Loos, Adolf

Adolf Loos: Works and Projects

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)

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 roomsÂ’ 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

Crime and Ornament: The Arts and Popular Culture in the Shadow of Adolf Loos

Adolf Loos

Fashioning Vienna: Adolf Loos's Cultural Criticism

This book seeks to extend our understanding of Adolf Loos and his role in the struggle to define the nature of modernity in Vienna at the turn of the century.

Privacy and Publicity: Modern Architecture As Mass Media

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" 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, Columina sees the emerging systems of communication that have come to define 20th-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. 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.

Spoken into the Void: Collected Essays by Adolf Loos, 1897-1900

The Vienna Jubilee Exhibition of 1898 provided the occasion for these remarkable essays by the Austrian architect, theorist, and irreverent critic of his own culture, Adolf Loos. The rational underpinnings of his later accusation that "ornament is crime," first appear in these polemical thrusts at the stylized work of Viennese sucessionists Joseph Hoffmann, Otto Wagner, Hermann Obrist, and Gustav Klimt, among others.

Adolf Loos: And the Reconstruction of Villa Muller

Adolf Loos - Teorias y Obras