Adolf Loos Design Culture

There are, or were, better arguments than Loos’s against the misuse of ornament. It could be considered morally dubious, because it is a means of showing off one's wealth. That historical argument was made in the days when hand-crafted decorations were very expensive, but it no longer applicable, now that ornament can be machine-made at a modest cost. In any case, good ornamentation has never been valued solely as ostentation; traditionally, it has also been seen to have real aesthetic merit. Sometimes, excessive ornamentation could be said to be unaesthetic; and in my perspective, some extreme art creations fall into this error. Art plays a particularly important and influential role in culture. It does not simply reflect culture; it creates culture. By studying ornamentation in different periods of design history, we can understand more about how it has manifested itself and why it is a vital part of our history.
Window displays, if used effectively, can bring retailers new customers, create customer loyalty, and enhance the image of the business. By decorating and furnishing the display windows, retailers can attract more customers into their stores, increase the sales and revenue, because the majority of purchase decisions are made on impulse. Window displays continue to have a massive influence even until now. It is one of the most important tools to draw customers’ attention. Even from an economic perspective, ornamentation is not necessarily a waste of labour, money, and materials.
The 19th century definitely is the century of decorative arts. At the beginning of the century, the arts were ornamental subjects in the education of young ladies and gentlemen. Artistic accomplishments were displayed in pleasing social performances that appeared effortless but demonstrated good taste and ideal values, knowledge, and skills. Art education was one component of a process of secular refinement that spread from the wealthy to the middling sort and included the