The following passage is adapted from an essay on twentieth-century architectural theory.
In early twentieth-century architectural theory, Louis Sullivan’s dictum that 'form ever follows function' was widely interpreted as an imperative for radical minimalist utility, stripping buildings of all ornamentation. However, recent reassessments of Sullivan's organic philosophy demonstrate that he intended ornament not as an extraneous superfluity, but as an essential element that could arrest the stark, dehumanizing monotony of industrial masonry. For Sullivan, decorative relief did not contradict structural integrity; rather, it served to arrest the viewer's gaze, transforming a passive optical experience into a contemplative pause. Far from advocating total austerity, Sullivan believed that well-placed ornament animated the static plane of a facade. Critics who categorized his elaborate terra-cotta embellishments as mere nostalgic excess failed to perceive how such details functioned within his broader vision: they were meant to check the relentless velocity of modern urban perception. Thus, Sullivan’s decorative program was not a retreat from modernity, but a calculated strategy to humanize its relentless tempo.
In the context of the passage, the word 'arrest' most nearly means:
- Aapprehend
- curbAnswer
- Ceradicate
- Daccentuate
- Eaccelerate