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His father Adolf Loos was a German stonemason who died when Loos was nine years old. [4] His mother, Marie Loos, was a sculptor who later carried on the masonry business after her husband's death. Young Adolf Loos had inherited his father's hearing impairment and was significantly handicapped by it throughout his life, contributing to his ...
Contrary to popular belief that it was composed in 1908, Adolf Loos first gave the lecture in 1910 at the Akademischer Verband für Literatur und Musik in Vienna. The essay was then published in 1913 in Les Cahiers d’aujourd’hui in French as Ornement et Crime .
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This was the style for which Loos strove: a refined and intricate interior with a simple and nonthreatening exterior. [2]: 14 The Steiner house has a stucco façade like most of his other buildings but not without reason. Loos built his buildings with roughcast walls and used the stucco to form a protective skin over the bricks. Loos did not ...
The competition failed to produce a design that satisfied them, so in 1909 they gave the commission to Adolf Loos, who had been invited to submit a design but had not done so. The building was constructed by Pittel+Brausewetter , with Ernst Epstein as construction manager. However, although the city had accepted the plans, in 1910 the ...
An 1897 stamp of Seychelles of the type held in the Archives. The Seychelles National Archives is the national archive of Seychelles and is located in Mahé. Their mission is to "collect, preserve and make accessible archival documents of enduring value through the use of the latest information technology." [1] It was officially created in 1964 ...
In 1936, Loos published Adolf Loos Privat, a literary work of "razor-sharp anecdotes" about her ex-husband's character, habits, and sayings that was illustrated with family photographs. [3] Published by the Johannes-Presse in Vienna, the book was intended to raise funds for Adolf Loos's tomb, as he had died destitute three years earlier.
In his book Adolf Loos: The Art of Architecture, writer Joseph Masheck draws parallels between Loos's mausoleum and the work of later post-modern architects and artists including the brick installations of Carl Andre, the "gray prisms" of sculptor Robert Morris and the sculptures of Tony Smith, the last of which was an influence on I. M. Pei. [1]