Vienna – Secession

– Fondat în 3 Aprilie 1897 de artiștii Gustav Klimt, Koloman Moser, Josef Hoffman, Joseph Maria Olbrich, și alții.
– 1903 se fondează Wiener Werkstätte — o societate de arte frumoase care își propune să reformeze artele decorative
Joseph Maria Olbrich (1867 – 1908)
Secession (Ausstellungsgebäude der Wiener Secession)
Joseph Maria Olbrich (1867 – 1908)
Secession (Ausstellungsgebäude der Wiener Secession)
Vienna – Sezession
Joseph Maria Olbrich, die Sezession
Gustav Klimt – Friza Beethoven / Beethoven Frieze (1901-1902)
Josef Hoffman (1870 – 1956)
1900-1911 : Hohe Warte colonie de artiști, Viena
1900-1901 : casă dublă pentru Koloman Moser și Carl Moll, Viena
1904-1905 : Purkersdorf Sanatorium
1905–1911 : Palatul Stoclet, Bruxelles, Belgia

The Stoclet Palace was the first residential project of the Wiener Werkstätte, that Hoffman co-founded in 1903.
Josef Hoffman and his colleagues designed every aspect of the mansion, down to the door handles and light fittings. The
interior is as spartan as the exterior, with upright geometric furniture and minimal clutter.
The integration of architects, artists, and artisans makes Stoclet Palace an example of a Gesamtkunstwerk.
Josef Hoffman (1870 – 1956)
1900-1911 : Hohe Warte colonie de artiști, Viena
1900-1901 : casă dublă pentru Koloman Moser și Carl Moll, Viena
Josef Hoffman (1870 – 1956)
1904-1905 : Purkersdorf Sanatorium
Josef Hoffman (1870 – 1956)
1905–1911 : Palatul Stoclet, Bruxelles, Belgia
Josef Hoffman (1870 – 1956)
1905–1911 : Palatul Stoclet, Bruxelles, Belgia

The Stoclet Palace was the first residential project of the Wiener Werkstätte, that Hoffman co-founded in 1903.
Josef Hoffman and his colleagues designed every aspect of the mansion, down to the door handles and light fittings. The
interior is as spartan as the exterior, with upright geometric furniture and minimal clutter.
The integration of architects, artists, and artisans makes Stoclet Palace an example of a Gesamtkunstwerk.
Josef Hoffman (1870 – 1956)
1905–1911 : Palais Stoclet in Brussels, Belgium
Josef Hoffman (1870 – 1956)
1905–1911 : Palatul Stoclet, Bruxelles, Belgia
Josef Hoffman (1870 – 1956)
1905–1911 : Palais Stoclet in Brussels, Belgium
Josef Hoffman (1870 – 1956)
1905–1911 : Palais Stoclet in Brussels, Belgium
Josef Hoffman (1870 – 1956)
1905–1911 : Palatul Stoclet, Bruxelles, Belgia
Vienna – Secession
Otto Wagner (1841 – 1918)
1894 : Vienna Master Plan + Stadtbahn
Vienna – Secession
Otto Wagner (1841 – 1918)
1894 : Vienna Master Plan + Stadtbahn
Vienna – Secession
Otto Wagner (1841 – 1918)
1894 : Vienna Master Plan + Stadtbahn
Vienna – Secession
Otto Wagner (1841 – 1918)
1898 : Pavilion Karlsplatz
Vienna – Secession
Otto Wagner (1841 – 1918)
1898 : Pavilion Karlsplatz
Vienna – Sezession
Otto Wagner, Pavilion at Karlsplatz, 1898
Vienna – Secession
Otto Wagner, Majolica House (Majolikahaus) & Medalion House, Vienna (1898–1899)
Vienna – Sezession
Otto Wagner, Majolica House (Majolikahaus), Vienna (1898–1899)
Vienna – Sezession
Otto Wagner, Majolica House (Majolikahaus), Vienna (1898–1899)
Vienna – Sezession
Otto Wagner, Majolica House (Majolikahaus), Vienna (1898–1899)
Vienna – Secession
Otto Wagner, Banca de Economii a Poștei, Viena (1894–1902)
Vienna – Sezession
Otto Wagner, Banca de Economii a Poștei, Viena (1894–1902)
Vienna – Sezession
Otto Wagner, Postal Office Savings Bank Building, Vienna (1894–1902)
Vienna – Sezession
Otto Wagner, Banca de Economii a Poștei, Viena (1894–1902)
Vienna – Secession
Otto Wagner, Banca de Economii a Poștei, Viena (1894–1902)
Vienna – Secession
Otto Wagner, Banca de Economii a Poștei, Viena (1894–1902)
Vienna – Sezession
Otto Wagner, Church am Steinhof, (1903 – 1907)
Vienna – Sezession
Otto Wagner, Church am Steinhof, (1903 – 1907)
Vienna – Secession
Otto Wagner, Steinhof Sanatorium/Klinik, (1903 – 1907)
Vienna – Secession
Otto Wagner, Kirche am Steinhof, (1903 – 1907)
Vienna – Secession
Otto Wagner, Kirche am Steinhof, (1903 – 1907)
Vienna – Secession
Theodor Johann Jaeger, Strudlhofstiege (1910)
Vienna – Secession
Theodor Johann Jaeger, Strudlhofstiege (1910)
Vienna – Sezession
Theodor Johann Jaeger, Strudlhofstiege (1910)
Charles Rennie Mackintosh
(1868 – 1923)
The Glasgow Four

Charles Rennie Mackintosh (1868 - 1923)

James Herbert MacNair (1868 - 1955)
Margaret Macdonald (1864 - 1933)
Frances Macdonald (1873 - 1921)
Charles Rennie Mackintosh
Casă pentru un iubitor de arte / House for an Art Lover (1901/1989-1996)
Charles Rennie Mackintosh
Casă pentru un iubitor de arte / House for an Art Lover (1901/1989-1996)
Charles Rennie Mackintosh
Windy Hill House (1900-1901)
Charles Rennie Mackintosh
Windy Hill House (1900-1901)
Scotland
Windy Hill House (1900-1901)
Charles Rennie Mackintosh
Hill House (1902-1904)
Charles Rennie Mackintosh
Hill House (1902-1904)
Charles Rennie Mackintosh
Hill House (1902-1904)
Charles Rennie Mackintosh
Hill House (1902-1904)
Charles Rennie Mackintosh
Hill House (1902-1904)
Charles Rennie Mackintosh
The Willow Tea Rooms (1903)
Scotland
The Willow Tea Rooms (1903)
Charles Rennie Mackintosh
The Glasgow School of Art (1897 – 1909)
Scotland
Charles Rennie Mackintosh (1868 – 1923) – The Glasgow School of Art (1897 – 1909)
Charles Rennie Mackintosh
The Glasgow School of Art (1897 – 1909)
Scotland
Charles Rennie Mackintosh (1868 – 1923) – The Glasgow School of Art (1897 – 1909)
Scotland
Charles Rennie Mackintosh (1868 – 1923) – The Glasgow School of Art (1897 – 1909)
Scotland
Charles Rennie Mackintosh (1868 – 1923) – The Glasgow School of Art (1897 – 1909)
Scotland
Charles Rennie Mackintosh (1868 – 1923) – The Glasgow School of Art (1897 – 1909)
Adolf Loos
1870–1933

1893-96 Periplu american

1903 Das Andere
1908/10 „Ornament și Crimă”
Adolf Loos
1870–1933

1893-96 Periplu american

1903 Das Andere
1908/10 Ornament und Verbrechen
Adolf Loos
1870–1933

1908/10 Ornament is Crime

I will not subscribe to the argument that ornament increases the pleasure of the life of a
cultivated person, or the argument which covers itself with the words: “But if the
ornament is beautiful! ...” To me, and to all the cultivated people, ornament does not
increase the pleasures of life…The man of the fifteenth century would not understand
me. But modern people will…
The immense damage and devastation wrought on aesthetic development by the revival
of decoration could easily be overcome, for no one, not even governments, can arrest
the evolution of mankind. It can only be retarded We can wait. But it is a crime against
the national economy that human labour, money and material should thereby be ruined.
This kind of damage cannot be put right by time…
Even greater is the damage ornament inflicts on the workers. As ornament is no longer
a natural product of our civilization, it accordingly represents backwardness or
degeneration, and the labour of the man who makes it is not adequately remunerated…
Ornament is wasted labour and hence wasted health. That's how it has always been.
Today, however, it is also wasted material, and both together add up to wasted capital…
Adolf Loos
1870–1933

1908/10 Ornament is Crime

As ornament is no longer organically linked with our culture, it is also no longer an

expression of our culture. Ornament as created today has no connection with us, has no
human connections at all, no connection with the world as it is constituted. It cannot be
developed…
Modern ornament has no forbears and no descendants, no past and no future. It is
joyfully welcomed by uncultivated people, to whom the true greatness of our time is a
closed book, and after a short period is rejected.
Mankind today is healthier than ever, only a few people are sick. But these few
tyrannize over the worker who is so healthy that he cannot invent ornament. They force
him to make the ornaments they have invented in the greatest variety of materials…
The loss does not hit only the consumer, it hits the manufacturer above all. Today,
ornament on items that need no ornament means wasted labour and spoilt materials. If
all objects were aesthetically enduring for as long as they lasted physically, the
consumer could afford to pay a price that would enable the worker to earn more money
and work shorter hours… But in trades suffering under the tyranny of the
ornamentalists, good or bad workmanship does not count. The work suffers because
nobody wants to pay its true value.
Adolf Loos
1870–1933

1908/10 Ornament is Crime

Modern men who revere ornament as a sign of the artistic expression of earlier
generations, will immediately recognize the painfully laboured and sickly ornament of
today. No-one can create ornament now who lives on our level of culture.
It is different for people and nations who have not yet attained this level.
I am preaching to the aristocrats; I mean, to the people in the forefront of humanity who
still fully appreciate the needs and strivings of those beneath them. They understand the
native weaving ornaments into textiles to a certain rhythm, which can be seen only
when torn apart, the Persian knotting his carpet, the Slovak peasant woman
embroidering her lace, the old lady crocheting wonderful objects in beads and silk. The
aristocrat lets them be, for he knows they work in moments of revelation. The
revolutionary would go there and say "This is all nonsense." Just as he would pull the
old woman away from the roadside shrine with the words: "There is no God." But
among the aristocrats the atheist raises his hat on passing a church.
https://www.archdaily.com/798529/the-longish-read-ornament-and-crime-adolf-loos
Adolf Loos
1870–1933

1908/10 Ornament și Crimă

Așadar, epidemia ornamentală este aprobată de stat și subvenționată din fonduri

publice. Văd în această situație un pas înapoi. Nu accept obiecția cum că ornamentele
îmbunătățesc calitatea vieții oamenilor cultivați și nu sunt de acord cu impresia
transmisă de afirmația „Dar când e vorba de un ornament drăguț...” Eu însumi și toți
oamenii cultivați din jurul meu, nu observăm o sporire a calității vieții noastre.

Chiar și mai mare este râul pe care oamenii unei culturi productive îl suferă din cauza
ornamentului. De vreme ce ornamentul nu mai este un produs natural al civilizației
noastre, el a ajuns să reprezinte înapoiere sau degenerare: munca făuritorului de
ornamente nu mai este adecvat răsplătită.

Așa cum ornamentul nu mai este legat organic de cultura noastră, tot așa el numai este
expresia culturii noastre. Ornamentul, în felul în care este realizat astăzi, nu mai are
nici o legătură cu noi, cu vreo altă ființă omenească, sau cu lumea așa cum este ea
alcătuită. Nu are potențial de dezvoltare.
https://www.scribd.com/doc/97339197/Adolf-Loose-Ornament-si-Crima
Adolf Loos
1870–1933

1899 Café Museum, Viena

1908 American Bar (Kärntner Bar), Viena
1910 Casa Steiner, Viena
1910 Goldman & Salatsch Building/Looshaus, Viena

1925 Casa și studio Tristan Tzara, Montmartre, Paris

1926 Villa Moller, Viena
1927 Casa pentru Josephine Baker (neconstruită), Paris
1928 Villa Müller, Praga
Adolf Loos
1870–1933

1899 Café Museum, Viena

Adolf Loos
1870–1933

1899 Café Museum, Viena

Adolf Loos
1870–1933

1908 American Bar (Kärntner Bar), Viena

Adolf Loos
1870–1933

1908 American Bar (Kärntner Bar), Viena

Adolf Loos
1870–1933

1924 On Thrift

Photographs dematerialize reality, but precisely what I want is for people in my rooms
to feel the material around them. I want it to have its effect on them I want them to be
aware of the enclosing room, to feel the material, the wood, to see it, touch it, to
perceive it sensually, to sit comfortably and feel the contact between the chair and a
large area of their peripheral sense of touch, and say: this is sitting as it should be.
How can I demonstrate on a photograph how good my chairs are to sit on? How can I
make a person who sees the photograph feel it, however well the chair is
photographed?
“On Thrift” (1924)
Adolf Loos
1870–1933

1910 Goldman & Salatsch Building/Looshaus, Viena

Adolf Loos
1870–1933

1910 Goldman & Salatsch Building/Looshaus, Viena

Adolf Loos
1870–1933

1910 Goldman & Salatsch Building/Looshaus, Viena

Adolf Loos
1870–1933

1910 Goldman & Salatsch Building/Looshaus, Viena

Adolf Loos
1870–1933

1910 Goldman & Salatsch Building/Looshaus, Viena

Adolf Loos
1870–1933

1910 Goldman & Salatsch Building/Looshaus, Viena

Adolf Loos
1870–1933

1910 Goldman & Salatsch Building/Looshaus, Viena

Adolf Loos
1870–1933

1910 Goldman & Salatsch Building/Looshaus, Viena

Adolf Loos
1870–1933

1910 Casa Steiner, Viena

Adolf Loos
1870–1933

1910 Casa Steiner, Viena

Adolf Loos
1870–1933

1910 Casa Steiner, Viena

Adolf Loos
1870–1933

1910 Casa Steiner, Viena

Adolf Loos
1870–1933

1925 Casa și studio Tristan Tzara, Montmartre, Paris

Adolf Loos
1870–1933

1925 Casa și studio Tristan Tzara, Montmartre, Paris

Adolf Loos
1870–1933

1925 Casa și studio Tristan Tzara, Montmartre, Paris

Adolf Loos
1870–1933

1926 Villa Moller, Viena

Adolf Loos
1870–1933

1928 Villa Müller, Praga

Adolf Loos
1870–1933

1928 Villa Müller, Praga

Adolf Loos
1870–1933

1928 Villa Müller, Praga

Adolf Loos
1870–1933

1928 Villa Müller, Praga

Adolf Loos
1870–1933

1928 Villa Müller, Praga

Adolf Loos
1870–1933

1928 Villa Müller, Praga

Adolf Loos
1870–1933

1928 Villa Müller, Praga

Adolf Loos
1870–1933

1928 Villa Müller, Praga

Adolf Loos
1870–1933

1928 Villa Müller, Praga

Adolf Loos
1870–1933

1928 Villa Müller, Praga

Adolf Loos
1870–1933

Arhitectura mea nu este concepută prin desene, ci prin spații. Nu desenez planuri,
fațade sau secțiuni… Pentru mine parterul, etajul întâi nu există… Nu există decât
spații, camere, saloane, terase în continuitate, interconectate… Fiecare spațiu are
nevoie de o înălțime diferită… Aceste spații sunt interconectate astfel încât urcarea sau
coborârea nu sunt doar nesesizabile, ele devin funcționale.
A.Loos (Shorthand record of a conversation in Pilsen, 1930)
http://socks-studio.com/2014/03/03/i-do-not-draw-plans-facades-or-sections-adolf-loos-and-the-villa-muller/
Adolf Loos
1870–1933

— Raumplan / plan spațial / plan volumetric

— critică socială, estetică, etică a ornamentului – mai ales polemică și
provocatoare
— simplitate formală absolută a exteriorului și o condensare funcțională a
spațiilor interioare care se adaptează în mod pragmatic nevoilor și aduc în prim
plan spectacolul spațial al traseului
— un nou limbaj al monumentalității clasice
Adolf Loos
1870–1933

“My architecture is not conceived by drawings, but by spaces. I do not draw plans,
facades or sections… For me, the ground floor, first floor do not exist… There are only
interconnected continual spaces, rooms, halls, terraces… Each space needs a different
height… These spaces are connected so that ascent and descent are not only
unnoticeable, but at the same time functional”
A.Loos (Shorthand record of a conversation in Pilsen, 1930)
http://socks-studio.com/2014/03/03/i-do-not-draw-plans-facades-or-sections-adolf-loos-and-the-villa-muller/
Adolf Loos
1870–1933

— Raumplan / spatial plan / volumetric plan

— social, aesthetic, ethical critique of ornament, but most of all polemic,
provocative argument
— formal simplicity of the exterior — simple box — and a concentration of
interior functions that seeks to adapt pragmatically to needs and to bring to the
fore the spatial spectacle of the “journey”
— a new language for classical monumentality