He gave lectures at the Sorbonne and constructed house and atelier for the dadaist Tristan Tzara.ġ928 he designed a corner house for Josephine Baker with panels of black and white marble in stripes but the project was not realised.
#VIENNA SECESSION TABLE LAMP WINDOWS#
The windows are constructed without any window frame, this fact can be regarded as the reason for the special nickname.ġ922 Adolf Loos moved to Paris.
Whereas the lower section of the building was splendid and gorgeous (cipollino-marble and classical columns), the upper portion was constructed in an austere manner. The facade reflects the separation between the store on the first floors and the apartment units in the upper floors. It was errected for the firm Goldman and Salatsch between 1909-1911. The so-called “house without eyebrows”, the Looshaus in the city of Vienna can be regarded as one of the most important among the buildings of Adolf Loos. Though small dimensions, the room seems much bigger, constructed with panels of mirror. Many of Loos’s commissions consisted of private residental buildings in Vienna’s outlying districts, or interiors of stores, such as the Ebenstein and Knize tailoring establishment, or the small “American Bar” in the heart of Vienna. Loos obtained a certain recognition with the redesign of the Café Museum in Vienna, the coffeebar later was given the nickname “Café Nihilismus” because of its reduction of form and simplicity. Loos’s buildings were less pleasing to the Viennese public of the turn of the century than the ornamented and rich ones of Josef Hoffmann and the Wiener Werkstatte and because of this his career lacked the official recognition and appreciation. In that way he felt that one simple machine was also the purest example of design because its form and its function, for him, were equivalent. Loos believed in the future of industrialisation, that he had seen on his travels in America, because he was convinced, that it was here, that the future linked up with the past. Thanks to his theory (“Ornament and Crime”) and the philosophy of life “built” in five countries, Adolf Loos became the foremost personality in European architecture. The radical defence of his theories and his article “Die Potemkinsche Stadt” in a very polemic manner led to the final break with the leading architects of the Wiener Secession: Josef Hoffmann and Josef Maria Olbrich. This can be regarded in contrast to the leveling of art and craft by Josef Hoffmann and the Wiener Werkstatte. As the maindifference between Adolf Loos and Josef Hoffmann can be regarded the strict distinction between art and craft of Loos. Throughout his life, this so - called modernist was in opposition to Josef Hoffmann, whose formal variety of the later years he never ceased to castigate. To him architecture was an important means of providing people with the possibility of an up - to - date, that is to say a truly modern life style, rather than being an isolated form of art.
1896 he returned to Europe and settled down in Vienna. After this time he spent three years in the United States.
Loos attended the Staatsgewerbeschule in Reichenberg before he began his studies at the Technical College in Dresden. ADOLF LOOS has a special place in Viennese and, hence, also in international architecture.
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