorative arts in the nineteenth century. In Arabic ornamental design different geometrical grids function as a starting point which offers unlimited possibilities for designs. In the twentieth century, the Western aesthetics limited to the simple grid formed by horizontal and vertical lines. This chapter reflects on the history and the heritage of the ornament discussions focusing especially on the role of geometrics in the conceptions of ornament.
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Notes
- 1.
The chapter is based on the author’s PhD study on the concept of ornament in discussions concerning aesthetics of architecture and design during the past 200 years.
- 2.
In all of these studies of architecture and its decoration, ornament was related to both spirituality or religion and different design or execution techniques and materials. The influence of Pugin, Ruskin, Jones and Semper is noticeable in writings of the next generation of designers such as Christopher Dresser (1834–1904), William Morris (1834–1896), Lewis Foreman Day (1845–1910) and Walter Crane (1845–1915), but also in the seminal studies of art historians Alois Riegl (1858–1905) and Wilhelm Worringer (1881–1965). Both the designers and the art historians formulated the concept of ornament suitable to their own use. At the turn of the century, ornament was increasingly seen as essentially abstract or linear, for example in the design theory of Henry van de Velde (1863–1957).
- 3.
See: www.jeannouvel.com (Arab World Institute Paris 1981–1987).
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Kähkönen, S. (2017). The Grid: As a Starting Point and an End Point of Ornament. In: Fenyvesi, K., Lähdesmäki, T. (eds) Aesthetics of Interdisciplinarity: Art and Mathematics. Birkhäuser, Cham. https://doi.org/10.1007/978-3-319-57259-8_12
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DOI: https://doi.org/10.1007/978-3-319-57259-8_12
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