ABSTRACT
Decoration is a word that is not accepted by the architectural community. It has the connotation of cake decoration, where the icing is added after the cake has been baked. Architecture that is “baked” (built), and then “iced” (decorated) by adding superfluous materials is considered poor design practice. It is the decorated shed at its worst. Decoration, in the form of ornament, has a long history in architecture. Since the infamous “ornament is crime” pronouncement by Adolf Loos, decoration has been controversial. Post-modern architects delighted in decorating the sheds they produced. Robert Venturi was perhaps its greatest proponent, as can be seen in the Children’s Museum in Houston (Figure 44). Since the passing of post-modern architecture, the task of decorating architecture has fallen on the technology of the building. Solar control glazing, brisessoleil, green walls, and even wind turbines now decorate our buildings. Color is also reappearing, as can be seen in buildings like the EMP by Frank Gehry. It is a relief to the consuming public that the consideration of decoration is once again an aspect of architectural design, even if most architects are still reluctant to admit it.
