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  • 1. JOHN ROOT/DANIEL BURNHAM MONADNOCK BUILDING CHICAGO, IL 1891
  • 2. SULLIVAN/ADLER WAINWRIGHT BUILDING 1893 ST. LOUIS, MO STEEL BUILDING
  • 3. SULLIVAN/ADLER WAINWRIGHT BUILDING 1893 ST. LOUIS, MO STEEL/TERRACOTTA
  • 4. SULLIVAN/ADLER WAINWRIGHT BUILDING 1893 ST. LOUIS, MO DTL
  • 5. SULLIVAN/ADLER WAINWRIGHT BUILDING 1893 ST. LOUIS, MO EXTENSION
  • 6. SULLIVAN/ADLER WAINWRIGHT BUILDING 1893 ST. LOUIS, MO INTERIOR
  • 7. CASS GILBERT WOOLWORTH BUILDING NYC, NY 1910-13 CONSTRUCTION
  • 8. CASS GILBERT WOOLWORTH BUILDING NYC, NY 1910-13 VIEW
  • 9. CASS GILBERT WOOLWORTH BUILDING NYC, NY 1910-13 GOTHAM
  • 10. HOOD AND HOWELLS CHICAGO TRIBUNE TOWER, IL 1922-25 NEO-GOTHIC
  • 11. HOOD AND HOWELLS CHICAGO TRIBUNE TOWER, IL 1922-25 COMPETITION WINNER
  • 12. HOOD AND HOWELLS CHICAGO TRIBUNE TOWER, IL 1922-25 COMPETITION ENTRY
  • 13. ELIEL SAARINEN CHICAGO TRIBUNE TOWER, IL 1922 COMPETITION ENTRY
  • 14. ELIEL SAARINEN CHICAGO TRIBUNE TOWER, IL 1922 COMPETITION ENTRY
  • 15. ELIEL SAARINEN CHICAGO TRIBUNE TOWER, IL 1922 COMPETITION ENTRANTS
  • 16. 55 CENTRAL PARK WEST SCHWARTZ AND GROSS, NYC 1930
  • 17. ADOLF LOOS CHICAGO TRIBUNE TOWER, IL 1922 COMPETITION ENTRY
  • 18. ADOLF LOOS STEINER HOUSE, VIENNA, AT 1910 STREET FACADE
  • 19. ADOLF LOOS STEINER HOUSE, VIENNA, AT 1910 STREET FACADE
  • 20. ADOLF LOOS STEINER HOUSE, VIENNA, AT 1910 GARDEN FACADE
  • 21. ADOLF LOOS STEINER HOUSE, VIENNA, AT 1910 STREET FACADE
  • 22. ADOLF LOOS STEINER HOUSE, VIENNA, AT 1910 PLANS
  • 23. ADOLF LOOS STEINER HOUSE, VIENNA, AT 1910 LONGITUDINAL SECTION
  • 24. “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.
  • 25. 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.
  • 26. ADOLF LOOS 1870-1933 c.1912
  • 27. JOSEPH MARIA OLBRICH VIENNA SECCIONIST BUILDING 1897 VIEW
  • 28. JOSEPH MARIA OLBRICH VIENNA SECCIONIST BUILDING 1897 DOME
  • 29. JOSEPH MARIA OLBRICH VIENNA SECCIONIST BUILDING 1897-OWLS-MOSER
  • 30. GUSTAV KLIMT BEETHOVEN FRIEZE VIENNA SECCIONIST INT 1902
  • 31. VICTOR HORTA HOTEL TASSEL BRUSSELS, BELGIUM 1893-94 STAIRWAY
  • 32. VICTOR HORTA HOTEL TASSEL BRUSSELS, BELGIUM 1893-94 EXTERIOR/ STR
  • 33. VICTOR HORTA HOTEL TASSEL BRUSSELS, BELGIUM 1893-94 SECTION/PLANS
  • 34. VICTOR HORTA 1861-47 HOTEL TASSEL PORTRAIT/PLANS
  • 35. HECTOR GUIMARD PARIS METRO ENTRANCE 1899
  • 36. HECTOR GUIMARD PARIS METRO ENTRANCE 1899
  • 37. HECTOR GUIMARD PARIS METRO DETAIL 1899 WASHINGTON DC SMITHSONIAN
  • 38. HECTOR GUIMARD PARIS METRO DETAIL 1899 WASHINGTON DC SMITHSONIAN
  • 39. HECTOR GUIMARD PARIS METRO DETAIL 1899 WASHINGTON DC SMITHSONIAN
  • 40. 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”
  • 41. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 ENTRY FACADE
  • 42. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 ENTRY FACADE
  • 43. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 NORTHWEST VIEW
  • 44. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 ENTRY FACADE
  • 45. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 ENTRY FACADE
  • 46. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 ENTRY FACADE
  • 47. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 VIEW
  • 48. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 DIAGRAMS
  • 49. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 DIAGRAMS
  • 50. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 DIAGRAMS
  • 51. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 SECTION
  • 52. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 INTERIOR
  • 53. ADOLF LOOS VILLA MULLER, PRAGUE, CZ 1928-30 SECTION
  • 54. ADOLF LOOS RANDOM HOUSE INTERIORS