. According to Loos, the most modern of men - he who occupies the lowest rung on the social ladder but commands the highest respect - was the craftsman. His argument against such excess was two pronged. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. ) The artist, the architect, first senses the effect that he intends to realize and sees the rooms he wants to create in his mind's eye. The craftsman, with his deep respect for tradition and his finely calibrated adjustments to a slowly evolving culture - not the artist and definitely not the architect - was uniquely qualified to lead. The dictionary offers two distinct definitions for the word modern. Loos was also highly critical of the excessive inventiveness of his contemporaries in the Vienna Secession.
He spared no words in his condemnation of Applied Art School professors who taught designers ('graphic artists') to slather objects of everyday use with newly invented ornament without imparting the slightest understanding of the crafts they were contorting. (. He moved deftly without qualifiers between his critique of architecture and his condemnations of other everyday objects from underclothes to plumbing fixtures. Rivaled only by the brilliant essays and aphorisms of his friend and fellow provocateur KARL KRAUS, Loos's provocative diatribes left few aspects of the decadent fin-de-siècle Viennese culture unscathed. Loos immigrated to Vienna in 6896 and within two years managed to alienate himself from both those looking backwards and those looking forward, a rather inauspicious beginning for an aspiring young architect. ) These effects are produced by both the material and the form of the space.
Still more vehemently, Loos took issue with the very notion of applied art. His sharp tongue had a very long reach. Nl
The arrangement of space in plan and section was largely predetermined: an enfilade of two, three, four, and even five rooms strung along the street facade, linked by a central circulation path, entered perpendicular to the long axis. Such uninformed inventiveness, so thoroughly disconnected from tradition, had no possibility of being a meaningful measure of a culture. Give it purpose -- fill it with books, DVDs, clothes, electronics and more. To appreciate Loos's preference for measured, evolutionary change, one must understand how he defined modernity. The primary definition - the one embraced by Loos - defines modern as that related to the present period in history. Within these confines, Loos distributed the domestic program predictably: the public spaces of the domicile - the dining room, salon(s), and occasional entry vestibule - were open to one another and flanked on one or both ends by private sleeping quarters. In a series of intensely caustic essays published before his 85th year, Loos staked out his life-long positions on modernity, including extensive commentary on imitation and innovation. While the name Adolf Loos has become synonymous with the Raumplan (the complex stacking of spatial volumes realized in his suburban villas), the majority of his commissions were one-story apartment interiors in thick bodied, 69th-century buildings. Geen eBoek beschikbaar