Art is a very emotional entity both inspired and created by feeling. Something moves the painter and sculptor to transform the perspectives of their minds’ eye into something tangible and visible. With that same feeling, designers of the landscape, interiors, structures, fashion, transportation, cities and government have been [at least initially] moved by ideals and passion. The assigned bulleted manifestos and pointed proclamations seemed to carry an evolutionary theme. This theme is not chronological, but emotive. It begins with a sense of loss in Alexander’s manifesto, the desire for loss to gain simplicity in Loos’s essay, the welcomed loss of design tyranny in the cooperative proclamation of Sant’Elia and Marinetti, Hundertwasser’s
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It may not be a balance born from rebellion and the desire to create something different. Consequently, perhaps it is mass marketed by profit and vale engineering. Such a bottom line is inadvertently encouraged by the continuous ego battles that wage between architect, landscape architect, construction management, contractor and home investor. Packaged housing communities have disregarded local cultural identity, environmental identity, the economic health of the community, and our own individual identities. There is design balance in the form of Plan1, Plan1B, currently out of stock on Plan 2, but Plan3 Model is currently available. A quick Google Images search on the local area is easily translated into value engineered representations of what made project sites places. And if there were no ornament at all – a situation that may perhaps come about in some thousands of years – man would only have to work four hours instead of eight, because half of the work done today is devoted to ornament. Ornament is wasted labour power and hence wasted health. It has always been so.[3] Mass production becomes king. In the end, I mourn the losses of ornament and …show more content…
Theories and Manifestoes of Contemporary Architecture. Academy Editions, 1997
[2] Conrads, Ulrich. “Antonio Sant’Elia/Filippo Tommaso Marinetto: “Futurist Architect” in Programs and Manifestos on 20th Century Architecture. MIT Press, 1987
[3] Conrads, Ulrich. “Andrew Loos: ”Ornament and Crime” in Programs and Manifestos on 20th Century Architecture. MIT Press,
It may not be a balance born from rebellion and the desire to create something different. Consequently, perhaps it is mass marketed by profit and vale engineering. Such a bottom line is inadvertently encouraged by the continuous ego battles that wage between architect, landscape architect, construction management, contractor and home investor. Packaged housing communities have disregarded local cultural identity, environmental identity, the economic health of the community, and our own individual identities. There is design balance in the form of Plan1, Plan1B, currently out of stock on Plan 2, but Plan3 Model is currently available. A quick Google Images search on the local area is easily translated into value engineered representations of what made project sites places. And if there were no ornament at all – a situation that may perhaps come about in some thousands of years – man would only have to work four hours instead of eight, because half of the work done today is devoted to ornament. Ornament is wasted labour power and hence wasted health. It has always been so.[3] Mass production becomes king. In the end, I mourn the losses of ornament and …show more content…
Theories and Manifestoes of Contemporary Architecture. Academy Editions, 1997
[2] Conrads, Ulrich. “Antonio Sant’Elia/Filippo Tommaso Marinetto: “Futurist Architect” in Programs and Manifestos on 20th Century Architecture. MIT Press, 1987
[3] Conrads, Ulrich. “Andrew Loos: ”Ornament and Crime” in Programs and Manifestos on 20th Century Architecture. MIT Press,