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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 ...
Loos's immediate and extended relations—the Beck, Hirsch, Turnowsky, and Kraus families—and her friends the Semlers were some of Adolf's first clients. They hired him to remodel apartment interiors in Plzeň and Vienna, and it was there that Adolf first began to open up the "interstitial spaces" between walls to create continuous rooms.
Originally, the lot was to be built on by Adolf Loos, but he was scrapped from the list after run-ins with and criticism of the Werkbund. Instead, Bourgeois built a home that was more traditional than the planned design by Loos, which was to have an innovative relation between up and down .
Looz-Corswarem coat of arms. The House of Looz-Corswarem is an old ducal family that mostly occupied territories in what was once Austrian Netherlands.As reigning Princes of the Principality of Rheina-Wolbeck, a Sovereign State with an area of 556 square Kilometers and capital city Rheine, they also belonged to the German nobility.
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]