Adolf Loos: Works and Projects
by Ralf Bock
from Skira
Adolf Loos (1870-1933) was a Viennese architect known for his radical building facades. Author Ralf Bock reveals the sensuality of Loos's interior designs, demonstrating that Loos was not an architect of the "white modern movement," but rather, he fought against it. A careful analysis of Loos's ideology and oeuvre, this book features 30 existing projects in 160 extraordinary full-color images by the celebrated French photographer Philippe Ruault, who has completely rephotographed Loos's works. These new images offer different interpretations of Loos' interiors and bring him back to the center of contemporary architectural debate. The color photographs are supplemented by archival photos from the Loos Archive of the Albertina, Vienna, and a completely new set of project drawings.
Adolf Loos, 1870-1933: Architect, Cultural Critic, Dandy (Taschen Basic Architecture)
by August Sarnitz
from Taschen
WIDELY REGARDED AS ONE OF THE MOST SIGNIFICANT PROPHETS OF MODERN ARCHITECTURE, ADOLF LOOS (1870-1933) WAS A STAR IN HIS OWN TIME, KNOWN THROUGHOUT VIENNA AS AN OUTSPOKEN, AUDACIOUS DANDY AND MORALIST WHO DEFIED THE ESTABLISHMENT. HIS WORK NOT ONLY REPRESENTED THE BEGINNING OF MODERNISM, WITH ITS STARK, UNORNAMENTED STYLE, BUT ALSO REVOLUTIONIZED ARCHITECTURE BY INTRODUCING THE CONCEPT OF "SPATIAL PLAN" ARCHITECTURE, WHICH ALLOWED FOR ECONOMIZING SPACE BY DESIGNATING ROOMS' SIZES AND HEIGHTS BASED ON THEIR PURPOSES. LOOS ALSO PUBLISHED NUMEROUS ESSAYS DURING HIS LIFETIME, THE MOST NOTABLE OF WHICH IS THE OFT-MISUNDERSTOOD "ORNAMENT AND CRIME."
Villa Muller: A Work of Adolf Loos
by K. Kelinman
from Princeton Architectural Press
Privacy and Publicity: Modern Architecture As Mass Media
Winner of the 1995 International Architecture Book Award sponsored by the American Institute of Architects (AIA)
Through a series of close readings of two major figures of the modern movement, Adolf Loos and Le Corbusier, Beatriz Colomina argues that architecture only becomes modern in its engagement with the mass media, and that in so doing it radically displaces the traditional sense of space and subjectivity.
Privacy and Publicity boldly questions certain ideological assumptions underlying the received view of modern architecture and reconsiders the methodology of architectural criticism itself. Where conventional criticism portrays modern architecture as a high artistic practice in opposition to mass culture, Colomina sees the emerging systems of communication that have come to define twentieth-century culture—the mass media—as the true site within which modern architecture was produced. She considers architectural discourse as the intersection of a number of systems of representation such as drawings, models, photographs, books, films, and advertisements. This does not mean abandoning the architectural object, the building, but rather looking at it in a different way. The building is understood here in the same way as all the media that frame it, as a mechanism of representation in its own right.
With modernity, the site of architectural production literally moved from the street into photographs, films, publications, and exhibitions—a displacement that presupposes a new sense of space, one defined by images rather than walls. This age of publicity corresponds to a transformation in the status of the private, Colomina argues; modernity is actually the publicity of the private. Modern architecture renegotiates the traditional relationship between public and private in a way that profoundly alters the experience of space. In a fascinating intellectual journey, Colomina tracks this shift through the modern incarnations of the archive, the city, fashion, war, sexuality, advertising, the window, and the museum, finally concentrating on the domestic interior that constructs the modern subject it appears merely to house.
Adolf Loos
by Panayotic Tournikiotis
from Princeton Architectural Press
Das Schöne, das Wahre und das Richtige: Adolf Loos und das Haus Müller in Prag (Bauwelt Fundamente)
by Christian Kühn
from Birkhäuser Basel
Adolf Loos war einer der ersten, die Anfang des Jahrhunderts unbedingte Wahrheit in der Architektur forderten. In merkwürdigem Widerspruch dazu scheint zu stehen, daß es derselbe Architekt war, der für den Wettbewerb der Chicago Tribune jene monumentale Säule beisteuerte und im selben Jahr 1922 schmucklose kubische Villen mit Dachgärten entwarf. Was meint Loos mit Wahrheit? Christian Kühns erstmals 1989 erschienene Studie untersucht detailliert am Beispiel von Adolf Loos` berühmtem Haus Müller in Prag (1930) die Arbeits- und Denkweise des Architekten. Ausgehend von einer genauen Analyse des Hauses, diskutiert der Autor unterschiedliche Auffassungen des Wahrheitsbegriffs in der Architektur der frühen Moderne und stellt sie derjenigen von Loos gegenüber.
Crime and Ornament: The Arts and Popular Culture in the Shadow of Adolf Loos
from Yyz Books
Adolf Loos: Theory and Works
by Benedetto Gravagnuolo
from Art Data
Adolf Loos (Studio Paperback)
Adolf Loos
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