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Revolutionary essays on design, aesthetics and materialism - from one of the great masters of modern architecture Adolf Loos, the great Viennese pioneer of modern architecture, was a hater of the fake, the fussy and the lavishly decorated, and a lover of stripped down, clean simplicity. He was also a writer of effervescent, caustic wit, as shown in this selection of essays on all aspects of design and aesthetics, from cities to glassware, furniture to footwear, architectural training to why 'the lack of ornament is a sign of intellectual power'. Translated by Shaun Whiteside With an epilogue by Joseph Masheck
On Loos, Ornament and Crime by Juan José Lahuerta Pdf
"On Loos, Ornament and Crime"is the most controversial of the essays in the series entitled "Columns of Smoke," in which Professor Juan Jose Lahuerta undertakes an acute and thoroughly documented rereading of modernity, linking the ideas of architecture and ornamentation and exploring the ways these have been treated in print. In the previous volume of this series Lahuerta exploded cliches with his penetrating analysis of Loos's relationship with photography, and here he examines in fine detail the architect's written work, and in particular the texts that engage with architectural and artistic theory and continue the classical tradition of Schinkel, Semper and Riegl an allegiance readily apparent in Loos's architecture. Lahuerta also discusses other articles in which Loos confronted his fellow architects over issuesfar removed from their shared profession, and shows us with tellingly insightful examples how 'Ornament and Crime', the founding essay of modernity that established "disornamentation" as the signal feature of twentieth-century architecture and culture, belongs to this second category. The "ornament" that Loos criminalizes, in language charged with the vocabulary of criminal anthropology and bioevolutionism of Max Nordau and Cesare Lombroso, has less to do with the decoration of buildings than with the tattoos, beads and feathers of 'primitives' and "degenerates" women, Papuans, artists and criminals. Lahuerta traces Loos's adoption of pseudo-scientific beliefs that shaped the culture of the early twentieth century, and in so doing dismantles the historical value accorded to his famous text, which in this reading takes on a deeply disturbing significance. "
An unprecedented homage to modernist architecture from the 1920s up to the present day Ornament Is Crime is a celebration and a thought-provoking reappraisal of modernist architecture. The book proposes that modernism need no longer be confined by traditional definitions, and can be seen in both the iconic works of the modernist canon by Le Corbusier, Mies van der Rohe, and Walter Gropius, as well as in the work of some of the best contemporary architects of the twenty-first century. This book is a visual manifesto and a celebration of the most important architectural movement in modern history.
Crime and Ornament by Bernie Miller,Melony Ward Pdf
Adolf Loos’s provocative essay "Ornament and Crime" continues to ignite controversy, even outrage. His contentious assumptions have inspired the writers in this anthology who explore ornament in film, visual art, literature, fashion, sports, gay culture, and, of course, architecture. The resulting lively interrogations reinstate ornament as a potent cultural indicator.
Histories of Ornament by Gülru Necipoğlu,Alina Payne Pdf
This lavishly illustrated volume is the first major global history of ornament from the Middle Ages to today. Crossing historical and geographical boundaries in unprecedented ways and considering the role of ornament in both art and architecture, Histories of Ornament offers a nuanced examination that integrates medieval, Renaissance, baroque, and modern Euroamerican traditions with their Islamic, Indian, Chinese, and Mesoamerican counterparts. At a time when ornament has re-emerged in architectural practice and is a topic of growing interest to art and architectural historians, the book reveals how the long history of ornament illuminates its global resurgence today. Organized by thematic sections on the significance, influence, and role of ornament, the book addresses ornament's current revival in architecture, its historiography and theories, its transcontinental mobility in medieval and early modern Europe and the Middle East, and its place in the context of industrialization and modernism. Throughout, Histories of Ornament emphasizes the portability and politics of ornament, figuration versus abstraction, cross-cultural dialogues, and the constant negotiation of local and global traditions. Featuring original essays by more than two dozen scholars from around the world, this authoritative and wide-ranging book provides an indispensable reference on the histories of ornament in a global context. Contributors include: Michele Bacci (Fribourg University); Anna Contadini (University of London); Thomas B. F. Cummins (Harvard); Chanchal Dadlani (Wake Forest); Daniela del Pesco (Universita degli Studi Roma Tre); Vittoria Di Palma (USC); Anne Dunlop (University of Melbourne); Marzia Faietti (University of Bologna); María Judith Feliciano (independent scholar); Finbarr Barry Flood (NYU); Jonathan Hay (NYU); Christopher P. Heuer (Clark Art); Rémi Labrusse (Université Paris Ouest Nanterre la Défense); Gülru Necipoğlu (Harvard); Marco Rosario Nobile (University of Palermo); Oya Pancaroğlu (Bosphorus University); Spyros Papapetros (Princeton); Alina Payne (Harvard); Antoine Picon (Harvard); David Pullins (Harvard); Jennifer L. Roberts (Harvard); David J. Roxburgh (Harvard); Hashim Sarkis (MIT); Robin Schuldenfrei (Courtauld); Avinoam Shalem (Columbia); and Gerhard Wolf (KHI, Florence).
The must-have monograph on one of modern architecture's most influential figures, long a rarity and now available in an expanded and updated edition Viennese architect Adolf Loos was influential among his fellow early modernists not only for his radical designs but for his controversial ideology and famously militant opposition to ornament. Loos approached architecture from a primarily utilitarian perspective: he believed that interiors should be designed according to function, taking full advantage of the size and space of a building. In this definitive monograph, a true labor of love, architect Ralf Bock seeks to reveal the sensuality of Loos' interior designs, focusing on his sincere belief in the evolution of tradition. The book explores 30 existing projects from Loos' oeuvre, documented in 160 full-color images by the celebrated French photographer Phillippe Ruault. Along with materials from the Loos archive at the Albertina Museum Vienna, these photographs and Bock's commentary provide a new interpretation of Loos' work and encourage the reintroduction of his ideology into the contemporary architectural conversation. Profiles of Loos' original clients and interviews with people who currently inhabit his designs round out this unique publication. Adolf Loos(1870-1933) was a radical figure in his time: his critique of the Vienna Secession and advocacy for utilitarian design greatly influenced the less ornamental approaches to architecture among subsequent modernist designers. He studied briefly at Dresden University of Technology and delivered his famous lecture "Ornament and Crime" at the Academic Association for Literature and Music in 1910. His most recognizable building is the multipurpose Looshaus at Michaelerplatz in Vienna, characterized by the numerous window boxes on the building's façade.
Once condemned by Modernism and compared to a‘crime’ by Adolf Loos, ornament has made a spectacularreturn in contemporary architecture. This is typified by the worksof well-known architects such as Herzog & de Meuron, SauerbruchHutton, Farshid Moussavi Architecture and OMA. There is no doubtthat these new ornamental tendencies are inseparable frominnovations in computer technology. The proliferation ofdevelopments in design software has enabled architects toexperiment afresh with texture, colour, pattern and topology. Though inextricably linked with digital tools and culture, AntoinePicon argues that some significant traits in ornament persist fromearlier Western architectural traditions. These he defines as the‘subjective’ – the human interaction thatornament requires in both its production and its reception –and the political. Contrary to the message conveyed by the foundingfathers of modern architecture, traditional ornament was not meantonly for pleasure. It conveyed vital information about thedesignation of buildings as well as about the rank of their owners.As such, it participated in the expression of social values,hierarchies and order. By bringing previous traditions in ornamentunder scrutiny, Picon makes us question the political issues atstake in today’s ornamental revival. What does it tell usabout present-day culture? Why are we presently so fearful ofmeaning in architecture? Could it be that by steering so vehementlyaway from symbolism, contemporary architecture is evading anyexplicit contribution to collective values?
Through a series of close readings of two major figures of the modern movement, Adolf Loos and Le Corbusier, Beatriz Colomina argues that architecture only becomes modern in its engagement with the mass media, and that in so doing it radically displaces the traditional sense of space and subjectivity. Privacy and Publicity boldly questions certain ideological assumptions underlying the received view of modern architecture and reconsiders the methodology of architectural criticism itself. Where conventional criticism portrays modern architecture as a high artistic practice in opposition to mass culture, Colomina sees the emerging systems of communication that have come to define twentieth-century culture—the mass media—as the true site within which modern architecture was produced. She considers architectural discourse as the intersection of a number of systems of representation such as drawings, models, photographs, books, films, and advertisements. This does not mean abandoning the architectural object, the building, but rather looking at it in a different way. The building is understood here in the same way as all the media that frame it, as a mechanism of representation in its own right. With modernity, the site of architectural production literally moved from the street into photographs, films, publications, and exhibitions—a displacement that presupposes a new sense of space, one defined by images rather than walls. This age of publicity corresponds to a transformation in the status of the private, Colomina argues; modernity is actually the publicity of the private. Modern architecture renegotiates the traditional relationship between public and private in a way that profoundly alters the experience of space. In a fascinating intellectual journey, Colomina tracks this shift through the modern incarnations of the archive, the city, fashion, war, sexuality, advertising, the window, and the museum, finally concentrating on the domestic interior that constructs the modern subject it appears merely to house.
Design and Crime (And Other Diatribes) by Hal Foster Pdf
In these diatribes on the marketing of culture and the branding of identity, the development of spectacle—architecture and the rise of global cities, Hal Foster surveys our new political economy of design. Written in a lively style, Design and Crime explores the historical relations of modern art and modern museum, the conceptual vicissitudes of art history and visual studies, the recent travails of art criticism, and the double aftermath of modernism and postmodernism in an attempt to illuminate the conditions for critical culture in the present.
Over the last forty years, graffiti and street-art have become a global phenomenon within the visual arts. Whilst they have increasingly been taken seriously by the art establishment (or perhaps the art market), their academic and popular examination still remains within old debates which argue over whether these acts are vandalism or art, and which examine the role of graffiti in gang culture and in terms of visual pollution. Based on an in-depth ethnographic study working with some of the world’s most influential Independent Public Artists, this book takes a completely new approach. Placing these illicit aesthetic practices within a broader historical, political, and aesthetic context, it argues that they are in fact both intrinsically ornamental (working within a classic architectonic framework), as well as innately ordered (within a highly ritualized, performative structure). Rather than disharmonic, destructive forms, rather than ones solely working within the dynamics of the market, these insurgent images are seen to reface rather than deface the city, operating within a modality of contemporary civic ritual. The book is divided into two main sections, Ornament and Order. Ornament focuses upon the physical artifacts themselves, the various meanings these public artists ascribe to their images as well as the tensions and communicative schemata emerging out of their material form. Using two very different understandings of political action, it places these illicit icons within the wider theoretical debate over the public sphere that they materially re-present. Order is focused more closely on the ephemeral trace of these spatial acts, the explicitly performative, practice-based elements of their aesthetic production. Exploring thematics such as carnival and play, risk and creativity, it tracks how the very residue of this cultural production structures and shapes the socio-ethico guidelines of these artists’ lifeworlds.
The director of the Design Museum defines the greatest artefact of all time: the city We live in a world that is now predominantly urban. So how do we define the city as it evolves in the twenty-first century? Drawing examples from across the globe, Deyan Sudjic decodes the underlying forces that shape our cities, such as resources and land, to the ideas that shape conscious elements of design, whether of buildings or of space. Erudite and entertaining, he considers the differences between capital cities and the rest to understand why it is that we often feel more comfortable in our identities as Londoners, Muscovites, or Mumbaikars than in our national identities.
Aesthetics by David Goldblatt,Lee B. Brown,Stephanie Patridge Pdf
Aesthetics: A Reader in Philosophy of the Arts, fourth edition, contains a selection of ninety-six readings organized by individual art forms as well as a final section of readings in philosophical aesthetics that cover multiple art forms. Sections include topics that are familiar to students such as painting, photography and movies, architecture, music, literature, and performance, as well as contemporary subjects such as mass art, popular arts, the aesthetics of the everyday, and the natural environment. Essays are drawn from both the analytic and continental traditions, and multiple others that bridge this divide between these traditions. Throughout, readings are brief, accessible for undergraduates, and conceptually focused, allowing instructors many different syllabi possibilities using only this single volume. Key Additions to the Fourth Edition The fourth edition is expanded to include a total of ninety-six essays with nineteen new essays (nine of them written exclusively for this volume), updated organization into new sections, revised introductions to each section, an increased emphasis on contemporary topics, such as stand-up comedy, the architecture of museums, interactivity and video games, the ethics of sexiness, trans/gendered beauty, the aesthetics of junkyards and street art, pornography, and the inclusion of more diverse philosophical voices. Nevertheless, this edition does not neglect classic writers in the traditional aesthetics: Plato, Aristotle, Hume, Kant, Hegel, Heidegger, Collingwood, Bell, and writers of similar status in aesthetics. The philosophers writing new chapters exclusively for this fourth edition are: • Sondra Bacharach on street art • Aili Bresnahan on appreciating dance • Hina Jamelle on digital architecture • Jason Leddington on magic • Sheila Lintott on stand-up comedy • Yuriko Saito on everyday aesthetics • Larry Shiner on art spectacle museums in the twenty-first century • Peg Brand Weiser on how beauty matters • Edward Winters on the feeling of being at home in vernacular architecture, as in such urban places as bars.
The Beauty of Everyday Things by Soetsu Yanagi Pdf
The daily lives of ordinary people are replete with objects, common things used in commonplace settings. These objects are our constant companions in life. As such, writes Soetsu Yanagi, they should be made with care and built to last, treated with respect and even affection. They should be natural and simple, sturdy and safe - the aesthetic result of wholeheartedly fulfilling utilitarian needs. They should, in short, be things of beauty. In an age of feeble and ugly machine-made things, these essays call for us to deepen and transform our relationship with the objects that surround us. Inspired by the work of the simple, humble craftsmen Yanagi encountered during his lifelong travels through Japan and Korea, they are an earnest defence of modest, honest, handcrafted things - from traditional teacups to jars to cloth and paper. Objects like these exemplify the enduring appeal of simplicity and function: the beauty of everyday things.
Ornament and European Modernism by Loretta Vandi Pdf
These in-depth, historical, and critical essays study the meaning of ornament, the role it played in the formation of modernism, and its theoretical importance between the mid-nineteenth century and the late twentieth century in England and Germany. Ranging from Owen Jones to Ernst Gombrich through Gottfried Semper, Alois Riegl, August Schmarsow, Wilhelm Worringer, Adolf Loos, Henry van de Velde, and Hermann Muthesius, the contributors show how artistic theories are deeply related to the art practice of their own times, and how ornament is imbued with historical and social meaning.