According to Ludwig Munz, “He wanted to build for human beings, who felt the need, however little money they might have, to be ‘at home’ in quiet communion, people who, for their well-being, needed to be alone and able to concentrate. Loos was concerned with the well-being of people.
We won’t be published in Deutsche Kunst und Dekoration and we won’t be made professors of applied art, but we will have served ourselves, our times, our nation and mankind to the best of our ability.” xviiiįigure 15 - Retroactive 1 by Robert Rauschenberg Enough of our geniuses and their originality. He wrote: “the best form is there already and no one should be afraid of using it, even if the basic idea for it comes from someone else. xvi According to Aldo Rossi, “What Loos is really attacking in his contemporaries is not so much their style or their taste, even though he finds it abominable, what he cannot tolerate is the ‘redemptive’ value that they assign to their own actions.” Loos thought that “Modern architects have always tried to assign this redemptive value to what they have done.” And as a sort of final response to all this, Loos wrote, as though in an obituary, “We know that all the artistic fuss over style of living – in any country – do not make the dog move away from the warmth of the stove, and that all the traffic of associations, school professorships, periodicals, exhibitions, and so on has not produced anything new.” xvii Against this redemptive, “will to art” manner, Loos urged the architects to put aside their individual ambitions for the sake of collective coherence. Venturi and Scott Brown’s inclination toward ‘generic and conventional space’ over ‘heroic space’ should be connected to what Loos said about ‘the form given through tradition’ and also what he was battling against in his time. continuation of the essay's Part 1 recently published on Archinect. The art of building has been transformed into a business of self-display and promotion through the design and construction of figurative motifs, making it an object of consumption.ĭavid Leatherbarrow, The Roots of Architectural Invention, (UK: 1993), p.1.
Hans-Georg Gadamer, The Relevance of the Beautiful (UK: 1970), p. For intoxication alone cannot insure lasting communication. In our world of powerful stimuli and the often irresponsible, commercially motivated love of experimentation for its own sake, there is a great deal that does not establish real communication. Modern architects seem, however, more likely to have mastered Esperanto.Īdolf Loos, “Grundsätzliches von Adolf Loos,” Adolf Loos (Vienna: 1930), p. An architect is a mason who has learned Latin. Our education is based upon the Classical education.
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