他的文章‘Ornament and Crime’(装饰与罪恶)主张光洁而清晰的建筑立面,与19世纪末流行的奢华装饰风潮形成鲜明对比,也体现了比维也纳分离派更现代的审美原则,维也纳Loos House的设计是分离派现代宣言的集结号。阿道夫·路斯成为现代建筑的先驱,在建筑和设计方面提出了影响深远的现代主义建筑学理论和批评体系,其中最著名的...
Those objects without ornament, which mankind had created in earlier centuries, had been carelessly discarded and destroyed. We possess no carpenter's benches of the Carolingian period; instead any rubbish which had even the smallest ornament was collected, cleaned and displayed in ostentatious palaces...
Ornament and Crime began as a lecture delivered by Adolf Loos in 1910 in response to a time (the late 19th and early 20th Centuries) and a place (Vienna), in which Art Nouveau was the status quo. Loos used the essay as a vehicle to explain his distain of "ornament" in favour of "...
But the negation of ornament was supposed to reveal, not negate, good style; and an incorrigible ironist has been taken too literally in denying architecture as a fine art. Without normalizing his edgy radicality, Masheck argues that Loos's masterful 'astylistic architecture' was an appreciation...
5.The Architecture of Adolf Loos 6.Adolf Loos: Works and Projects 7.Architecture and Modernity P.S: 感谢Zopf同学提供的Beatriz Colomina文章,妙趣横生。 感谢Bonbon同学提供其导师Christopher Long的文章《The Origins and Context of Adolf Loos's “Ornament and Crime”》, Journal of the Society of Arch...
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5.The Architecture of Adolf Loos 6.Adolf Loos: Works and Projects 7.Architecture and Modernity P.S: 感谢Zopf同学提供的Beatriz Colomina文章,妙趣横生。 感谢Bonbon同学提供其导师Christopher Long的文章《The Origins and Context of Adolf Loos's “Ornament and Crime”》, Journal of the Society of Arch...
注意,Loos没有一棍子把“装饰”打死,他有且只有在《装饰与罪恶》这一篇文章中提出对“装饰”的反对。若脱离了维也纳,脱离这个造就“装饰与罪恶”宣言的背景来讨论此问题,难免是会有些变味道的。Loos自己也意识到这个问题,他在《Ornament and Education》(1924)中写道:“26年前我就断言随着人类的进化,装饰会从实用...