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| | Prairie Avenue Bookshop |
 | | Reprint of Loos' classic 1908 essay as well as everything else he wrote on his central theme that artificial ornamentation belonged to the past and should not be forced on the modern public. |
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http://www.pabook.com/detail.asp?id=1572410469
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| | Crime |
| | Crime in Melbourne Crime in Sydney for details), and it is a reasonably safe city by world standards. | | | True Crime: Streets of LA True Crime: Streets of LA is a 2004. | | | True crime True crime is a genre of crimes. |
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http://www.brainyencyclopedia.com/topics/crime.html
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| | Le Corbusier and Decoration |
| | Adolf Loos's "Ornament and Crime" written in 1908 gave Le Corbusier new ideas about decorative arts. | | | Decorative arts, for Le Corbusier, should be separated from the tools; he also blamed the deceit in ornamentation, as it disguised the flaws in manufacture, i.e. | | | Never the less, Art Deco were widely influential in the United States, and made their presence firmly felt in many fields of design in Britain and else-where. |
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http://www.geocities.com/rr17bb/LeCorbusier.html
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| | Adolf Loos : architect biography |
| | His work entitled "Ornament and Crime" was translated in 1920 in Esprit Nouveau, a publication edited by Le Corbusier, Paul Dermee, and Ozenfant. | | | The essay rapidly became a theoretical manifesto and a key document in modernist literature and was widely circulated abroad. | | | Adolf Loos: Ornament and Crime: Selected Essays (Studies in Austrian Literature, Culture, and Thought. |
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http://architect.architecture.sk/adolf-loos-architect/adolf-loos-architect.php
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| | Dynamist.com |
| | Foster, like most art/culture critics of the twentieth century, seems to be unaware of the fact that culture was developed through design, and that the art culture industry that he is hermetically sealed in is a fairly recent development. | | | [2] In his polemical and now famous essay "Ornament and Crime," Adolf Loos established what would be the prevalent attitude towards ornament, pattern, decoration, and style in the twentieth century. | | | The Jugendstil, Vienna Secession, Wiener Werkstaette, Art Nouveau, and Arts and Crafts, were all in various stages of development. |
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http://www.dynamist.com/tsos/keedy.html
(3868 words)
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| | Matthew Shepard Christmas Ornament |
| | Each year the ornament is placed on the Christmas tree, the story of the person can be told. | | | This ornament was lovingly hand crafted within weeks of Matthew Shepard's death. | | | You might remember that we made this Christmas ornament. |
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http://www.stophate.us/ed.html
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| | The Stranger - Books - Feature - Design and Crime |
| | In the essay "Design and Crime," for instance, Foster argues that one aspect of our age is that the "constructed subject" of postmodernism has been replaced by the "designed subject" of the "near total system of... | | | This book is about the afterlife or aftermath of postmodernism, Gehry, Koolhaas, Seattle, and New York City. | | | Benjamin as a thinker (the best in the 20th century as far as I'm concerned) has exerted enormous influence on Foster. |
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http://www.thestranger.com/seattle/Content?oid=11666
(728 words)
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| | Louis Sullivan after functionalism by Michael J. Lewis |
| | These were works of unusual intimacy and delicacy, although in their formula—an upheaval of ornament at the entrance, a jewel box of light and space within—they looked back to Furness’s High Victorian banks, on which Sullivan had toiled at the outset of his career. | | | Here was the source of Sullivan’s own ornamental style, which emerged over the course of the next decade as he gradually softened Furness’s linearity and added a new sumptuousness. | | | After a truncated education, most of his formative years were spent devising frescoes and ornamental borders for other men’s buildings. |
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http://www.newcriterion.com/archive/20/sept01/lewis.htm
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| | Jeet Heer, "Design and DeMello" |
| | All the abstract arguments against ornamental art lost credibility in my eyes when I went to see a new exhibit of the work of Michelle DeMello, a young Canadian artist who merges together the formalist agenda of abstract art with the frilly pleasures of fashion and design. | | | Yet for those who have eyes to see, her paintings show how fruitful the marriage of fine art and design can be. | | | In his abrasive 2002 essay collection Design and Crime (Verso), Hal Foster tries to revive Loos's high-fence demarcation between fine art and design, although avoiding the outmoded ideology of purity that went with it. |
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http://www.jeetheer.com/culture/demello.htm
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| | Francisco Javier San Martín - Freedom under vigil. Artistic creation and criminal identity in the art of the ... |
| | The meticulous Adolf Loos forgot about artists when he wrote this invective in his celebrated article, Ornament and Crime. | | | Those who came across him on the street could not imaging that his gesture was a form of art; perhaps they thought it was a product - as Loos did - of "latent delinquency or degenerate aristocracy". | | | From apocalyptic Vienna to the Moscow of the first avant-garde movements: only five years after Ornament and Crime, Mijail Larionov and Ilya Zdanevich explain in their manifesto Why do we paint ourselves? |
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http://www.exitmedia.net/eng/num1/sanmartin.html
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| | Prairie Avenue Bookshop |
| | Collection of 42 essays not included in ORNAMENT AND CRIME. |
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http://www.pabook.com/detail.asp?id=1572410981
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| | CTheory.net |
| | Here was ornamentation, decoration, postmodern eclecticism, the pointing up to heaven, yet in a manner that suggested we can remake the past and its traditions, in a personal, ironic, eclectic manner. | | | Here was the return of ornamentation almost 20 years before Peter Berger recanted his secularization thesis. | | | The man in overalls."[24] The American worker that had conquered Loos was Louis Sullivan who had covered his essentially proto-modernist buildings with rococoesque ornamentation, essentially playing one off against the other, as if marking a transition point. |
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http://www.ctheory.net/text_file.asp?pick=418
(5177 words)
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| | Land+Living: Villa Müller |
| | Designed in the late 1920's and completed in 1930 by Austrian architect Adolf Loos, famous for his essay entitled Ornament and Crime which contributed to Modernist ideology. | | | Sometimes the ideas in that dialog are best expressed by sculptural ornaments. | | | Posted by Robaire de Bois on 8/15/2005 12:37:00 AM |
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http://www.landliving.com/articles/0000000827.aspx
(441 words)
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| | FROM ART NOUVEAU TO MODERNISM |
| | Frampton argues that from this Loos developed his radical aesthetic purism, which made him a zealous foe of Art Nouveau and the German Werkbund: | | | The ornamentor has to work twenty hours to achieve the income earned by a modern worker in eight. | | | Every age had its style, is our age alone to be refused a style? |
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http://www.tau.ac.il/~arthis/ARCH/4-Loos.htm
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| | Scarlet's Web - 2/20/98 - Arts Page |
| | Much of his practice was focused on shop interiors and single family residences which are well represented in the show. | | | Strongly influenced by the ideas articulated in Wagner's Moderne Architektur, Loos called for a common art of building. | | | Before beginning his practice in Vienna, cultural critic, journalist and architect Adolf Loos spent 1893-6 in America, where he knew Louis Sullivan and Frank Lloyd Wright. |
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http://www.unl.edu/scarlet/v8n7/v8n7arts.html
(1264 words)
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| | Influences |
| | ROBERT VENTURI: You inevitably compare Gill and his work with that of Adolph Loos, the Austrian architect, who's very famous for his diatribe against ornament and ornamentation where he equated ornament with crime. | | | So it's very nice when the artist doesn't live up to his ideology.) But Gill's very severe no-ornament type of architecture preceded that of Loos. | | | The first house of Gill's that had no reference to ornament was the house built in 1907 for Russell Allen. |
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http://www.kpbs.org/tv/gill/gillcrfinfluences.html
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| | Language Log: The evolution of disornamentation |
| | I'm sure it's not an accident that Adolf Loos wrote Ornament and Crime a few years before William Strunk advised us to "omit needless words" in The Elements of Style (first published in 1918). | | | Perhaps Strunk's modernism -- his "ornament is crime" credo -- covers a basically Victorian sensibility? | | | (This thing of utilizing crime savors of civilization.) Murder is punished with death. |
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http://itre.cis.upenn.edu/~myl/languagelog/archives/001912.html
(1295 words)
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| | HDM 14 Book Review |
| | Many in the audience, which included architects and culturati, were already aware of Loos’s views: he had been voicing his opinions in print and in the coffee houses for more than a decade. | | | To disregard Loos’s place in the larger architectural context of the Moderne in central Europe, as Stewart does, is to miss a great deal about his intentions, and also about the import and meaning of his writings. | | | The most memorable of these distinctions emerges from his comparison, in “Ornament and Crime” (1910) and other essays, of the primitive Papuan, who tattoos his body, with the modern-day urban sophisticate, who abhors such cheap ostentation. |
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http://www.gsd.harvard.edu/research/publications/hdm/back/14books_long.html
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| | THE BROOKLYN RAIL - ART |
| | The highlight of "Ornament and Crime: Toward Decoration" are Chris Offili’s drawings. | | | Built up out of the little heads with afros, the profiled head and beard and the decorative arabesques curling across his shoulders are drawn over faint sketches of plants and flowers. | | | Offili became famous (and in pious circles infamous) for the wildly psychedelic, bead-encrusted paintings to which he affixed fat balls of elephant dung, and by comparison his drawings are austere and elegant. |
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http://www.thebrooklynrail.org/arts/winter03/drawingnow.html
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| | HDM 15 Fischer |
| | In the 1960s Reyner Banham drew attention to Loos’s polemical writings and particularly to their role in inspiring the Futurists, the Dadaists, and the emerging modern movement when they were published in L’Esprit Nouveau in 1920. | | | Despite a direct personal and philosophical influence on figures ranging from Le Corbusier to Walter Gropius, Erich Mendelsohn, Richard Neutra, and Rudolf Schindler, Loos did not have much more to say after the groundbreaking “Ornament and Crime” of 1908, according to Banham, who did not even discuss Loos’s built work. | | | There is no doubt that the figure of Moses had a powerful attraction for both artists, and it is possible to imagine Loos identifying his burden of deafness with the particular hindrance Moses faced—his inability to fully articulate the truth. |
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http://www.gsd.harvard.edu/research/publications/hdm/archive/hdm_f01/current_issue/15fischer.html
(5516 words)
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| | Jody Rhone: The Work |
| | Adolf Loos, "Ornament und Verbrechen" (1908); English translation as "Ornament and Crime" in The Architecture of Adolf Loos: An Arts CouncilExhibition (London: Arts Council of Great Britain, 1985). | | | "The First ornament that came into being, the cross, had an erotic origin> The first work of art. | | | Modern man uses the ornament of past and foreign cultures at his discretion. |
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http://www.artistsspace.org/webspace/1998/may98/rhone.html
(1114 words)
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| | Form follows function - Wikipedia, the free encyclopedia |
| | In 1908 the Czech architect Adolf Loos famously proclaimed that architectural ornament was a crime, and his essay on that topic would become foundational to Modernism and eventually trigger the careers of Le Corbusier, Walter Gropius, and Mies van der Rohe. | | | In the late 1910’s the two principles of “form follows function” and “ornament is a crime” were effectively adopted by the designers of the Bauhaus and applied to the production of everyday objects like chairs, bedframes, toothbrushes, tunics, and teapots. | | | These two principles – form follows function, ornament is crime – are often invoked on the same occasions for the same reasons, but they don't mean the same thing. |
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http://en.wikipedia.org/wiki/Form_follows_function
(1077 words)
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| | cheerful |
| | High Modernist art practice - stripping art of ornament and ‘mere decorativeness’ - pursued a gradual refinement of artistic language until, all visual allusions and social illusions cut back, art reaches a state of purity through self-critique. | | | The most famous essay by Loos must be Ornament and Crime, written in 1908. | | | The depicted object is an excuse for the realization of a formal idea. |
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http://www.militantesthetix.co.uk/cheerful.html
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| | VMFA: Exhibitions: Designed for Delight: Alternative Aspects of Twentieth-Century Decorative Arts |
| | Illustrating ornamentation are a floral textile by painter Raoul Dufy and an Alessandro Mendini cabinet decorated in the style of Kandinsky. | | | In the section titled "Is Ornament a Crime?" visitors will see that the ways of enriching form - with floral patterns and geometric shapes - have remained important design elements throughout the century. | | | The witty and delightful objects in Designed for Delight are organized around four themes: the appeal of ornament, the role of fantasy, the transformation of standard elements such as handles or bases into design statements, and the human body as a design element. |
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http://www.vmfa.state.va.us/designed.html
(677 words)
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| | Intentional Queer Space |
| | Far from being a universal style, Modernism is imbued with a peculiarly Northern European prudishness, Puritanism and hyper masculinity. | | | The stripping of architecture of ornament, ornament which usually communicates culture and history (whether national or local or community) was intended to bring the Marxist end of history, but instead has impoverished the possibility of local cultures. | | | The point of the aesthetic, social, and political success of the Palau is that architecture can indeed be the successful transmitter of complex cultural values and sensibilities. |
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http://www.friendsof1800.org/VIEWPOINT/argument.html
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| | ventilate.ca - KDlab Interview |
| | We anticipate a 2005 release of the project, across all mediums. | | | "Ornament and Crime is a work of "hard" science fiction set twenty-two years in the future. | | | In Ornament, we forecast that this event will not only radically transform social interactions and cause global political change, but that it will also breed a range of competing realities, each of which is spun out as a scenario in the computergame. |
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http://www.ventilate.ca/issue05/kdlab.html
(1185 words)
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| | Vienna Secessionists 1897- |
| | Goal to make crafts equal to the fine arts | | | Debate over the place of ornament in design |
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http://www.bcc.ctc.edu/Artshum/materials/art/Bentley/fall03/101/ViennaSecessionists.htm
(233 words)
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| | Loos, Adolf on Encyclopedia.com |
| | Loos's writings have been translated as Spoken into the Void: Collected Essays, 1897-1900 (1982). | | | In a famous essay, he equated ornament with crime. | | | Loos's simplification of architectural forms had a strong influence on the development of the International style. |
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http://www.encyclopedia.com/html/L/Loos-A1do.asp
(512 words)
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| | The New Yorker: The Critics: The Art World |
| | He once outraged Loos by covering apples on a tree in gold leaf, thereby doing to nature roughly what his passion for embellishment had done to the architect's axiom of functionality. | | | In a famous polemic of 1908, "Ornament and Crime," the Viennese architect Adolf Loos had argued that ornate decoration was a grotesque relic of humanity's unwholesome past. | | | One feels that almost anybody might have done it, for Peche's aim was never to advertise his skill. |
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http://www.newyorker.com/critics/art?021202craw_artworld
(1106 words)
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| | Seattle Weekly - arts: Kmart vs. Koolhaas |
| | Is it too much to ask for an art critic to renounce jargon--which clogs Crime's mostly unreadable middle section--and embrace the popular argot? | | | Given his volume's title (a riff on the 1908 Adolf Loos essay "Ornament and Crime," in which the high-modernist architect decried frivolous building adornments), it'd be nice if Foster would spend more time indicting the design criminals of our era. | | | Foster knocks Seabrook for not doing more research on the street (into hip-hop boutiques and so forth), but he's the one who sounds more like the cooped-up ivory tower intellectual who needs to get out. |
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http://www.seattleweekly.com/features/0231/arts-miller.shtml
(850 words)
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| | Art 30 Schedule |
| | Read: A. Loos, “Ornament and Crime,” and (optional) M. Wigley, “Introduction,” and “The Emperor’s New Paint” | | | Look/Sketch/Think: find an example of classically inspired architecture on campus, sketch a detail, note your response | | | Read: Tom Wolfe, From Bauhaus to Our House, pp. |
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http://www.unc.edu/gform-links/courses/2002spring/art/030/001/schedule.html
(653 words)
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| | ipedia.com: Adolf Loos Article |
| | In addition to his architecture, Loos is noteworthy for his essay "Ornament and Crime" written in 1908. | | | In addition to his architecture, Loos is noteworthy for his essay " Ornament and Crime " written in 1908. | | | In this he expressed the idea that the progress of culture is associated with the elimination of ornament from useful objects, and that it was a crime to have craftsmen waste their time on ornamentation that served to hasten the time when an object was obsolete. |
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http://www.ipedia.com/adolf_loos.html
(207 words)
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| | Curator's Corner |
| | The following variations-on-a-theme are taken from his book entitled, Decoration and Crime, 1908. | | | "This ornamentation arises out of the object with which it is connected. | | | "Ornament is wasted work effort and therefore wasted wealth." |
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http://www.artsmia.org/m1/Cur03_al.html
(803 words)
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| | Notebook |
| | Since older furniture had ornaments and profiles that were cut and inlaid, and since the modern woodworker was incapable of designing any, the architect took advantage of him. | | | Metal trimmings intended for locks are also used in the manufacturing of trunks. | | | The woodworker's lack of ability can be explained by the fact that he is a modern man. The architect, on the other hand, is capable because he is not modern. |
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http://www.noteaccess.com/APPROACHES/Adolf.htm
(533 words)
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| | Arquitectura Viva 87 · Synopsis |
| | Adolf Loos declared that ornament was a crime, and over fifty years passed before somebody said the opposite. | | | Venereal or venusian for its part, postmodern complacency has replaced the norm with sensuality and mystery, manufacturing emotional objects all made up for seduction and magic. | | | Alternatively martial and martian, the modern discipline has worshipped rigor and the future, building a mental landscape where ornament is a crime against efficacy and progress. |
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http://www.arquitecturaviva.com/Antiguos/ArquitecturaViva87(i).htm
(491 words)
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| | CATHOLIC ENCYCLOPEDIA: Mohammed and Mohammedanism (Islam) |
| | He approved of assassination, when it furthered his cause; however barbarous or treacherous the means, the end justified it in his eyes; and in more than one case he not only approved, but also instigated the crime. | | | Concerning his moral character and sincerity contradictory opinions have been expressed by scholars in the last three centuries. | | | And yet he was ruthless in his dealings with the Jews, when once he had ceased to hope for their submission. |
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http://www.newadvent.org/cathen/10424a.htm
(3969 words)
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| | Garden ornament |
| | They began to place abstract art in modern gardens, connecting with a 4,000 year-old approach to gardens and ornament. | | | 'Ornament is crime' declared Adolf Loos, a pioneer of abstract modern gardens. | | | The most popular dieties, with their Greek names (their Roman names in brackets) and their symbolism have been: |
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http://www.gardenvisit.com/garden_product/ornament.htm
(174 words)
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| | Adolph Loos |
| | As ornament is no longer organically related to our culture, it is also no longer the expression of our culture. | | | Uncultivated people, to whom the significance of our time is a sealed book, welcome it with joy and disown it after a short while. | | | The ornament that is produced today bears no relation to us, or to any other human or the world at large. |
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http://members.aol.com/mewarchitect/loos.html
(204 words)
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| | GLAMOUR BY DESIGN |
| | When architect Adolf Loos published his famous essay "Ornament und Verbrechen" (ornament and crime) in 1908, he founded the anti-ornamentation movement of the modern era -- by claiming that only primitive people and criminals use tattoos and ornamentation. | | | Loos' ideas became popular in America in the 1930s, when U.S. art was far behind and eager to catch up with the modern architectural ideas brought here by emigrating members of the avant-garde Bauhaus movement from Germany. | | | Nowadays architects and designers see decoration and repetitive geometric patterns as an integral part of their designs. |
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http://www.sfgate.com/cgi-bin/article.cgi?f=/chronicle/a/2004/10/03/PKGJO8VS9H1.DTL&type=art
(993 words)
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| | Town & Country: OBJECTS OF DESIRE.@ HighBeam Research |
| | "Modern ornament" has been a contradiction in terms since about 1908, when Adolf Loos wrote his cheekily titled book Ornament and Crime. | | | But these Donghia tassels ($33 each), with their tight waists and silky viscose tails, are sleekly contemporary and hard to resist. |
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http://www.highbeam.com/library/doc0.asp?DOCID=1G1:64698347&refid=ip_encyclopedia_hf
(167 words)
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| | ass4 |
| | In his writings, he states that freedom from ornament is the symbol of an uncorrupted mind. | | | This house shows the prime ornament is a good arrangement of the masses. | | | His design of The Moller house (1927-28) (Fig.1) is a great example of simple geometry as ornament, without forced decoration. |
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http://members.cox.net/smellgren/ass4.htm
(287 words)
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| | Powell's Books - Designed for Delight by Martin Eidelberg |
| | Fantasy and illusion have been equally compelling, and "Flights of Fantasy" demonstrates how twentieth-century artists and designers incorporated the fantastic and even the irrational into their work. | | | By the early part of this century, the principles of Modernism in design-- simplicity of form, little or no ornament, truth to materials-- were established as avant-garde ideas, and functionalism soon became an overriding concern. | | | Contrary to the accepted notion that Modern design should be devoid of ornament, the richly decorated surfaces and textures of objects in "Is Ornament a Crime?" argue for the everlasting appeal of floral and geometric patterns. |
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http://www.powells.com/cgi-bin/biblio?isbn=2080135953
(387 words)
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| | Dwell Magazine - Fruit Bowl Manifesto |
| | One more thing: Be grateful that we are not more like Adolf Loos, the Viennese architect who wrote the seminal essay "Ornament and Crime." He was one crabby Modernist. | | | Take the following: "When I want to eat a piece of gingerbread, I choose a piece that is plain, not a piece shaped like a heart, or a baby, or a cavalryman, covered over and over with decoration." |
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http://www.dwellmag.com/magazine/612197.html
(659 words)
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| | IDEC Report |
| | Essays like "Ornament and Crime" by Adolf Loos (1908), which was a central document of modern theory and still studied, make this clear: | | | "Ornament is not only produced by criminals; it itself commits a crime, by damaging men's health, the national economy and cultural development. | | | The history of modern design's simple geometry and platonic forms as embodying the intellectual, non-historical and universal in opposition to the material, superficial, commercial and immoral forms of decoration have long been written. |
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http://www.isdesignet.com/Magazine/J_F'01/idec.html
(1460 words)
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| | ‘Ornament and Crime’ - Rena Tom Launches Fall 2005 Jewelry Collection |
| | Rena Tom neatly evades the “Ornament vs. Crime” debate and declares a democratic view, instead creating for Fall 2005 not one but TWO ingenious jewelry collections, each allowing you to choose, mix and match your own look from very different points of style: | | | ‘Ornament and Crime’ - Rena Tom Launches Fall 2005 Jewelry Collection |
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http://www.emediawire.com/releases/2005/6/emw249703.htm
(378 words)
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| | Architectural Review, The: The Language of Ornament. . - Ornament - Basic Pleasure? - book review |
| | He shows how, in the nineteenth century, machines allowed intricacy to outrun taste and invention, which naturally gave rise to William Morris and his 'hempen homespuns' and subsequently to Adolf Loos's famous essay 'Ornament and Crime'. | | | But Trilling shows that, while there is much to admire in the architecture of Adolf Loos et al, there is really no reason to listen to a word they say. | | | Trilling is optimistic that we can put the twentieth century behind us and get back on track engaging with something which has delighted all civilized societies since Palaeolithic times. |
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http://www.findarticles.com/p/articles/mi_m3575/is_1261_211/ai_84670344
(342 words)
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Topic: Ornament and Crime