Embellishment is a tool that may be used to alter representations of construction and alter the perception of object. In the Grammar of Ornament, Owen Jones' argument questions the understanding of structure and architecture that was involved in the creation of these objects. The structure of these mass produced forms were irrational and the style of decoration used was inappropriate to the periods they represented.
What he meant by this was that products made as decorations, lacked function and relevance to its surroundings. For example a typical Victorian plate of the 1850's was decorated with a perspective of a Gothic cathedral, outlined with Rococo Illustration in blue on a porcelain plate. This style of decoration is more relevant to dutch, japanese and chinese heritage and the mixture of these topics is bizarre and unrelated to the era and its function.
A.W.N. Pugin felt that true construction is shown by staying true to the material and not using imagery to lure in an 'uneducated' client. It was the likes of Sir Henry Cole that knew the working class (who had recently discovered the value of a paycheck) needed to be educated to discontinue the production of meaningless, decoration constructed items.
I feel that these people were on the right track, however I agree more with Cole than I do Pugin. Although neither of them fully rejected industrialisation, the creations of Pugin may have suited the era, but looking at the from our time they are too extravagant and bulky. These new processes allowed a lot less bulk and innovation, creating a less invasive structure. This type of structure I think is the relief that places like London needed at the time, what they had was too intrusive and left little room for the great expansion.
The Crystal Palace threw out a lot of the old rules, it was pre fabricated and assembled in such little time, only made possible by the recent developments. I agree more with Cole because he accepted these changes and saw there was a way to use it to benefit everyone with education. With this education came more possibility, a turn around took years but the understanding they provided was worth the effort.
The La Chaise chair, designed by Charles and Ray Eames captures the balance of beauty and utility. It is honest with its use of fiberglass which ironically creates an organic and ergonomic form. The structure of wood and chromed steel designed to support this form is not for decoration. It is an influence of modernism and the combination of these materials results in a construction, ornamented with a fluid yet solid, human inclined form. It is a Yin-Yang collaboration of a male linear structure, topped with a feminine curve.
