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JOHN ROOT/DANIEL BURNHAM MONADNOCK BUILDING CHICAGO, IL 1891

SULLIVAN/ADLER WAINWRIGHT BUILDING 1893 ST. LOUIS, MO STEEL BUILDING

SULLIVAN/ADLER WAINWRIGHT BUILDING 1893 ST. LOUIS, MO STEEL/TERRACOTTA

SULLIVAN/ADLER WAINWRIGHT BUILDING 1893 ST. LOUIS, MO DTL

SULLIVAN/ADLER WAINWRIGHT BUILDING 1893 ST. LOUIS, MO EXTENSION

SULLIVAN/ADLER WAINWRIGHT BUILDING 1893 ST. LOUIS, MO INTERIOR

CASS GILBERT WOOLWORTH BUILDING NYC, NY 1910-13 CONSTRUCTION

CASS GILBERT WOOLWORTH BUILDING NYC, NY 1910-13 VIEW

CASS GILBERT WOOLWORTH BUILDING NYC, NY 1910-13 GOTHAM

HOOD AND HOWELLS CHICAGO TRIBUNE TOWER, IL 1922-25 NEO-GOTHIC

HOOD AND HOWELLS CHICAGO TRIBUNE TOWER, IL 1922-25 COMPETITION WINNER

HOOD AND HOWELLS CHICAGO TRIBUNE TOWER, IL 1922-25 COMPETITION ENTRY

ELIEL SAARINEN CHICAGO TRIBUNE TOWER, IL 1922 COMPETITION ENTRY

ELIEL SAARINEN CHICAGO TRIBUNE TOWER, IL 1922 COMPETITION ENTRANTS

55 CENTRAL PARK WEST SCHWARTZ AND GROSS, NYC 1930

ADOLF LOOS CHICAGO TRIBUNE TOWER, IL 1922 COMPETITION ENTRY

ADOLF LOOS STEINER HOUSE, VIENNA, AT 1910 STREET FACADE

ADOLF LOOS STEINER HOUSE, VIENNA, AT 1910 GARDEN FACADE

ADOLF LOOS STEINER HOUSE, VIENNA, AT 1910 PLANS

ADOLF LOOS STEINER HOUSE, VIENNA, AT 1910 LONGITUDINAL SECTION

“In this view certain aspects have been stressed, such as functional
ADOLF LOOS STEINER HOUSE, VIENNA, AT 1910 quote

coherence, the absence of ornaments, spatial economy, use of the
flat roof on the garden side, the reduction of the external image to
a pure white shell. All these aspects are undoubtedly present in the
work and, moreover, exerted an unquestionable influence on the
stylistic revolution of the postwar years. But, in emphasizing the
elements of anticipation, the evolutionistic interpretation has shown
its limits, leaving unexplored thetheoretical weight and specifics of
methodology of Loos’s design, which it reduces to a trivial search for
functional solutions. One far from negligible fact that it fails to grasp
is that the surprising modernity of the Steiner House is the result
not so much of a process of abstraction as of an updated tradition.
Proof of this is afforded by just those elements that appear to be
the newest ones, such as the total absence of decoration on the
outside walls (in fact, plastered with simple lime mortar like the old
Viennese houses) or the use of the curved sheet-metal roof (in turn
drawn from the local historical building culture).
“In short, the disruptive and innovative character of this work
derives from an analytical and selective reflection on history, and not
yet from the desire for the denial of history on which the Bauhaus
will build its theories after the war, and still less from an adherence
to functionalism.”

— from Benedetto Gravagnuolo. Adolf Loos: Theory and Works.

The child is amoral. To us the Papuan is also amoral. The Papuan slaughters his enemies
ADOLF LOOS ORNAMENT AND CRIME EXCERPT, 1908-20

and devours them. He is no criminal. If, however, the modern man slaughters and devours
somebody, he is a criminal or a degenerate. The Papuan tattoos his skin, his boat, his oar, in
short, everything that is within his reach. He
is no criminal. The modern man who tattoos
himself is a criminal or a degenerate. There are
prisons where eighty percent of the inmates
bear tattoos.
Those who are tattooed but are not imprisoned
are latent criminals or degenerate aristocrats.
If a tattooed person dies at liberty, it is only
that he died a few years before he committed a
murder.
The urge to ornament one’s face, and everything
within one’s reach is the origin of fine art. It is
the babble of painting. All art is erotic.

With children it is a natural phenomenon: their first artistic expression is to scrawl on
the walls erotic symbols. But what is natural to the Papuan and the child is a symptom of
degeneration in the modern man. I have made the following observation and have announced
it to the world: The evolution of culture is synonymous with the removal of ornament from
objects of daily use.

JOSEPH MARIA OLBRICH VIENNA SECCIONIST BUILDING 1897 VIEW

JOSEPH MARIA OLBRICH VIENNA SECCIONIST BUILDING 1897 DOME

JOSEPH MARIA OLBRICH VIENNA SECCIONIST BUILDING 1897-OWLS-MOSER

GUSTAV KLIMT BEETHOVEN FRIEZE VIENNA SECCIONIST INT 1902

VICTOR HORTA HOTEL TASSEL BRUSSELS, BELGIUM 1893-94 STAIRWAY

VICTOR HORTA HOTEL TASSEL BRUSSELS, BELGIUM 1893-94 EXTERIOR/ STR

VICTOR HORTA HOTEL TASSEL BRUSSELS, BELGIUM 1893-94 SECTION/PLANS

VICTOR HORTA 1861-47 HOTEL TASSEL PORTRAIT/PLANS

HECTOR GUIMARD PARIS METRO ENTRANCE 1899

HECTOR GUIMARD PARIS METRO DETAIL 1899 WASHINGTON DC SMITHSONIAN

My architecture is not conceived in plans, but in spaces (cubes).
I do not design floor plans, facades, sections. I design spaces. For
me, there is no ground floor, first floor etc.... For me, there are
only contiguous, continual spaces, rooms, anterooms, terraces etc.
Storeys merge and spaces relate to each other. Every space requires
a different height: the dining room is surely higher than the pantry,
thus the ceilings are set at different levels. To join these spaces in
such a way that the rise and fall are not only unobservable but also
practical, in this I see what is for others the great secret, although it
is for me a great matter of course. Coming back to your question, it is
just this spatial interaction and spatial austerity that thus far I have
best been able to realise in Dr Müller’s house”

ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 ENTRY FACADE

ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 NORTHWEST VIEW

ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 VIEW

ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 DIAGRAMS

ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 SECTION

ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 INTERIOR

ADOLF LOOS RANDOM HOUSE INTERIORS

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