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Die Schriften von Adolf Loos
No full textDIE SCHRIFTEN VON ADOLF LOOS
Die Schriften von Adolf Loos
Trotzdem : 1900 - 1930 (2
ADOLF LOOS: I CARATTERI DI VIENNA
No full textRELAZIONE AL CONVEGNO "ADOLF LOOS LA CULTURA DEL PROGETTO" A CURA DI GIOVANNI DENTI E SILVIA PEIRON
Goldman and Salatsch Building
No full textcomparative material, 1911 cartoon satirizing Loos' buildin
Obe Seife Seifenpulver die besten Waschmittel Loos&Gerstacker Nürnberg
No full textOBE SEIFE SEIFENPULVER DIE BESTEN WASCHMITTEL LOOS&GERSTACKER NÜRNBERG
Obe Seife Seifenpulver die besten Waschmittel Loos&Gerstacker Nürnberg ( -
Maison Tzara
No full textFrontal view, depicting entire façade; Loos moved to Paris at the invitation of the Dadaist poet Tristan Tzara, for whom he built a house on the Avenue Junot, Montmartre, the only substantial commission he executed in Paris and regarded as a canonical example of what has been called Classical Modernism. Source: Grove Art Online; http://www.groveart.com/ (accessed 1/4/2008
Declaration of Intention of Joseph Loos
No full textDeclaration of Intention to become a citizen of the United States, as filled out and signed by: Joseph Loos
Applicant age: 32
Occupation: Waiter
Country of Origin: Austria
Date of Birth: 23 August 1881
Sailed to the US aboard the vessel: Dominion
City of residence at time of declaration: Atlantic City, NJ
Declaration submitted and sworn on date: 08 September 191
Hendrik Van der Loos to Viktor Hamburger, February 1, 1972
No full textLetter. Short note on St. Vincent School. Note on a enclosed reprint of Loos' & Mark Molliver's paper on cortex synapse-development. (reprint missing.)Typewritten.1-page letterCorrespondenc
Declaration of Intention of John A. Loos
No full textDeclaration of Intention to become a citizen of the United States, as filled out and signed by: John A. Loos
Applicant age:44
Occupation: Unknown
Country of Origin:Germany
Date of Birth: Unknown
Sailed to the US aboard the vessel: Unknown
City of residence at time of declaration:Unknown
Declaration submitted and sworn on date:22 April 190
The “Raumplan” and has there been one after Adolf Loos?
No full textIn 1931, the Vienna publishing house Anton Schroll & Co. published Heinrich Kulka’s extensive monograph on Adolf Loos. In his text, Kulka discussed Loos’s idea of being an architect, he wrote about ornament and the reduction of ornament, and then, on about one page, he outlined Loos’s space concept, which he named “raumplan”. He emphasized a better organization and rationalization of interior space as Loos’s main innovation. However, when we look at Loos’s 1920s and 1930s houses, they boast of a huge waste of space (and money). After Loos’s death in 1933, many of his apprentices continued designing “in the Loos manner”, as Heinrich Kulka promoted his projects from the mid-1930s. At the same time, we can see that the apprentices‘ projects do not achieve Loos’s spatial qualities and proportions and their works had been contaminated with other inventions of architectural avant-garde. What was the real purpose of the invention and use of the term “raumplan“ by Loos’s pupils and has there been anything like that after Loos’s death? The lecture will try to answer this question using examples of post-Loos works by Heinrich Kulka and Kurt Unger from 1933 to 1939.In 1931, the Vienna publishing house Anton Schroll & Co. published Heinrich Kulka’s extensive monograph on Adolf Loos. In his text, Kulka discussed Loos’s idea of being an architect, he wrote about ornament and the reduction of ornament, and then, on about one page, he outlined Loos’s space concept, which he named “raumplan”. He emphasized a better organization and rationalization of interior space as Loos’s main innovation. However, when we look at Loos’s 1920s and 1930s houses, they boast of a huge waste of space (and money). After Loos’s death in 1933, many of his apprentices continued designing “in the Loos manner”, as Heinrich Kulka promoted his projects from the mid-1930s. At the same time, we can see that the apprentices‘ projects do not achieve Loos’s spatial qualities and proportions and their works had been contaminated with other inventions of architectural avant-garde. What was the real purpose of the invention and use of the term “raumplan“ by Loos’s pupils and has there been anything like that after Loos’s death? The lecture will try to answer this question using examples of post-Loos works by Heinrich Kulka and Kurt Unger from 1933 to 1939
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