1,497 research outputs found
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
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
Goldman and Salatsch Building
No full textcomparative material, 1911 cartoon satirizing Loos' buildin
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
Goldman & Salatsch Building
No full textContext view, looking northeast, showing location in the square; Loos's career culminated in the decade before World War I, when he built his one major urban building and a series of influential private houses. The Goldman & Salatsch Building (1910; now widely known as the Looshaus), Vienna, is a plain, six-storey block of residential accommodation above a large shop. It faces the Hofburg in the Michaelerplatz. Loos admired Karl Friedrich Schinkel as the last architect he considered able to use the architectural orders without rhetoric, and in the Goldman & Salatsch Building his own classicism found expression in the marble columns of the entrance canopy and the entablature raised above the mezzanine. The interior of this building, with its marble veneers and mahogany joinery, also reveals clearly Loos's preference for the use of rich materials in place of applied ornamentation. [It is now a bank.] Source: Grove Art Online; http://www.groveart.com/ (accessed 1/31/2008
Adolf Loos. Teatrini della gioia. / Adolf Loos. Theaters of Joy.
No full textIl modo in cui Adolf Loos costruisce i personaggi e la trama dei suoi racconti polemici e sarcastici, assomiglia molto alla scrittura narrativa adatta all’azione scenica. Alla luce di questa scrittura narrativa il testo presenta una lettura di due celebri racconti di Adolf Loos, il breve e famoso racconto del Mastro Sellaio, redatto nel 1903, e l’altrettanto importante testo dal titolo A proposito
di un povero ricco, redatto nel 1900. A partire da una interpretazione in chiave teatrale di questi due racconti, il testo propone una estensione del concetto di teatralità intesa come sfondo capace di chiarire e comunicare meglio il fine dell’architettura. Questo fine
ultimo sembra risiedere, secondo Adolf Loos, nella ricerca della gioia.The manner with which Adolf Loos constructs the characters and plots of his controversial and sarcastic stories closely resembles narrative writing suita-ble for stage action. In the light of this narrative writing, the essay examines two famous stories by Adolf Loos, the short, famous story of The Saddle Maker written in 1903, and the equally important story entitled The Poor Little Rich Man written in 1900. Starting from a theatrical interpretation of these two stories, the essay propo-ses an extension of the concept of theatricality, understood as a background capable of clarifying and better communicating the purpose of architecture. According to Adolf Loos, this ultimate purpose seems to lie in the search for joy
- …
