ARTICLE READING 

          “Ornament” has been stated “is a crime” by the famous architect Adolf Loos. For many years, the revolutionary essay “Ornament and Crime” slowed down the evolution and transformation of ornaments in the world of architecture. In 1908, Adolf Loos writes, “The evolution of culture is synonymous with the removal of ornament from utilitarian objects.” Le Corbusier later came up that a house is “a machine for living in”. Form follow function are now commonly applied in architecture nowadays and has been brainwash to many of the upcoming exciting young architecture students in architecture school.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

           The use of ornament in architecture has always providing hot topics about building aesthetic. Not long ago till now, the use of ornaments is slowly finding it’s new reinterpretation and meaning in the contemporary architecture, slowly gaining courage and confidence from architect to again explore the joy of ornament. Ornament is normally state as the elaboration of functionally complete objects for the sake of visual pleasure or cultural and environmental context. In the old days, ornament in architecture has been categorized as a decorative object that is an additive, unnecessary, building component applied to make the building just to look visually appealing, adding the sense of aesthetic quality so that the building doesn’t look plain and boring.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In contemporary architecture, architects are seeking to reinterpret or redefine the term “ornament” and the use of ornament in architecture, so that the ornaments are not view as an additive, unnecessary decorative component only but also making it to be useful, to be part of functional building technical components, as well as full filling both the sense of aesthetic and effective use. Contemporary ornamentation rejects the superficial applications of previous architectural genres and simultaneously seeks the authenticity that was sought after in Modernism. Through the bravery reinterpretation and generation of ornament in contemporary architecture, the term“ornament” has been redefined and has assumed a new identity. Unlike classical examples, carved human statues, symmetrical decorations and many more, ornament nowadays, especially on the building facade, are more commonly repetitive arranged.

 

 

 

 

 

 

 

 

 

 

 

Adjaye Associates’ Moscow School of Management is an example of a simple form with surface patterning. It has one block-faced with a herringbone patchwork of glass and coloured panels, while the other three are monochrome. Externally, the walls of the Disc address the surrounding landscape with unbroken continuity and locate the access road. The external appearance of the Moscow School changes dramatically depending on the direction from which it is seen.The main elements of the building are assembled as a single entity in which a range of facilities are internally connected and made accessible without going outside. Ornament in the contemporary architecture is more of abstract in form, following the cultural and surrounding context. I believe that ornament is a way of showing the evolution of human aesthetic values, and the transformation of ornaments can change the way of how we think, feel and view the fashion of architecture.