Adolf Loos

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Adolf Loos; Photo by Otto Mayer
(around 1904)

Adolf Loos (born December 10, 1870 in Brno , Moravia , then Austria-Hungary ; † August 23, 1933 in Kalksburg near Vienna, Lower Austria ; today part of Vienna) was an Austrian architect , architecture critic and cultural journalist. He is considered to be one of the pioneers of modern architecture .

Life

Youth and education

Adolf Loos was born in Brno in 1870 as the son of the stonemason and sculptor Adolf Loos (1831–1879), from whom he inherited not only his artistic talent, but also his hearing loss. After the early death of his father, his mother, Marie Loos, continued the stonemason business in Friedhofgasse in Brno. From 1880, Adolf Loos switched from high school to high school with bad moral grades . At the Stiftsgymnasium Melk, for example, he only stayed a year, because of the poorest grades in drawing and behavior, they refused to accept him again. After attending the Imperial and Royal State Trade School in Reichenberg , Bohemia, from 1885, he graduated from the Imperial and Royal German State Trade School in Brno in 1889 with the Matura . He then studied, interrupted by military service as a one-year volunteer , from 1890 to 1893 at the structural engineering department of the Technical University in Dresden , after having previously studied for a short time at the Academy of Applied Arts Vienna . During his studies he became a member of the Cheruscia Dresden fraternity in 1891 , from which he resigned in 1892.

Personal

Bessie Bruce in 1914
Loos' own apartment, reconstruction in the Wien Museum
Loos' grave in Vienna's central cemetery. He had designed the tombstone himself.

Adolf Loos was married three times: from 1902 to 1905 with the writer and actress Lina Loos (née Obertimpfler, 1882–1950), from 1918 to 1926 with the dancer Elsie Altmann (1899–1984) and from 1929 to 1931 with the photographer Claire Beck (1905-1942). After his first marriage, he had a longstanding relationship with the English dancer Bessie Bruce (1886–1921), who performed in Vienna from 1905.

After the collapse of the dual monarchy in 1918, Adolf Loos had received Czechoslovak citizenship due to his Brno origins . According to his wife Claire, however, he initially opted for Austria. Only years later did he become a Czechoslovak citizen, while retaining his Austrian citizenship. Even before the war he tried in vain to obtain Hungarian citizenship in order to be able to divorce Lina more easily .

In many photos and drawings you can see Loos attentively, if apparently listening with difficulty, with his hand behind his left ear. Loos had been hard of hearing since childhood and completely lost his hearing in middle age. However, this did not force him into isolation. The extroverted social man only became lonely when a nervous problem forced him into the wheelchair.

Loos was a hobby chess player, he took part in a simul against chess master Friedrich Sämisch in Brno and took part in chess life in the Viennese Café Central .

Loos died in the Kalksburg Sanatorium near Vienna at the age of 62, where he was friends with a nurse whom he reportedly wanted to marry. He rests in a grave in the Vienna Central Cemetery (group 0, row 1, number 105). He had designed the tombstone himself. The grave was redeclared from an honorary grave to a historical grave in 2012.

The asteroid (19129) Loos was named after Adolf Loos on June 24, 2002 .

Professional career and significance for architecture

With just a ship ticket and $ 50 in his pocket, Loos traveled to the United States in 1893, where a brother of his father lived, and stayed there until 1896. He made his way through various, predominantly manual professions, as a laborer, dishwasher, music critic and only in the last year of his presence as a furniture draftsman and architect. It was typical for him that before his final return to Vienna in London he dressed himself in modern, elegant, expensive clothes.

In 1896 he finally settled in Vienna. There he began his work as a journalist and architect. Despite a certain influence from Otto Wagner , Loos is considered an energetic opponent of Art Nouveau , especially its Austrian variant, the Vienna Secession . Adolf Loos was a sharp critic of applied art and all contemporary ideas to reconcile art in the form of applied arts with everyday life, i.e. to create objects of daily use in a special way. In doing so, he distinguished himself in particular from the artists of the Wiener Werkstätte , who had tried to combine everyday life and art since 1903. In 1904 he visited the island of Skyros for the first time and was confronted with the cubic architecture of the Greek islands.

Poster by Adolf Loos for the lecture Ornament and Crime
Photo of Adolf Loos' by Franz Löwy (before 1920)

Loos' most famous work is Ornament und Crime (1910). It is argued that functionality and the absence of ornaments in the sense of human energy savings are a sign of high cultural development and that modern man can create real art only in the sense of the visual arts. Ornamental decorations or other special attempts at artistic design on a commodity are as inappropriate as superfluous work:

“Of course, the cultivated products of our time have no connection with art. The barbaric times in which works of art were merged with objects of daily use are finally over "

it says elsewhere.

Instead, Loos advocates the use of the finest materials as long as the impression of sensuality and richness is to be achieved, such as in the interiors of his villa buildings. Loos also judged the contemporary arts and crafts and architectural reform movements to be a senseless waste of human strength and commented on the establishment of the Deutscher Werkbund in 1908 in two mocking essays under the titles The Superfluous and Kulturentartung .

Adolf Loos was close friends with artists such as Arnold Schönberg , Oskar Kokoschka , Peter Altenberg and Karl Kraus (he was Altenberg and Kraus' godfather), for whose works and success he was accordingly passionately committed. The avant-gardism and the radicalism of her artistic work, far removed from any recognition by the contemporary audience, led Loos to demand that the design of everyday objects, including architecture, not be linked to the ethos of serious artistic creation: “The house pleases everyone. To the difference to the work of art, which nobody has to like. [...] The work of art wants to tear people out of their comfort. The house has to serve comfort. The work of art is revolutionary, the house is conservative, ”says his essay Architecture , published in 1910 . His belligerence and his often satirically exaggerated formulations not only caused numerous provocations in what was then Vienna, but also helped his articles to their later world fame.

In art history literature, Loos is considered an important pioneer of modernism in architecture and design with its corresponding program of form follows function , although his critical distance from the Bauhaus and the German Werkbund was often overlooked. He saw himself in the tradition of old Viennese architecture, for example that of Joseph Kornhäusel . The razing of historical city ensembles, which was not uncommon in the building boom around 1900, met with fierce criticism.

In addition to the demand for modernity, the comfort of its furnishings was particularly important to Loos. The architect should not impose certain shapes or a new, complete set of furnishings on the client , but rather act with caution and consideration for the familiar, including old objects and furniture that mean something to the client in the new. “You are always right about your apartment” was the somewhat pointed motto in his writings. In his facilities, Loos is not primarily concerned with a certain type of modernity, but rather with a critical continuation of certain traditions. One is reminded of the influences of classicism in his designs , on the other hand one can feel certain models of English and American architecture from the country house building (e.g. Norman Shaw ). The fireplace and the cozy seating area grouped around it play an important role in terms of design.

Characteristic for the architecture of Loos is the use of noble materials, in accordance with the requirements mentioned above. In order to find the right stone for his wall cladding, he sometimes traveled all over Europe. He used the finest woods for his furniture and sometimes had tables and armchairs copied from museum models (mostly) by the Friedrich Otto Schmidt company , whereby he saw tried and tested forms in these models.

His unrealized, but equally famous and spectacular competition entry from 1922 for the skyscraper of the Chicago Tribune , today's Tribune Tower , shows that Adolf Loos cannot simply be reduced to the term functionalism (as he did in the 1960s for the architectural modernism was elevated to a universal feature): He designed an office building in the monumentalized form of a Doric column . In the opinion of the art historian Joseph Imorde , Loos did not want to create any new forms of architecture without tradition.

In the 1920s, Adolf Loos lived mainly in Paris and maintained numerous contacts with the local avant-garde artist. Among other things, he built a house for Tristan Tzara and also designed a villa for the dancer Josephine Baker with a facade entirely made of horizontal black and white stripes.

The Villa Müller in Prague , which he designed and built in 1930, has been almost completely preserved and is now being restored as a museum. Here, too, the external shape is the cube. Inside, noble materials and decorations from different eras are combined.

Loos' appreciation as one of the first architects of strict, non-decorative, minimal forms, colors and materials is still valid today; It can, however, be modified - with some distance to the sometimes polemical arguments: Even with noble interiors with elements from different eras, functionality is in the foreground at Loos; Despite Loos' demarcation from the Bauhaus, the external shape shows similarities with the later Bauhaus concept. The work of Adolf Loos remains unique in modern architecture; because also because of the architectural-theoretical approach that is not understood by many, Loos did not go to school.

Loos artistically influenced many later modern architects, including Richard Neutra , Heinrich Kulka and Luigi Blau . Adolf Loos also ran a private construction school with approx. 8 students, u. a. Paul Engelmann and Leopold Fischer .

Verdict for "seduction to fornication"

The long-lost court file in the criminal case against Adolf Loos according to § 128 St.G.

In 1928, between August 25 and September 3, Loos had five visits from eight to ten year old girls in his Vienna apartment, whom he drew naked there. Investigations were initiated against him on the basis of a complaint by a woman who had remained anonymous and he was charged with the crimes of desecration , but acquitted on December 1, 1928 , as well as the indictment of seduction .

He was convicted of “the crime of seduction to fornication according to § 132 / III St.G. committed by inducing the girls [*], [*] and [*] entrusted to him to supervise at the same time in the same place to commit and tolerate indecent acts by causing them to take indecent positions as models and in them to be drawn. ”The sentence was four months' arrest, which was suspended on probation.

The trial took place on November 30th and December 1st, 1928. “In court, some of the statements of the harassed children contradicted each other, and their credibility was questioned by two experts; one of them had good contacts with the Loos Circle of Friends. For the judge, a confiscated sketchbook that has now been lost became the most important piece of evidence. ... The search of the apartment also revealed a collection of over 300 pornographic photographs, including pictures of five and six year olds. However, their possession was not punishable at the time. "

Since 2006, Loos research has been dealing with the criminal case again, including the question of whether and which facts were covered up or played down and whether Loos received a punishment that was too low due to his prominence and influential friends.

Since the Vienna City and State Archives received the entire criminal record on Loos - which had been stolen and was only found in private ownership decades later - back in April 2015 and published it in the Vienna archive information system , there has been transparency, at least with regard to the court judgment.

Works

The Looshaus at Michaelerplatz in Vienna 1st district

Loos became known in 1898 for his series of articles for the Neue Freie Presse , in which he commented on many questions of taste. After he had primarily created interior furnishings for a long time, his first larger and best-known building was the Looshaus on Michaelerplatz for the clothing company Goldman & Salatsch , which in 1910 led to a public debate about the ornament-free facade , which was also widely noticed abroad . It stands opposite the Hofburg and was also known as the house without eyebrows because of the lack of cornices . Allegedly, Emperor Franz Joseph refused the rest of his life to look from the Hofburg to Michaelerplatz.

Residential buildings

Villas

Villa Müller ( Müllerova vila ) in Prague, 1930

As an architect, Loos was mainly involved in the construction of private villas, the interior of which followed a room plan developed around 1910, which made the size and arrangement dependent on the function of the rooms, partly nested them on several floors and increasingly approximated the cube shape on the outside.

  • Villa Karma, Clarens near Montreux, Switzerland (1904–1906), see also list of cultural assets in Montreux
  • Herold House (renovation and extension, 1910), Heroldův dům in Brno, Tivoli district, Jiráskova 26 (the only building completed in his hometown).
  • Steiner House , Vienna 13, St.-Veit-Gasse 10 (1910)
  • Goldmann House, Vienna 19, Hardtgasse 27–29 (1910–1911)
  • House Stössl, Vienna 13, Matrasgasse 20 (1911–1912)
  • Scheu House , Vienna 13, Larochegasse 3 (1912–1913)
  • Horner House, Vienna 13, Nothartgasse 7 (1912–1913)
  • Showernitz House, Vienna 19, Weimarer Strasse 87 (1915–1916)
  • Mandl House, Vienna 19, Blaasstrasse 8 (1916–1917)
  • Villa of the director of the Rohrbach sugar factory, Rohrbach bei Brünn (Hrušovany u Brna), Czech Republic (1918)
  • Strasser House, Vienna 13, Kupelwiesergasse 28 (1918–1919)
  • Reitler House, Vienna 13, Elßlergasse 9 (1922)
  • Rufer House, Vienna 13, Schliessmanngasse 11 (1922)
  • Landhaus Spanner, Gumpoldskirchen No. 270 (1923–1924)
  • Tristan Tzara House , Paris 18, 15 Avenue Junot, France (1925/1926)
  • Moller House, Vienna 18, Starkfriedgasse 19 (1928)
  • Landhaus Khuner, Payerbach , Kreuzberg 60, Lower Austria (1929–1930)
  • House Müller , Prague, Nad Hradním vodojemem 14, Czech Republic (1930)
  • Schnabl House, Vienna 22, Flachsweg, Mühlhäufel 27 (1931)
  • Winternitz House, Prague, Na Cihlářce 10, Czech Republic (1931–1932)

Business premises

Portal of the Manz'sche publishing and university bookstore (1912)
  • Sigmund Steiner jewelry spring shop, Vienna 1, Kärntner Strasse (1907)
  • Portal Buchhandlung Manz , Vienna 1, Kohlmarkt 16 (1912)
  • Portal Anglo-Austrian Bank, Vienna 7, Mariahilfer Strasse 70 (1914)
  • Portal jewelry store Spitz, Vienna 1, Kärntner Strasse 39 (1919)
  • Portal men's fashion shop Leschka, Vienna 1, Spiegelgasse 13 (1923)
  • Portal company Albert Matzner, Vienna 1, Rotenturmstrasse (1929–1930)

Interior design

Loos also created numerous interior designs, such as the Café Museum on Karlsplatz , which contemporaries called Café Nihilism because of the sparse interior design . The establishment in the Art Deco style of the American Bar in a side street of Kärntner Strasse , which is also known as the Loos Bar and still exists today, became known nationwide.

  • Schneidersalon Ebenstein, Vienna 1, Kohlmarkt 5 (1897)
  • Café Museum , Vienna 1, Operngasse 7 / Friedrichstrasse 6 (1899)
  • American Bar , Vienna 1, Kärntner Strasse 10 (1907–1908)
  • Café Capua , Vienna 1, Johannesgasse 3 (1913)
  • Bridge-Club-Wien, Vienna 1, Reischachstrasse 3 (1913)
  • Branch of the aforementioned men's fashion salon Kniže, Paris, 146 Avenue des Champs-Élysées , France (1927)

  • American Bar in Vienna 1., Carinthian passage

  • Interior of the American bar

  • Restored Cafe Museum facility (2009)

  • Fauteuil designed by Adolf Loos

Glass design

  • Bar set , 12 pieces with carafe; designed in 1929 for the Viennese company J. & L. Lobmeyr , Kärntner Straße. Was manufactured and sold in 2010.
  • Beer and wine cups, water jug ​​from the series No. 248
    Cup service No. 248 : Designed in 1931 for the American Bar in Vienna, produced by J. & L. Lobmeyr. The bottom of the Galsbecher has a fine, satin polished brilliant cut. In addition to liqueur, wine and beer mugs in various sizes, Loos has also designed compote and finger bowls as well as water jugs and wine bottles. The service was still produced and sold by Lobmeyr in 2017. The designs by Loos and a service from the first production series are in the possession of the MAK Vienna , where they can temporarily be viewed in theme-related exhibitions.
  • Various lighting fixtures and clothes racks as well as a mantel clock , designed between 1905 and 1929, are still handcrafted and sold by the Viennese company WOKA .

Quotes

“Don't be afraid of being scolded out of fashion. Changes to the old construction are only allowed if they mean an improvement, but otherwise stick with the old. Because the truth, even if it is hundreds of years old, has more connection with us than the lie that walks next to us. "

- Adolf Loos : Rules for those who build in the mountains: Yearbook of the Black Forest Schools, Vienna, 1913

"Ornament is wasted labor and thus wasted health ... Today it also means wasted material, and both mean wasted capital ... The modern person, the person with modern nerves, does not need ornament, he detests it."

- Adolf Loos : Ornament and Crime, 1908

"the modern man who gets tattooed is a criminal or a degenerate. there are prisons where eighty percent of inmates have tattoos. those tattooed who are not in custody are latent criminals or degenerate aristocrats. if a tattooed man dies in freedom, he died a few years before he committed a murder. "

- Adolf Loos : Ornament and Crime, 1908

“Architecture does not belong under the arts. Only a very small part of architecture belongs to art: the tomb and the memorial. Everything that serves a purpose is to be excluded from the realm of art! "

- Adolf Loos : Spoken Into Emptiness, 1921

Fonts

Appeared during Loos' lifetime

  • Spoken into the void 1897–1900 . Georges Crès et Cie, Paris and Zurich 1921, 167 p. Reprint: Prachner, Vienna 1987, ISBN 3-85367-036-9 .
  • All writings in two volumes , (edited by Heinrich Kulka and Franz Glück)
    • Volume 1: Spoken Into Emptiness 1897–1900. 2nd, modified edition. Innsbruck: Brenner-Verlag 1932
    • Volume 2: Nevertheless 1900–1930,
      • 1st edition, Innsbruck: Brenner-Verlag 1931
      • 2nd increased edition, Innsbruck: Brenner-Verlag 1931, 257 pp.
  • The work of the architect, ed. by Heinrich Kulka, Vienna: Schroll 1931, 52 plates. Reprint: Löckner, Vienna 1979.

Issued posthumously

  • Adolf Loos: All writings in two volumes - first volume (no longer published), edited by Franz Glück, Vienna and Munich: Herold 1962. 470 S. 1 archive.org
  • The Potemkin City. Lost writings. 1897-1933. Edited by Adolf Opel . Prachner, Vienna 1983, ISBN 978-3-85367-038-5 .
  • Ornament and crime , selected writings - the original texts Ed. Adolf Opel. Prachner, Vienna 2000, ISBN 3-85367-059-8 .
  • Why a man should be well dressed: revealing over apparently concealing. Metroverlag, Vienna 2007, ISBN 978-3-902517-62-3 .
  • How to furnish an apartment: stylish over seemingly immovable . Metroverlag, Vienna 2008, ISBN 978-3-902517-71-5 .
  • Why architecture is not art: the fundamental about the apparently functional . Metroverlag, Vienna 2009, ISBN 978-3-902517-79-1 .

Article in the Neue Freie Presse

literature

  • Beatriz Colomina (Ed.): Adolf Loos Das Andere, Lars Müller Publishers, Zurich 2016, ISBN 978-3-03778-481-5 .
  • Court files in the criminal case against Adolf Loos, Vienna 1928 on the website of the Vienna city administration
  • Luck:  Loos Adolf. In: Austrian Biographical Lexicon 1815–1950 (ÖBL). Volume 5, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 1972, p. 308 f. (Direct links on p. 308 , p. 309 ).
  • Burkhardt Rukschcio, Roland Schachel: Adolf Loos life and work . Residence, Salzburg / Vienna 1982, ISBN 3-7017-0288-8 .
  • Dietrich Worbs: The floor plan in the residential building by Adolf Loos . Adolf Loos. 1870-1933. Room plan - residential construction. Edited by Dietrich Worbs. Berlin: Catalog for the exhibition, Akademie der Bildenden Künste , 1983, pp. 64–77.
  • Allan Janik, Stephen Toulmin: Wittgenstein's Vienna . Hanser, Munich / Vienna 1984, ISBN 3-446-13790-4 .
  • Hermann Czech , Wolfgang Mistelbauer: The Looshaus . (1976) Löcker, Vienna 1984.
  • Vera J. Behal:  Loos, Adolf. In: New German Biography (NDB). Volume 15, Duncker & Humblot, Berlin 1987, ISBN 3-428-00196-6 , pp. 149-152 ( digitized version ).
  • Werner Oechslin: style sleeve and core. Otto Wagner, Adolf Loos and the evolutionary path to modern architecture . gta, Zurich 1994, ISBN 978-3-85676-060-1 .
  • Eva Ottillinger: Adolf Loos. Living concepts and furniture designs . Residence, Salzburg / Vienna 1994, ISBN 3-7017-0850-9 .
  • Fedor Roth: Adolf Loos and the idea of ​​the economic. Deuticke, Vienna 1995, ISBN 3-216-30143-5 .
  • Christina Threuter: Bananas, of all things: The question of ornament in Adolf Loos or the evolution of culture. In: Um-order. Applied Arts and Gender in the Modern Age. Cordula Bischoff, Christina Threuter (eds.). Marburg 1999, pp. 106-117.
  • Hal Foster: Design and Crime. And other diatribes . London, New York 2002.
  • Zdeněk Lukeš: Settling the debt: German-speaking architects in Prague 1900–1938 (Splátka dluhu: Praha a její německy hovořící architekti 1900–1938). Praha: Fraktály Publishers, 2002, ISBN 80-86627-04-7 . Section Adolf Loos, pp. 114–121.
  • Walter Zednicek: Adolf Loos - plans, writings, photographs . Zednicek, Vienna 2004, ISBN 3-9500360-6-7 .
  • Michael Falser: The Landhaus Khuner by Adolf Loos. In: Austrian magazine for art and monument preservation. Vienna (LVIII) 2004, volume 1, pp. 101–115.
  • Edith Friedl: I never succumbed to his personality. Margarete Lihotzky and Adolf Loos. A social and cultural historical comparison . Milena, Vienna 2005, ISBN 3-85286-130-6 .
  • Mirko Gemmel: The Critical Viennese Modernism. Ethics and aesthetics. Karl Kraus, Adolf Loos, Ludwig Wittgenstein . Parerga, Berlin 2005, ISBN 3-937262-20-2 .
  • Christina Threuter: Metabolism: Modern architecture as an image. In: Cloud Cuckoo Land. 10th year, issue 2, September 2006 Internet magazine of the TU Cottbus .
  • Andreas Weigel: Lost effort. The joint call by Karl Kraus , Arnold Schönberg , Heinrich Mann , Valéry Larbaud and James Joyce to found an "Adolf Loos School". In: Michael Ritter (Hrsg.): Praesent 2009. The Austrian Literature Yearbook . präsens, Vienna 2008, pp. 37–54.
  • Andreas Weigel: Pajamas and crime. Why Adolf Loos was charged with child abuse and got away with a conditional prison sentence. In: Die Presse Spectrum, August 16, 2008. S. IV.
  • Ákos Moravánszky, Bernhard Langer, Elli Mosayebi (eds.): Adolf Loos. The cultivation of architecture . gta, Zurich 2008, ISBN 978-3-85676-220-9 .
  • Inge Podbrecky, Rainald Franz (Ed.): Life with Loos . With contributions by Hermann Czech, Heinz Frank, Rainald Franz, Markus Kristan, Klaralinda Ma, Iris Meder, Anders V. Munch, Inge Podbrecky, Anne-Katrin Rossberg, Manfred Russo, Sigurd P. Scheichl, Walter Schübler, Elana Shapira and Susana Zapke . Böhlau, Vienna 2008.
  • Ralf Bock: Adolf Loos - Life and Works . DVA, Munich 2009, ISBN 978-3-421-03747-3 .
  • Peter Stuiber: Tailor-made, modern. Adolf Loos. Life, work and side effects . Metroverlag, Vienna 2010, ISBN 978-3-902517-94-4 .
  • Marco Pogacnik: Adolf Loos and Vienna . Müri Salzmann Verlag, Salzburg and Vienna 2011, ISBN 978-3-99014-051-2 .
  • Christopher Dietz, Burkhardt Rukschcio: 100 years of the Loos portal of the MANZ bookstore . Vienna 2012, ISBN 978-3-214-07531-6 .
  • Elsie Altmann-Loos: My life with Adolf Loos. New edition, Amalthea, Vienna 2013, ISBN 978-3-85002-846-2 .

Movies

Web links

Wikisource: Adolf Loos  - Sources and full texts
Commons : Adolf Loos  - Collection of images, videos and audio files
Wikiquote: Adolf Loos  - Quotes

Individual evidence

  1. ↑ today Kounicova, Kaunitzstraße , Loos' birthplace was demolished in the 1960s for the construction of the Hotel Continental
  2. ^ Elsie Altmann-Loos: My life with Adolf Loos. Amalthea Signum Verlag , Vienna 1984, p. 12.
  3. ↑ a b c Thomas Chorherr (Ed.): Great Austrians , Ueberreuter.
  4. ^ Helge Dvorak: Biographical Lexicon of the German Burschenschaft. Volume II: Artists. Winter, Heidelberg 2018, ISBN 978-3-8253-6813-5 , pp. 464-466.
  5. ↑ Vladimir Slapeta. Adolf Loos and the Czech architecture in Vienna and the architecture of the 20th century. In: Files of the XXV. International Congress of Art History. Vienna, 4. – 10. September 1983. (= Vienna and the architecture of the 20th century. Volume 8) Böhlau, Vienna / Graz 1986, ISBN 3-205-06388-0 , p. 87.
  6. ^ Adolf Opel (Ed.), Claire Loos: Adolf Loos private. Böhlau, Vienna 1985, ISBN 3-205-07286-3 , p. XVI.
  7. ↑ Burkhardt Rukschcio, Roland Schachel: Adolf Loos life and work. Residence, Salzburg / Vienna 1982, ISBN 3-7017-0288-8 , p. 223.
  8. ↑ Časopis československých šachistů 1923, number 15
  9. ↑ Šachový týdenník, number 36/2010, p. 3.
  10. ↑ Entry of the asteroid on the website of the Kleť Observatory (English)
  11. ↑ Janet Stewart: Fashioning Vienna: Adolf Loos's Cultural Criticism. Routledge, London 2000, p. 173.
  12. ↑ Robert Kaltenbrunner: The ornament is dead, long live the ornament! , October 23, 2010, on Telepolis , accessed April 2, 2018.
  13. ↑ Joseph Imorde: Adequate Sensation Spaces . In: archimaera. Issue 2, 2009.
  14. ↑ “The defendant Adolf Loos is charged with the crime of desecration according to § 128 St.G., committed by the fact that he was in Vienna from August 28 to September 3, 1928 girls under the age of fourteen, namely on Born June 23, 1919 [*], who was born on August 23, 1920 [*] and who was born on May 28, 1918 [*], sexually abused her to satisfy his desires by touching her genitals, licking her genitals and being Member with the request to rub it, acquitted according to § 259/3 St.PO. / The defendant Adolf Loos is prosecuted for the crime of seduction to fornication according to § 132 / III St.G. committed by the fact that at the same time in the same place he persuaded the girls [*], [*] and [*] entrusted to his supervision to tolerate these lewd acts, acquitted according to §§ 259/3 St. PO. " Court files on the Website of the Vienna City Administration , bundle of files pp. 325–328. See also the copy of the judgment ( Memento of July 4, 2015 in the Internet Archive ).
  15. ↑ Bundle of files, pp. 325–326.
  16. ↑ The files list: 270 stereo images and 2 simple images. Bundle of files p. 211.
  17. ↑ Hanno Rauterberg: "Architecture and Crimes", in Die Zeit, No. 31, August 16, 2015
  18. ↑ Among others by Andreas Weigel , "About Adolf Loos". Studies on the joint appeal by Karl Kraus, Arnold Schönberg, Heinrich Mann, Valéry Larbaud and James Joyce to found an “Adolf Loos School” (1930) and the “Adolf Loos Case” (1928).
  19. ^ Digitized version on the Vienna city administration website
  20. ↑ Modern gently renewed. Adolf Loos House in the Werkbundsiedlung Vienna renovated. In: db-bauzeitung.de , Deutsche Bauzeitung , March 8, 2020.
  21. ↑ Heroldův dům - the garden wing of the house
  22. ^ House Scheu
  23. ↑ Michael Falser: The Landhaus Khuner by Adolf Loos am Semmering / Lower Austria 1929/30 , on the edoc server of the Humboldt University Berlin (PDF; 5.6 MB)
  24. ^ Website of the Hotel Looshaus am Semmering
  25. ^ Jenny Gibbs: Interior Design. Laurence King Publishing, 2005, ISBN 1-85669-428-3 , p. 5.
  26. ^ Homepage of a German sales point , accessed on June 12, 2017.
personal data
SURNAME Loos, Adolf
BRIEF DESCRIPTION Austrian architect and architectural theorist
DATE OF BIRTH December 10, 1870
PLACE OF BIRTH Brno
DATE OF DEATH August 23, 1933
Place of death Vienna