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Edition 1: This Isn't All There Is

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Page 100 of 377

Essay Ornament and Time By Lisa Zeiger ���Be not afraid of being called unfashionable.��� A Adolf Loos nyone who has visited Le Corbusier���s totem of Modernism, the 1923 Maison la Roche in Paris, knows it is no denuded white box, but an interior swept with color���red and honeysuckle. Corbusier���s rooms remind us that the most fundamental ornaments are those based on light and color: the whiteness of marble, the purity of glass, the glint of metal, and the sensuality of paint. More problematic for contemporary architects is pattern���in papers and fabrics���which sheathe surfaces, sometimes with scant regard for the function or structure they cover. O rnament, from the earliest stages of Western civilization, has been the subject of dispute. The controversy over ornament is somehow integral to the search to define beauty. There appears to be something as disruptive as there is irrepressible about embellishment for its own sake. Even design movements that have expostulated HYLAND

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