When thinking about traditional Iranian architecture, one imagines extensive ornamental patterns that adorn almost every surface of mosques and other prominent buildings. Yet, many theories of architecture since the beginning of twentieth century have considered ornamentation a superficial and superfluous layer. But, are these ornamental surfaces superficial and can they be removed so easily? This paper uses a qualitative research methodology based on theoretical cross examination and critical analysis to highlight the significance of surface and appearances in architecture and argue that formulating a strategy to adorn architecture is in fact the generating gene of every architectural movement, from Modernism to Postmodernism and even to Parametricism of recent times. By setting up a philosophical and a theoretical discourse about the notion of surface and the various metaphors used in architectural theory, this paper concludes that from the woven walls of first architectural spaces to the clothed walls of modern times, surfaces have played a sacred role in architecture, and rather than being superficial barriers that mask reality, they are indeed the very materials with which architects demarcate space and create new aesthetics.