On the basis of his essay, I consider Adolf Loos as the man who felt to be lost and cannot find the road home. He was afraid that in the modern times people would not have enought time and respect for ornaments:
“Are we alone, the people of the nineteenth century, are we no longer capable of doing what people have been able to do before us? … Soon the streets of the cities will glow like white walls! (1)
Loos felt that ornaments form a picture of his time and without ornaments the present fades away. I agree with Loos’ thoughts, that today’s ever-accelerating pace of life doesn’t support making ornaments any longer. Still, I think that the picture of time doesn’t fade away. It finds new ways to appear.
As an example of this, I present two different designs, the bowls of the different period. The first, the sophisticatedly ornamented one is ordered and used by Marie Antoinette at Versailles in the 18th century (2). The second is Mediterraneo Bowl, designed by Emma Silvestris for Alessi in 2005 (3), that combines sleek industrial design with ornamental forms. The “ornaments” of Mediterraneo bowl was made possible to appear by new manufacturing methods.
I think that people are still longing for beauty, like Adolf Loos did in his days. Ornaments won’t disappear, but they can be seen in more diversified forms like in graffiti, digital media and still in everyday design as well.
(1) Loos, Adolf (1908). Ornament and Crime The Industrial Design Reader. 1910.
(2) Hopkinsart, Andrew (2010, December 20). Marie Antoinette’s porcelain factory. Retrieved 05/08/2011 from http://andrewhopkinsart.blogspot.com/2010/12/marie-antoinettes-porcelain-factory-rue.html
(3) Silvestris, Emma (2005). Mediterraneo Bowl. Retrieved 05/08/2011 from http://www.alessi.com/en/2/3163/baskets-fruit-bowls-centrepieces/esi0121-mediterraneo-fruit-holder