Adolf Loos : the art of architecture /

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Bibliographic Details
Author / Creator:Masheck, Joseph.
Imprint:London ; New York : I.B. Tauris, 2013.
Description:1 online resource (290 pages) : illustrations
Language:English
Series:International library of architecture ; 1
Subject:
Format: E-Resource Book
URL for this record:http://pi.lib.uchicago.edu/1001/cat/bib/12644391
Hidden Bibliographic Details
ISBN:9780857721952
085772195X
9780857733214
0857733214
1299639992
9781299639997
9781780764221
1780764227
9781780764238
1780764235
Notes:Includes bibliographical references (pages 277-284) and index.
Print version record.
Summary:Widely regarded as one of the most significant prophets of modern architecture, Adolf Loos was a celebrity in his own day. His work was emblematic of the turn-of-the-century generation that was torn between the traditional culture of the nineteenth century and the innovative modernism of the twentieth. His essay 'Ornament and Crime' equated superfluous ornament and 'decorative arts' with tattooing in an attempt to tell modern Europeans that they should know better. 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' masterful "astylistic architecture" was an appreciation of tradition and utility and not, as most architectural historians have argued, a mere repudiation of the florid style of the Vienna Secession. Masheck reads Loos as a witty, ironic rhetorician who has all too often been taken at face value
Other form:Print version: Masheck, Joseph. Adolf Loos. London ; New York : I.B. Tauris, 2013 9781780764221

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520 8 |a Widely regarded as one of the most significant prophets of modern architecture, Adolf Loos was a celebrity in his own day. His work was emblematic of the turn-of-the-century generation that was torn between the traditional culture of the nineteenth century and the innovative modernism of the twentieth. His essay 'Ornament and Crime' equated superfluous ornament and 'decorative arts' with tattooing in an attempt to tell modern Europeans that they should know better. 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' masterful "astylistic architecture" was an appreciation of tradition and utility and not, as most architectural historians have argued, a mere repudiation of the florid style of the Vienna Secession. Masheck reads Loos as a witty, ironic rhetorician who has all too often been taken at face value 
588 0 |a Print version record. 
505 0 |a Loos and fine art -- Loosian vernacular : an American case -- Loos and imperial New York -- Critique of ornament -- Architecture and ornament in fact -- Everybody's doric -- Architecturelessness and sustainable art -- The Wittgenstein house as Loosian -- Loos and minimalism. 
600 1 0 |a Loos, Adolf,  |d 1870-1933  |x Criticism and interpretation. 
600 1 7 |a Loos, Adolf,  |d 1870-1933.  |2 fast  |0 (OCoLC)fst00090058 
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650 7 |a Individual architects & architectural firms.  |2 bicssc 
650 7 |a ARCHITECTURE  |x History  |x Contemporary (1945- )  |2 bisacsh 
650 7 |a ARCHITECTURE  |x History  |x Modern (late 19th Century to 1945)  |2 bisacsh 
650 7 |a Architecture, Modern.  |2 fast  |0 (OCoLC)fst00813842 
648 7 |a 1900-1999  |2 fast 
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