Eduardo Paolozzi’s ceiling paper (1952) for the office of the engineer Ronald Jenkins suggests the significance of ornament to New Brutalism and, indeed, how New Brutalist concern with visual form linked categories of art, architecture, and design. This article argues that examination of the ceiling paper exposes not just New Brutalist re-working of an older modernist problematic, but also points to a broader range of New Brutalist works concerned with the ceiling, or the zone above our heads, both for its physiological and psychological implications. There were different positions on ornament within the Independent Group: some (Richard Hamilton) which seemed to suggest that ornamental strategies offered a way of articulating science and art together as common enterprises; others (Paolozzi and Nigel Henderson) which played on ornamental motifs and on ornament’s recursive logic. Key to the latter is the psycho-analysis of perception developed contemporaneously by Anton Ehrenzweig. Ehrenzweig provided a way of understanding ornament in anti-gestalt terms but also in terms of its physical relation to the embodied viewer.

中文翻译：

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眼睛在天花板上徘徊：装饰与新粗野主义

爱德华多·保罗齐 (Eduardo Paolozzi) 为工程师罗纳德·詹金斯 (Ronald Jenkins) 办公室设计的天花板纸 (1952) 暗示了装饰对新粗野主义的重要性，以及新粗野主义对视觉形式的关注如何将艺术、建筑和设计的类别联系起来。这篇文章认为，对天花板纸的检查不仅揭示了新粗野主义对旧现代主义问题的重新设计，而且还指出了更广泛的新粗野主义作品与天花板或我们头顶上方的区域有关，无论是在生理上和心理影响。独立集团内部对装饰有不同的立场：一些（理查德·汉密尔顿）似乎暗示装饰策略提供了一种将科学和艺术作为共同企业联系在一起的方式；其他人（Paolozzi 和 Nigel Henderson）在装饰图案和装饰的递归逻辑上发挥作用。后者的关键是由安东·埃伦茨威格 (Anton Ehrenzweig) 同时开发的对知觉的心理分析。埃伦茨威格提供了一种从反格式塔的角度来理解装饰的方法，但也从它与具身观众的物理关系的角度来看。