The Grammar of Ornament, Ornament as Grammar (Thomas Beeby, 1977) discusses the the relationship between principles of ornamental composition, and the design methodologies of Louis Sullivan and Le Corbusier. Le Corbusier oftentimes designed structures that could be conceptualized as ‘ornament structuralized’-- wherein the manipulation of rational elements, or portions of the building produces the effects of ornamentation: reflective patterns, compositional symmetry, and the repetition of one module, or unit, within the datum of a proportioned grid or linear axis.  Two forces provide the basis for using an ‘ornamental’ organizational idea in this project. Firstly, adjacent site elements demand a response: the Puente de la Mujer (a pedestrian bridge which terminates on the north end of the site), and the Fragata Sarmiento (a floating galleon and museum on the south end of the site). The bridge attracts and concentrates pedestrians at the path-level, while the galleon’s placement obstructs views of the canal from the museum’s south wing. The former condition begs for an entry, and the latter for an upper-level opening, or terrace. This is an opportunity to employ a reflective massing that creates public space at the appropriate places.  A second reason is for a reflective organization is the resulting interior spatial symmetry, wherein the user is easily oriented. Circulation is perhaps the most critical system of the art museum—clarity and simplicity in the plan assure a navigable interior. In summary, this museum’s reflective composition is a direct response to the building’s site and program.   
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