Title: How have the principles of style and ornamentation in Roman and

Greek ancient architecture influenced modernist design and

subsequent contemporary movements.

Introduction
Ancient Greek and Roman design principles have influenced architectural
movements throughout the centuries, and they were crucial in the shift from the highly
ornamental Art Nouveau to the minimalist ideals of modernism. As architects struggled
with changing technology and industrialisation in the 19th century, the grandeur of
classical architecture with its emphasis on symmetry, proportion, and function helped
shape and find new significance. This essay examines how modernists like Adolf Loos
and Art Nouveau architects like Victor Horta and Antoni Gaudí were influenced by
classical ideals. We can see how classical concepts were both accepted and rejected
as the architectural landscape changed towards modernism by contrasting their
approaches to ornamentation, structure, and proportion. This conversation revolves
around Loos's refusal to use adornment, which would turn out to be an essential
moment in modernist architecture. This essay aims to illustrate the everlasting
traditions of ancient architectural principles, their reinterpretation in the early 20th
century, and their everlasting influence on current design through a thorough
examination of significant designs by these contemporary architects.

Art Nouveau’s Influence on Modernist Architecture

The late 19th-century Art Nouveau movement is frequently interpreted as an uprising
against the historicism and rigidity of previous architectural philosophies. However even
with its organic and ornamental beauty, the movement was still heavily influenced by
classical ideas. While embracing new materials and technologies, architects such as
Antoni Gaudí and Victor Horta continued to use ancient concepts of harmony and
proportion, although in new and highly ornamental ways. One of the most famous
buildings of Art Nouveau is the Hôtel Tassel (1893) in Brussels, designed by Victor
Horta. In contrast to the inflexible geometric structures of 19th-century architecture,
the building's organic, flowing forms and elaborate ornamentation are striking (see
Figure 1). But in spite of its extravagant ornamentation, it follows the traditional rules of
proportion and balance. Similar to the classical architecture of ancient Greece and
Rome, which incorporated sculpture and decorative elements into its structural form,
Horta used the building's structural elements as canvases for ornamentation, fusing art
and architecture in a way that feels natural and harmonious.

While modernism later sought to eliminate ornamentation, the influence of Art

Nouveau’s organic, flowing forms persisted in subtler ways. Architects such as Alvar
Aalto and Frank Lloyd Wright, though often associated with modernism, integrated
natural forms and materials into their designs in ways reminiscent of Art Nouveau’s
organic approach. Wright’s Fallingwater (1935), for example, harmonizes with its natural
surroundings through the use of local materials and fluid forms, drawing on a similar
ethos to Art Nouveau, even as it rejects decorative excess. Aalto’s Paimio
Sanatorium (1933) incorporates smooth, flowing lines in its design, reflecting the
organic influence of Art Nouveau while adhering to modernist principles of functionality.
This blending of influences demonstrates how even within modernism’s rejection of
ornamentation, the aesthetic and philosophical contributions of Art Nouveau continued
to resonate. It suggests that classical ideas of integrating form with nature—central to
both ancient and Art Nouveau architecture—remained relevant even as modernism
evolved.

Figure 1

Left, Maison/Hotel Tassel, 1893. Photo by I. Karl Stas; on the right, Maison/Hotel Tassel, detail of the
internal staircase.

In a comparable way, Barcelona's Casa Batlló (1904), designed by Antoni Gaudí, is a

perfect example of Art Nouveau's organic, nature inspired forms while retaining a
classical architecture-inspired sense of balance and proportion. The fundamental
structure is still based on the same symmetry and harmony principles that drove
previous architects, but Gaudí's use of colour, form, and texture in the façade clearly
deviates from classical simplicity. Similar to how classical ornamentation frequently
emphasised the structure rather than obscured it, the building's nearly fanciful
ornamentation improves the visual experience rather than overpowering its structural
clarity. The sharp minimalism of modernism, where the structure itself became the only
focus, contrasts intriguingly with Art Nouveau's delicate connection between
embellishment and form.

Adolf Loos and the Critique of Ornamentation

While Art Nouveau architects managed to combine ornamental details with classical
ideas, Adolf Loos adopted an entirely diaerent approach. Loos made the case that
adornment was not only unnecessary but also an indication of cultural regression in his
key article Ornament and Crime (1908). He thought that the only way to truly advance
architecture was to remove all ornamentation and expose the structure's inherent
purpose. According to Loos, decoration was an unnecessary luxury that had no place in
the contemporary world and was a waste of time and money. This position represented
a substantial break from the classical tradition of incorporating decoration into
structural design as well as the elaborate Art Nouveau designs. Loos’s rejection of
ornamentation was a response to the excesses of Art Nouveau and the eclecticism of
19th-century historicist architecture, which incorporated elaborate decorative details
inspired by a wide range of historical styles, including classical motifs. For Loos, the
overuse of ornament symbolized a regression to primitive forms of expression, whereas
true modern architecture should focus on simplicity, functionality, and the honest use
of materials.

The Looshaus (1910) in Vienna, often referred to as "the house without eyebrows,"
exemplifies Loos’s rejection of ornamentation. When contrasted with the elaborate
facades typical of the Art Nouveau period, the building's simple façade is significant
(see Figure 2). Loos's design disregards any ornamental flourishes in favour of relying
only on symmetry and proportion, two fundamental ideas of classical architecture. This
method prioritises form and utility over aesthetics, reflecting a modernist revising of
classical principles. Loos was able to design buildings that were both practical and
elegant in their simplicity by reducing architecture to its most basic components.
Despite his rejection of adornment, Loos maintained the classical emphasis on balance
and proportion, demonstrating how modernist architecture was still influenced by old
architectural principles long after surface embellishment was abandoned. Though
viewed through a modernist perspective, Loos's work might be considered a
continuation of the classical tradition in this regard.

Figure 2

Looshaus Street View, 1910, Adolf Loos, Vienna, Austria, Historical Landmark, Raumplan

Loos's dedication to functionalism and rejection of superfluous ornamentation is

further evidenced by his Villa Müller (1930) in Prague. The villa's interior space layout is
elegant and well thought out, despite its stark and plain façade (see Figure 3). Classical
concepts of proportion and space are directly applied in Loos's notion of the Raumplan,
which arranges rooms based on utility rather than decorative hierarchy, but in a
completely contemporary setting. The Raumplan's emphasis on functionalism and
logical design is a reflection of classical principles. However, Loos's design puts
functionality ahead of beauty, in contrast to classical architecture, which frequently
praised adornment as a reflection of cultural and artistic ideals.
Figure 3

The Villa Müller in Prague (1929 – 1930), Adolf Loos, Prague, 1930, [street view camera shot]

Classical Proportions in Modernism

Even though modernism is frequently linked to a rejection of classical decoration, the
movement nevertheless made extensive use of the classical concepts of harmony,
symmetry, and proportion. Modernist architects like Ludwig Mies van der Rohe, whose
designs are distinguished by their emphasis on free space and clean lines, exemplify
these ideas. One of the best examples of how modernism reinterpreted classical
principles in light of new building materials and techniques is Mies van der Rohe's
Barcelona Pavillion (1929) (see Figure 4). With its open floor plan and contemporary
materials like marble, steel, and glass, the pavilion's austere design echoes the
classical concern for proportion and balance. The Barcelona Pavilion's proportions and
spatial harmony are reminiscent of ancient Greek and Roman buildings, despite the
absence of the elaborate ornamentation found in traditional architecture. In addition to
reflecting Loos's distaste for adornment, Mies van der Rohe's renowned maxim "less is
more" highlights the timeless value of classical design in contemporary architecture.
Modernist architects such as Mies van der Rohe were able to produce structures that
were strict and minimalist but still had an impression of beauty and elegance derived
from classical architectural principles by emphasising balance and proportion.

Figure 4

Barcelona Pavilion, Ludwig Mies van der Rohe, Barcelona, 1929 [Photograph]
Similarly, modernist architects such as Loos frequently adhered to classical concepts
of proportion and order even while they disassociated themselves from classical
adornment. The rationality and clarity of modernist design are influenced by Vitruvian
principles, particularly the idea that architecture should reflect natural harmony. For
instance, even in his rejection of ornamental aspects, Loos maintained the significance
of symmetry and balance. This method is best demonstrated by his Villa Müller (1930) in
Prague, a simple, cubic building that stays true to exact proportions and a feeling of
spatial harmony while eschewing superfluous ornamentation. This modernist
interpretation of classical proportionality is significant because it demonstrates how
architects valued the age-old concept of designing harmonious, balanced
environments even as they attempted to deviate from convention. Classical
proportion's enduring relevance demonstrates why old ideas have endured in
contemporary architecture: even though outward appearances may shift, the
fundamental structural logic never changes.

The Tension between Ornamentation and Functionality

A deeper philosophical disagreement on the function of ornament in architecture is
shown in the conflict between Adolf Loos's stark modernism and Art Nouveau's
ornamental approach. Loos believed that architecture should serve practical purposes
rather than purely aesthetic ones, which is why he thought adornment was redundant
and even harmful. The traditional notion of authenticity in materials and construction
served as the foundation for this concept, which was devoid of ornamental details. Art
Nouveau, on the other hand, aimed to combine ornamentation with form, making
decoration an integral component of the building's personality rather than an
afterthought. Despite its stylistic diaerences, the Art Nouveau style explored the
concepts of harmony and unity, which are common to classical architecture. These
contrasting approaches during the late 19th century reveal why classical principles
continued to influence architecture even during the height of modernism: the core
values of balance, order, and rational design persisted, though architects interpreted
them in diaerent ways.

This tension between ornamentation and functionality has been a central theme in
architectural discourse since the time of Vitruvius, whose treatise De
Architectura emphasized the importance of firmness, commodity, and delight
principles that have guided architectural thought for centuries. The dispute between Art
Nouveau architects, who aimed to combine art and architecture through ornament, and
modernists like Loos, who maintained that form should follow function, was an
example of this discussion in the early 20th century. The pinnacle of Art Nouveau's
incorporation of ornament into architectural form can be seen in Hector Guimard's
famous Paris Métro entrances (1899–1904) (see Figure 5). With their organic shapes and
flowing lines, these entrances are not just ornamental; they are intended to improve the
way that users interact with the area.
Figure 5

Replica Métro Station entrance in Chicago, USA, (2012 Public Domain. Image Courtesy of J. Crocker

Iron and glass is used to create complex, flowing designs that evoke nature, which is a
major Art Nouveau theme. But according to Loos, such adornment was unnecessary
and even counterproductive to the structure's intended purpose. In sharp contrast to
Guimard's work's decorative exuberance, his Looshaus and Villa Müller highlight the
building's form's clarity and simplicity.

Evolution of Modernism
Modernism aimed to do away with adornment, yet Art Nouveau's organic, flowing forms
continued to have an eaect in more subdued ways. Despite being frequently linked to
modernism, architects like Frank Lloyd Wright and Alvar Aalto used organic elements
and natural forms into their designs in a manner reminiscent of Art Nouveau. For
instance, Wright's Fallingwater (1935), which avoids excessive decoration while
emulating Art Nouveau, uses local materials and flowing forms to blend in with its
natural environment. Aalto's Paimio Sanatorium (1933) complies with modernist
functionalist principles while incorporating organic Art Nouveau influences through its
flowing, fluid lines. This merging of styles shows how Art Nouveau's aesthetic and
philosophical contributions persisted despite modernism's rejection of adornment. It
implies that even as modernism developed, the traditional concepts of fusing form and
nature, found in both ancient and Art Nouveau architecture - remained pertinent.
A key reason why classical principles have persisted in modern architecture is their
inherent focus on durability and practicality, qualities that align with modern concerns
about sustainability. Ancient Greek and Roman architecture often utilised local
materials and passive design strategies that minimised environmental impact, such as
natural ventilation and durable construction. This emphasis on sustainability, though
not framed in modern terms, is being revisited by contemporary architects who seek to
create environmentally responsible designs. For example, Adolf Loos’s Villa
Karma(1906), with its simple, rational design, used local materials and took advantage
of the site’s natural features, anticipating modern sustainable practices. Similarly,
modern architects are increasingly looking to classical architecture’s emphasis on
longevity and low-impact materials as a model for creating buildings that are both
aesthetically timeless and environmentally sustainable.
Conclusion
Architecture's transition from Art Nouveau's ornate styles to modernism's strict
philosophy mirrors a larger cultural movement that was heavily influenced by classical
ideas. Modernists like Adolf Loos and Ludwig Mies van der Rohe reduced architecture to
its most basic components, emphasising function, proportion, and space, while Art
Nouveau architects like Victor Horta and Antoni Gaudí incorporated classical concepts
of proportion and harmony into their highly ornamental designs. The lasting influence of
classical architecture, which still influences architectural theory today, influenced both
movements in spite of their diaerences. The Art Nouveau and modernist movements
are two examples of periods of dramatic innovation when classical architectural
principles continued to have an impact.

Modernism aimed to do away with embellishment in favour of utility, but Art Nouveau
welcomed natural forms and elaboration. Nonetheless, both worked with the traditional
principles of harmony, symmetry, and proportion. For instance, Art Nouveau's use of
ornament as structure recalled classical principles of balance and integration, whereas
Loos's rejection of ornament was a continuation of classical beliefs about the purity of
form. We can observe how classical principles were modified and reinterpreted in
response to the demands of modernity by looking at the works of significant architects
from various movements. The continued application of classical concepts in
architectural design is demonstrated by this era (1750–1945). Although they address
basic human fundamental needs creating buildings that are both aesthetically pleasing
and functional while also harmonising with their surroundings and ancient concepts of
proportion, balance, and functionality still influence architecture today. The lessons of
classical architecture continue to be important as modern architects place a greater
emphasis on sustainability and long-lasting design.
 References

1. Colquhoun, A., & Oxford University Press. (2002). Modern architecture. Oxford

University Press, [Post.

2. Conrads, U. (1964). Programs and manifestoes on 20th-century architecture.

Cambridge, Mass.

3. Fiederer, L. (2020, August 10). Gallery of AD Classics: Paris Métro Entrance /

Hector Guimard - 6. ArchDaily. https://www.archdaily.com/870687/ad-

classics-paris-metro-entrance-hector-guimard/598afb71b22e38939200089a-

ad-classics-paris-metro-entrance-hector-guimard-image

4. Peeters, E., Leen Van Molle, & Wils, K. (2011). Beyond Pleasure. Berghahn

Books.

5. Picon, A. (2014). Ornament : the Politics of Architecture and Subjectivity. Wiley.

Redazione. (2024, January 6). Design Icons – Victor Horta | La casa in

ordine. La Casa in Ordine. https://www.lacasainordine.it/en/2024/01/design-

icons-victor-horta/

6. Szadkowska, M. (2017, August 17). The Villa Müller. Adolf Loos.

https://adolfloos.cz/en/villa-muller

7. Team, A. (2023, August 3). The Looshaus by Adolf Loos: A Manifesto of

Ornamentation & Crime. ArchEyes. https://archeyes.com/the-looshaus-by-

adolf-loos-a-manifesto-of-ornamentation-and-crime/

8. Zuleta, G. (2023, October 11). Architecture Classics: Barcelona Pavilion / Mies

Van der Rohe. ArchDaily. https://www.archdaily.com/1007357/architecture-

classics-barcelona-pavilion-mies-van-der-rohe