He made an even more radical experiment with the construction of a garage on rue de Ponthieu (1906) (now destroyed) with a simplified cubic structure expressing the interior, large bays of windows and a lack of decoration, which resembled the later International Style.
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The heavy appearance of the tower, for example, results from the lack of the spire intended to finish it, the present dome constituting a more economical substitute. The interior is made striking by its lack of decoration and by the wooden ceiling, completed in 1927.
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Portuguese Mannerism, specially in secular architecture, is characterised by simplicity in the organisation of façades and relative lack of decoration, being often referred to as Estilo Chão (plain style). Even with the arrival of Baroque architecture in the late 17th century, Portuguese architecture continued to use Mannerist forms well into the 18th century.
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However, it is also frequented by journalists, lawyers, researchers and businessmen who work in the South Mumbai area. The restaurant seating is divided into two levels - the upstairs (airconditioned) section and the downstairs (non-airconditioned). These in turn are subdivided into smoking and non-smoking. With an emphasis on functionality rather than aesthetics, the lack of decoration is reportedly part of "its charm".
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The Committee produced approved designs which were published in the Utility Furniture Catalogue of 1943. The aim was to ensure the production of strong, well-designed furniture which made efficient use of timber. The Arts and Crafts movement influenced the designs, which were considered to be simplistic due to their lack of decoration (which was contrary to popular taste of the immediate pre-war period). Furniture based on these designs was constructed by about 700 firms around the country, with quality varying between manufacturers.
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Its almost lack of decoration, with compact walls, low lighting and simple plan (nave and juxtapositioned chancel), were to Monteiro's opinion, indicators of an illegal treatment of the building. When the Archbishop finally consecrated the building the influence of Gothic architecture began to be promoted within the territories, and Romanesque treatments were seen as a resistance to the new style. The longitudinal church existing of a single rectangular nave and chancel, is built on staggered horizontal spaces covered in a tiled-roof. The walls are constructed in granite blocks topped by gables, while the lateral walls support double eaves.
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Despite the demolition of the rear wings and some internal walls and features the terraces retain a sense of their original two room configuration on each floor, original spatial qualities and simplicity of the interior and lack of decoration and use of attic spaces accessed via tight stairs. The subject grouping is one of the only grouping of workers' terraces with cantilevered balconies remaining in The Rocks area, although similar examples remain in Millers Point and other inner city suburbs such as Paddington and Surry Hills. With the Atherden Street Terraces these form an important reminder of the predominantly residential character of the immediate area.
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The Terraces at Nos. 13-15 Playfair Street demonstrate the changes in architectural style during the 1880s with the simple Italianate decoration of the front façade in contrast with the simple and undecorated style of the adjacent terraces constructed during the 1870s (Nos. 17-31). Despite the demolition of the rear wings and some internal walls and features the terraces retain a sense of their original two room configuration on each floor, original spatial qualities and simplicity of the interior and lack of decoration, expected for speculative type development. The terraces are prominent elements in the Playfair streetscape primarily due to their smaller scale and location.
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At the time, such unornamented objects could have been found in many unpretending workaday items of industrial design, ceramics produced at the Arabia manufactory in Finland, for instance, or the glass insulators of electric lines. This latter approach was described by architect Adolf Loos in his 1908 manifesto, translated into English in 1913 and polemically titled Ornament and Crime, in which he declared that lack of decoration is the sign of an advanced society. His argument was that ornament is economically inefficient and "morally degenerate", and that reducing ornament was a sign of progress. Modernists were eager to point to American architect Louis Sullivan as their godfather in the cause of aesthetic simplification, dismissing the knots of intricately patterned ornament that articulated the skin of his structures.
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The coins that are currently in circulation are one ban, made of brass-plated steel; five bani, made of copper-plated steel; ten bani in nickel-plated steel; and fifty bani in nickel brass. These were first introduced into circulation in 2005 with the fourth revaluation and are all currently valid. There are six 50 bani commemorative circulating coins made in 2010, 2011, 2012, 2014, 2015 and 2016. The current coins of the Romanian leu are by any objective standards of functional austere design, surpassing in lack of decoration even the plainest Communist-era predecessors. The one ban coin was rarely seen and not in demand by either banks or many retailers; the 'situation' has changed and the coin is not uncommonly found (as of 2015).
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In addition, the outdated boiler system was replaced, and the entrance to the living room was widened. Niosi left the exterior relatively unchanged, but he said that when he bought the house, it was very "austere" inside—the walls were simple white or beige in color, with no ornamentation; the only decoration was on the unique Harrison-designed spiral staircase to the second floor, which had brass bamboo supports that Niosi left alone; he stated that the staircase had been built in Japan and exported in one piece. Niosi had previously lived in a Victorian apartment, decorated both inside and out, so when he moved to this Harrison-designed house, it was initially cold and unwelcoming with its simplicity and lack of decoration. To address this, Niosi added more traditional 1930s Mackintosh Arts and Crafts interior wood paneling and William Morris wallpaper in order to decorate and soften the interior of the house and make it more warm and inviting.
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The Terraces at Nos. 17-31 Playfair Street are relatively intact examples of worker's terraces constructed in the second half of the 19th century that retain their fundamental form and character. Despite the demolition of the rear wings and some internal walls and features the terraces retain a sense of their original two room configuration on each floor, original spatial qualities and simplicity of the interior and lack of decoration and use of attic spaces accessed via narrow stairs. Together with Nos. 13-15 they demonstrate the changes in architectural style during this period with the simple and undecorated style of the terraces constructed during the 1870s (Nos. 17-31) in contrast to the slightly more decorated Nos. 13-15 which were constructed in the 1880s and feature Italianate decoration popular at this time. The terraces are prominent elements in the Playfair streetscape primarily due to their smaller scale and are an integral part of a diverse residential/ commercial character of the place.
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