Adolf Loos (December 10, 1870–August 23, 1933) was a European architect who became more famous for his ideas and writings than for his buildings. He believed that reason should determine the way we build, and he opposed the decorative Art Nouveau movement, or, as it was known in Europe, Jugendstil. His notions about design influenced 20th-century modern architecture and its variations.
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Fast Facts: Adolf Loos
- Known For: Architect, critic of Art Nouveau
- Born: December 10, 1870 in Brno, Czech Republic
- Parents: Adolf and Marie Loos
- Died: August 23, 1933 in Kalksburg, Austria
- Education: Royal and Imperial State Technical College in Rechenberg, Bohemia, College of Technology in Dresden; Academy of Beaux-Arts at Vienna
- Famous Writings: Ornament & Crime, Architecture
- Famous Building: Looshaus (1910)
- Spouse(s): Claire Beck (m. 1929–1931), Elsie Altmann (1919–1926) Carolina Obertimpfler (m. 1902–1905)
- Notable Quote: 'The evolution of culture is synonymous with the removal of ornamentation from objects of everyday use.'
Early Life
Adolf Franz Karl Viktor Maria Loos was born December 10, 1870, in Brno (then Brünn), which is the South Moravian Region of what was then part of the Austria-Hungary Empire and is now the Czech Republic. He was one of four children born to Adolf and Marie Loos, but he was 9 when his sculptor/stonemason father died. Although Loos refused to continue the family business, much to his mother's sorrow, he remained an admirer of the craftsman's design. He was not a good student, and it is said that by the age of 21 Loos was ravaged by syphilis—his mother disowned him by the time he was 23.
Loos began studies at the Royal and Imperial State Technical College in Rechenberg, Bohemia, and then spent a year in the military. He attended the College of Technology in Dresden for three years and the Academy of Beaux-Arts in Vienna; he was a mediocre student and did not earn a degree. Instead, he traveled, making his way to the United States, where he worked as a mason, a floor-layer, and a dishwasher. While in the U.S. to experience the World's Columbian Exposition of 1893, he became impressed by the efficiency of American architecture and came to admire the work of Louis Sullivan.
American architect Louis Sullivan is most famous for being part of the Chicago School and for his influential 1896 essay that suggested form follows function. In 1892, however, Sullivan wrote about the application of ornamentation on the new architecture of the day. 'I take it as self-evident that a building, quite devoid of ornament, may convey a noble and dignified sentiment by virtue of mass and proportion,' Sullivan began his essay 'Ornament in Architecture.' He then made the modest proposal to 'refrain entirely from the use of ornament for a period of years' and 'concentrate acutely upon the production of buildings well formed and comely in the nude.' The idea of organic naturalness, with a concentration on architectural mass and volume, influenced not only Sullivan's protege Frank Lloyd Wright but also the young architect from Vienna, Adolf Loos.
Professional Years
In 1896, Loos returned to Vienna and worked for the Austrian architect Karl Mayreder. By 1898, Loos had opened his own practice in Vienna and became friends with free-thinkers such as philosopher Ludwig Wittgenstein, expressionist composer Arnold Schönberg, and satirist Karl Kraus. The intellectual community of Vienna at the time of the Belle Epoque was made up of many artists, painters, sculptors, and architects, as well as political thinkers and psychologists including Sigmund Freud. They were all seeking a way to rewrite how society and morality functioned.
The silmarillion book pdf free download. After retirement Tolkien and his wife lived near Oxford, but then moved to Bournemouth. It was his publisher, Stanley Unwin, who asked for a sequel to The Hobbit and gradually Tolkien wrote The Lord of the Rings, a huge story that took twelve years to complete and which was not published until Tolkien was approaching retirement. After the war, he obtained a post on the New English Dictionary and began to write the mythological and legendary cycle which he originally called The Book of Lost Tales but which eventually became known as The Silmarillion. In 1920 Tolkien was appointed Reader in English Language at the University of Leeds which was the beginning of a distinguished academic career culminating with his election as Rawlinson and Bosworth Professor of Anglo-Saxon at Oxford. Meanwhile Tolkien wrote for his children and told them the story of The Hobbit.
Like many of his colleagues in Vienna, Loos' beliefs extended to all areas of life, including architecture. He argued that the buildings we design reflect our morality as a society. The new steel frame techniques of the Chicago School demanded a new aesthetic—were cast iron facades cheap imitations of past architectural ornamentation? Loos believed that what hung on that framework should be as modern as the framework itself.
Loos started his own school of architecture. His students included Richard Neutra and R. M. Schindler, who both became famous after emigrating to the west coast of the United States.
Personal Life
While Loos' architecture was explicitly clean in line and structure, his personal life was in shambles. In 1902, he married 19-year-old drama student Carolina Catharina Obertimpfler. The marriage ended in 1905 amidst a public scandal: he and Lina were close friends of Theodor Beer, an accused child pornographer. Loos tampered with the case, removing pornographic evidence from Beer's apartment. In 1919, he married 20-year-old dancer and operetta star Elsie Altmann; they divorced in 1926. In 1928 he faced a pedophilia scandal after being accused of having his young, poor models (aged 8–10) perform sex acts, and the main evidence against him was a collection of more than 2,300 pornographic images of young girls. Elsie believed they were the same images removed from Theodor Beer's apartment in 1905. Loos' last marriage was at the age of 60 and his wife was 24-year-old Claire Beck; two years later, that relationship also ended in divorce.
Loos was also quite ill through much of his creative life: he slowly became deaf as a result of the syphilis he contracted in his early 20s, and he was diagnosed with cancer in 1918 and lost his stomach, appendix, and part of his intestines. He was exhibiting signs of dementia during his 1928 court case, and a few months before his death he had a stroke.
Architectural Style
Loos-designed homes featured straight lines, clear and uncomplicated walls and windows, and clean curves. His architecture became physical manifestations of his theories, especially raumplan ('plan of volumes'), a system of contiguous, merging spaces. He designed exteriors without ornamentation, but his interiors were rich in functionality and volume. Each room might be on a different level, with floors and ceilings set at different heights. Loos architecture was in stark contrast with the architecture of his Austrian contemporary Otto Wagner.
Representative buildings designed by Loos include many houses in Vienna, Austria—notably the Steiner House, (1910), Haus Strasser (1918), Horner House (1921), Rufer House (1922), and the Moller House (1928). License one singapore. However, Villa Müller (1930) in Prague, Czechoslovakia, is one of his most studied designs because of its seemingly simple exterior and complex interior. Other designs outside Vienna include a house in Paris, France, for the Dada artist Tristan Tzara (1926) and the Khuner Villa (1929) in Kreuzberg, Austria.
Loos was one of the first modern architects to use mirrors to expand interior spaces. The interior entry to the 1910 Goldman & Salatsch Building, often called the Looshaus, is made into a surreal, endless foyer with two opposing mirrors. The construction of Looshaus created quite a scandal for pushing Vienna into modernity.
Famous Quotes: 'Ornament and Crime'
Adolf Loos is best-known for his 1908 essay 'Ornament and Verbrechen,' translated as 'Ornament & Crime.' This and other essays by Loos describe the suppression of decoration as necessary for modern culture to exist and evolve beyond past cultures. Ornamentation, even 'body art' like tattoos, is best left for primitive people, like the natives of Papua. 'The modern man who tattoos himself is either a criminal or a degenerate,' Loos wrote. 'There are prisons in which eighty per cent of the inmates show tattoos. The tattooed who are not in prison are latent criminals or degenerate aristocrats.'
Micro Ornament And Crime
Other passages from this essay:
'The urge to ornament one's face and everything within reach is the start of plastic art.'
'Ornament does not heighten my joy in life or the joy in life of any cultivated person. If I want to eat a piece of gingerbread I choose one that is quite smooth and not a piece representing a heart or a baby or a rider, which is covered all over with ornaments. The man of the fifteenth century won't understand me. But all modern people will.'
'Freedom from ornament is a sign of spiritual strength.'
Death
Nearly deaf from syphilis and cancer by age 62, Adolf Loos died in Kalksburg near Vienna, Austria, on August 23, 1933. His self-designed gravestone in Central Cemetery (Zentralfriedhof) in Vienna is a simple block of stone with only his name engraved—no ornamentation.
Legacy
Adolf Loos extended his architectural theories in his 1910 essay 'Architektur,' translated as 'Architecture.' Decrying that architecture had become a graphic art, Loos argues that a well-made building cannot be honestly represented on paper, that plans do not 'appreciate the beauty of bare stone,' and that only the architecture of monuments should be classified as art—other architecture, 'everything that serves some practical purpose, should be ejected from the realm of art.' Loos wrote that 'modern dress is that which draws least attention to itself,' which is Loos' legacy to modernism.
This idea that anything beyond functional should be omitted was a modern idea worldwide. The same year Loos first published his essay on ornamentation, French artist Henri Matisse (1869–1954) issued a similar proclamation about the composition of a painting. In the 1908 statement Notes of a Painter, Matisse wrote that everything not useful in a painting is harmful.
Although Loos has been dead for decades, his theories about architectural complexity are often studied today, especially to begin a discussion about ornamentation. In a high-tech, computerized world where anything is possible, the modern student of architecture must be reminded that just because you are able do something, should you?
Sources
- Andrews, Brian. 'Ornament and Materiality in the Work of Adolf Loos.' Material Making: The Process of Precedent, 2010. Association of Collegiate Schools of Architecture, p. 438
- Colomina, Beatriz. 'Sex, Lies and Decoration: Adolf Loos and Gustav Klimt.' Thresholds.37 (2010): 70–81.
- Loos, Adolf. 'Architecture.' 1910.
- Loos, Adolf. 'Ornament and Crime.' 1908.
- Rukschcio, Burkhardt, Schachel, Roland L. (Roland Leopold), 1939- and Graphische Sammlung Albertina Adolf Loos, Leben und Werk. Residenz Verlag, Salzburg, 1982.
- Schwartz, Frederic J. 'Architecture and Crime: Adolf Loos and the Culture of the 'Case'.' The Art Bulletin 94.3 (2012): 437-57.
- Sullivan, Louis. 'Ornament in Architecture.' The Engineering Magazine, 1892,
- Svendsen, Christina. 'Hiding in Plain Sight: Problems of Modernist Self-Representation in the Encounter between Adolf Loos and Josephine Baker.' Mosaic: An Interdisciplinary Critical Journal 46.2 (2013): 19–37.
- Tournikiotis, Panayotis. 'Adolf Loos.' Princeton Architectural Press, 2002.
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Contains thirty-six original essays by the celebrated Viennese architect, Adolf Loos (1870-1933). Most deal with questions of design in a wide range of areas, from architecture and furniture, to clothes and jewellery, pottery, plumbing, and printing; others are polemics on craft education and training, and on design in general. Loos, the great cultural reformer and moralis..more
Paperback, (Studies in Austrian Literature, Culture, and Thought Translation Series), 204 pages
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I am not a fan of Loos, like, at all. I think he takes rationalism and functionality in architecture too far. Also, I call bullshit on his explanation for the contradiction of his sterile exteriors yet sumptuous interiors in his 1910 essay entitled 'Architecture.' You can't proclaim to the world that 'Ornament does not heighten my joy in life or the joy in life of any cultivated person' and then lavishly decorate the interior of your home like you're fucking George IV. Just saying.
(Sorry about t..more
(Sorry about t..more
Jan 28, 2018Michael Bohli rated it liked it · review of another edition
Adolf Loos – er lebte und kreierte als Architekt nicht nur in einer Zeit, in der man mit dem Bau von Gebäuden noch waschechte Skandale entstehen lassen konnte, er war auch ein extremer Kritiker. Nicht nur stellte er sich gegen die Oberschichten und die Gebaren der Aristokratie, er sah sich selber auch an der Spitze der Wiener Bau- und Designkunst. 'Ornament und Verbrechen' ist eine Sammlung seiner besten und angriffigsten Texten, ursprünglich zwischen 1898 und 1931 publiziert und bietet einen gu..more
Ornament And Crime Manual Pdf
'Ornament is wasted manpower and therefore wasted health. It has always been like this. But today it also means wasted material, and both mean wasted capital. As ornament is no longer organically related to our culture, it is also no longer the expression of our culture. The ornament that is produced today bears no relation to us, or to any other human or the world at large. It has no potential for development.'
Oct 22, 2018Ellis Donovan rated it did not like it
Jun 09, 2019CC Li added it · review of another edition
Nov 24, 2016Magdalena rated it it was amazing
Adolf Loos. He faced a cultural crisis and we owe so much to him. His way of shaping interior spaces giving every section of a house its own hierarchy, and reinforcing diagonal circulations both in plan as well as in cross section. His raumplan would later evolve into free plan, as master architect Le Corbusier would be inspired by Loos' ideals and this would show in his Vers une architecture, but that's subject of a different review.
We also have to credit Loos for stating clearer than anyone w..more
We also have to credit Loos for stating clearer than anyone w..more
En su manifiesto de 1908 a favor de la modernidad, Ornament and Crime, Adolf
Loos deducía del axioma «la forma sigue a la función» la exigencia de «eliminar el ornamento»: «La evolución de la cultura va acompañada por la eliminación del ornamento de objetos inútiles». Para Loos, los ornamentos eran «inmorales» y «degenerados », por lo que su supresión era necesaria para regular la sociedad moderna. Resulta interesante que pusiera como ejemplo el tatuaje de los papúes; Loos consideraba que los pap..more
Loos deducía del axioma «la forma sigue a la función» la exigencia de «eliminar el ornamento»: «La evolución de la cultura va acompañada por la eliminación del ornamento de objetos inútiles». Para Loos, los ornamentos eran «inmorales» y «degenerados », por lo que su supresión era necesaria para regular la sociedad moderna. Resulta interesante que pusiera como ejemplo el tatuaje de los papúes; Loos consideraba que los pap..more
Many wry and witty pronouncements, most dating from 1898, in support of simple, modern design. Loos felt popular tastes were strongly in favor of new, forward-looking styles, and that consumers no longer sought kitsch, quaint nationalist references, or absurd imitations of Hellenic, Renaissance, or Japanese relics. Very pleasurable to consider such a time in Vienna, however brief! The biographical details (many wives, a pitiful decline) were all quite new to me.
Full of anxiety and early modern ferment. And fin de siècle hatchet jobs.
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Adolf Franz Karl Viktor Maria Loos was an Austrian architect. He was influential in European Modern architecture, and in his essay Ornament and Crime he abandoned the aesthetic principles of the Vienna Secession. In this and many other essays he contributed to the elaboration of a body of theory and criticism of Modernism in architecture.
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Loos authored several polemical works. In Spoken into the V..more
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Loos authored several polemical works. In Spoken into the V..more
“I will not subscribe to the argument that ornament increases the pleasure of the life of a cultivated person, or the argument which covers itself with the words: “But if the ornament is beautiful! ..” To me, and to all the cultivated people, ornament does not increase the pleasures of life. If I want to eat a piece of gingerbread I will choose one that is completely plain and not a piece which represents a baby in arms of a horserider, a piece which is covered over and over with decoration. The man of the fifteenth century would not understand me. But modern people will. The supporter of ornament believes that the urge for simplicity is equivalent to self-denial. No, dear professor from the College of Applied Arts, I am not denying myself! To me, it tastes better this way.” — 10 likes
“Every period had its style: why was it that our period was the only one to be denied a style? By “style” was meant ornament. I said, “weep not. Behold! What makes our period so important is that it is incapable of producing new ornament. We have out-grown ornament, we have struggled through to a state without ornament. Behold, the time is at hand, fulfilment awaits us. Soon the streets of the cities will glow like white walls! Like Zion, the Holy City, the capital of heaven. It is then that fulfilment will have come.” — 5 likes
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