The evolution of the scale of ornamentation is not merely a story of styles and trends but a reflection of the journey from manual craftsmanship to digital innovation. This journey, exemplified by the transition from the exquisite stucco work of Antonio Bossi in the Würzburg Residence Hofkirche to the advanced digital manufacturing of Michael Hansmeyer's Digital Grotesque I, encapsulates a broader narrative of artistic expression and technological progress.

​

Antonio Bossi's mastery in the Würzburg Residence Hofkirche represents a pinnacle of baroque artistry. His work, characterized by its elaborate stucco pieces, showcases a deeply personal, tactile approach to ornamentation. Each curve and motif is infused with the artisan's touch, a direct translation of human creativity and finesse onto the plaster. This method, rooted in tradition and manual skill, embodies a harmonious blend of artistic vision and material understanding. It speaks of an era where the limitations of tools and materials were surpassed by the sheer talent and ingenuity of the craftsmen.

​

On the other end of the spectrum, Michael Hansmeyer's Digital Grotesque I ushers in a new era of architectural ornament. Utilizing advanced algorithms and 3D sand-printing technology, Hansmeyer explores the realms of complexity and precision unattainable by human hands alone. The bespoke aspect of such additive manufacturing techniques is that it offers a unique beauty that standardization cannot replicate. This approach allows a modularity to the way each piece of the sculpture fits together, whilst allowing freedom of form, where each part is unique and costs the same amount to make.

​

This digital approach allows for the creation of hyper-detailed, almost surreal forms, pushing the boundaries of architectural imagination. However, this leap into the digital age raises questions about the role of the human element in architectural design. While digital methods offer unparalleled precision and possibilities, they lack the organic, impromptu touches that define handcrafted artistry. These questions were attempted to be tackled by KR3N. in the project ‘Capillaries’. In this case, ceramic printing was used  in a prototype which aims to explore the capabilities of additive manufacturing in a more practical environment. The project aims to show the potential of the technology by creating a piece of the exterior of a residential construction, where gutters are reimagined as a way to venerate the journey of water on the side of the building, whilst providing a space for plant growth.

​

This contrast between Bossi's traditional craftsmanship and Hansmeyer's digital innovation opens a broader discussion about the essence of architectural beauty. Is it defined by the meticulous, calculated precision of digital technology, or is it found in the imperfections and unique nuances of handcrafted work? This debate is not just about aesthetics but also about the cultural and emotional connections that buildings establish with their beholders. In Barry Wark’s article titled ‘Nadarra’, we see a different take on ornament altogether. His designs do not look like what we might expect ‘typical’ ornament to be. There is a natural, expressive rockiness displayed which pushes the boundaries as to what we think meaningful ornament can be.

 

As technologies continue to advance, they offer architects new tools to experiment and innovate. The natural question that Hansmeyer and Wark’s projects bring, is whether as designers, the quest for the new era of ornament is turning into a quest for who can master the most complex software. What these new algorithms and manufacturing techniques are bringing us, are simply a means. Does the fact that we can access them to create highly complex and large quantities of ornament, mean we should? We ought to think about how to maximize and deepen our understanding about what ornament can become in this new age, not how to maximise and deepen our understanding of these tools.