How The Grammar of Ornament influenced design and architecture
These days, when we're searching for design inspiration, the whole internet is at our disposal. Books can be easily ordered online, instagram accounts and tumblrs are available - beautiful ideas are just a click away. And of course, there are millions of digitised cultural heritage collections such as on Europeana.
But what did designers do in the 19th century? Where did their inspiration come from and how did they understand the principles of beautiful design?
This was a conundrum at the centre of The Grammar of Ornament by Owen Jones, which was first published in 1856.
Who was Owen Jones?
Owen Jones was a British architect and designer, born in London in 1809.
He studied at the Royal Academy of Arts. In his 20s, he embarked on a Grand Tour, visiting Italy, Greece, Egypt, Turkey and Spain. Along with French architect Jules Goury, he spent six months meticulously studying the Alhambra Palace in Seville, producing hundreds of drawings of its architecture.
Jones went on to become a prominent figure in the art world of Victorian-era London.
He designed the interior of the 1851 Great Exhibition, which was the first in a series of world's fairs, exhibitions of culture and industry that became popular in the 19th century. Jones selected objects from the Great Exhibition to be included in the teaching collection of the Government School of Design, the first design school in Britain.
In the 19th century, Neoclassicism and Gothic Revival were the most popular architectural styles. Neoclassicism was dominated by an austere monochromatic architecture, while both styles came with religious and social connotations.
Instead, Owen Jones sought a new style, bringing together the best examples of historical ornamentation from around the world.
What was The Grammar of Ornament?
The Grammar of Ornament is a book assembled by Owen Jones, featuring 100s of illustrations of objects and patterns from around the world and across time - from Ancient Egyptian to Islamic, Greek and Asian motifs. The book was celebrated for its outstanding colour lithographs, which were an innovation in printing for the time.
Jones gathered many of his examples from his travels, while also sourcing inspiration from objects held in museums in London. Sourcing his examples from cultures around the world, Jones uses language that today is very out-dated and offensive.
Jones’s goal was to define universal design principles that made art beautiful. He wanted to demonstrate the beauty of a wide range of cultural styles, hoping to educate designers and inspire an appreciation for non-Western art.
The illustrations and examples in the book were complemented by 37 design principles propositions relating to geometry, proportion, harmony, colour and rules of abstraction.
Form without colour is like a body without a soul.
All ornament should be based upon a geometrical construction.
All works of the Decorative Arts should possess fitness, proportion [and] harmony.
Whenever any style of ornament commands universal admiration, it will always be ... in accordance with the laws which regulate the distribution of form in nature.
It has been my desire to ... awaken a higher ambition.
The Grammar of Ornament's legacy
Jones's ideas slowly took root in art education over the following decades. In time, they influenced the development of new artistic movements such as Arts & Crafts and Art Nouveau.
Although many of the buildings designed by Jones have long been demolished, his legacy lives on in The Grammar of Ornament. Through its vivid illustrations and structured presentation, since its publication, The Grammar of Ornament has influenced generations of designers, architects and artists.