Modern Architecture: Who Created It

Contents:

• The symbolism of criminal ornaments: what does it mean?
• Raumplan: alternative principles of space organization
• The mystery of the relationship between persecutors and their followers
• Loos would approve

Adolf Loos is one of the most controversial and significant figures in 20th-century architecture. His ideas on minimalism and a functional approach to design radically changed ideas about construction and became the basis for the development of modernist movements. Loos did not mince words, declaring: “The desire to decorate one’s face and everything that comes into view is the source of graphic art. This was the childhood stage of painting. Art, in its essence, is always erotic. <…> However, a modern person who covers his walls with erotic images, succumbing to his inner impulses, is either a criminal or a degenerate.”

We are talking about a person whose emotions and ideas about the “purity of form” became the basis for the emergence of such movements as constructivism, functionalism, and brutalism.

The Symbolism of Criminal Ornaments: What Does It Mean?

At the beginning of the twentieth century, decorative movements such as flamboyant Art Nouveau and Art Nouveau still reigned in Europe. However, the architect Loos came to the conclusion that it was time for a change. In 1908, he published a manifesto entitled "Ornament and Crime," arguing that excessive decoration of buildings was not only meaningless but also harmful.

The article quickly gained notoriety: the architect passionately drew parallels between the decoration of building facades and the tattoos on prisoners' bodies, arguing that human culture inevitably moves toward the simplification of forms.

Cultural development presupposes the rejection of decorative elements in the objects we use every day. We have overcome ornament, triumphing through its absence. Look, the time is coming when this will become a reality. Soon the streets of our city will shine like snow-white walls. It will be like Zion, the holy city, the metropolis of heaven.

Nevertheless, there are skeptics who will not allow this to happen. Humanity, in their view, must remain enslaved by the desire for external splendor!

In his work "Ornament and Crime," Adolf Loos expresses radical ideas about the role of decoration in architecture and design. He argues that excessive ornamentation is not only superfluous but also harmful, emphasizing that functionality must prevail over aesthetic excess. Loos believes that ornamentation is a relic of the past that hinders progress and impedes the development of modern art and architecture. He insists that true beauty lies in simplicity and purity of form, not in an abundance of decoration. In his work, the author calls for a rational approach and a desire for minimalism, which, in his opinion, is the key to harmonious and progressive design.

Adolf Franz Karl Viktor Maria Loos was born in 1870 in Brno. He was educated in Dresden and Vienna, but his academic performance left much to be desired. Loos worked as an architect in Austria-Hungary, as well as in France and the United States. In Vienna, he was surrounded by the outstanding intellectuals of his time, including Wittgenstein, Schoenberg, and other progressive thinkers of the empire. Loos had four marriages, to women significantly younger than him. His life was marred by frequent illnesses, and he died in 1933.

Loos argued that good design cannot be based on decorative embellishments. In his view, a building's aesthetic appeal is determined primarily by its proportions, choice of materials, and functional characteristics. Architecture has the potential to shape personality, and the less excess it contains, the clearer people's thoughts and lives become.

In 1913, this concept revolutionized thinking, and it soon formed the basis of both the Bauhaus and the International Style.

Loos's critical ideas became the forerunners of modern minimalist trends in architecture and interior design.

Nevertheless, although Loos held a highly unconventional view of decoration, he did not completely reject aesthetic value. In his architectural designs, he used high-quality materials such as marble, wood, and metal, but preserved them in their natural state, avoiding unnecessary ornamentation.

For example, his establishment, the American Bar in Vienna, opened in 1908, is a combination of magnificent textures and impeccable laconicism of form.

Nevertheless, he expressed his point of view regarding the negative influence of decorations in architecture and interiors back in 1898 - exactly the year when the construction of the exhibition hall of the Vienna Secession was completed, which became A striking example of Art Nouveau with its abundance of decorative elements.

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Between 1903 and 1906, the architect Loos carried out a thorough renovation of the Villa Karma, located on the shores of Lake Geneva in Switzerland. He transformed the old building into a modern geometric form, adding corner "towers" and a rooftop terrace. He decorated the walls of the villa in pure white with a smooth texture, and for the interior he chose wood panels and marble.

I was shocked when the police called me and asked how I, a foreigner, could have managed to insult the splendor of Lake Geneva like that.

The building looks too banal. Where are the decorations? My modest remark that the calm lake has an absolutely smooth surface and does not have any decoration, and yet some people find it quite attractive was ignored. I was informed that the construction of such simple, and therefore unattractive, buildings was prohibited. I headed home feeling happy and satisfied.

In his work "Two Essays and a Supplement on the House on Michaelerplatz," Adolf Loos examines issues of architecture and design, focusing on the importance of space and functionality. He emphasizes that a building's form should serve its purpose, and not vice versa. Loos also criticizes excessive decorativeness, arguing that true beauty lies in simplicity and laconic lines. In his reflections, he addresses the importance of creating a harmonious space that should be convenient and comfortable for living, and not just aesthetically pleasing. In this context, he analyzes the features of the house on Michaelerplatz, explaining how architectural solutions can influence the perception of living space.

By 1910, the house was built for the artist Lilly Steiner and her husband. This building was the first example of genuine rationalism in architecture, which arose in response to certain restrictions: according to established regulations, in this Viennese suburb it was forbidden to construct buildings higher than one storey. In this regard, Loos designed the roof structure in such a way that it hid two additional levels under its slope.

“A home should bring pleasure to all its inhabitants. Unlike art, which is not obliged to evoke sympathy in viewers. Art seeks to take a person out of his usual comfort zone, while housing should provide comfort and convenience. Art is revolutionary, while the home is the embodiment of conservative values."

Adolf Loos

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Art Nouveau is an artistic style that emerged in the late 19th and early 20th centuries, encompassing various fields of art, including architecture, painting, design, and literature. It was a response to changes in society caused by industrialization and new scientific discoveries.

The visual aesthetic of Art Nouveau is characterized by refined lines, flowing forms, and an emphasis on decorative elements. This style strives for harmony with nature and the use of new materials, such as glass and metal, which made it possible to create light and transparent structures.

In architecture, Art Nouveau is manifested in buildings with organic forms, often inspired by nature, as well as in interiors, where attention is paid to the smallest details and unique objects. In painting and graphics, artists used bright colors and bold compositions to express their individuality and emotional state.

Art Nouveau also embraces literature and music, seeking to convey new ideas and feelings associated with modernity. This style has had a significant influence on subsequent artistic movements, leaving an indelible mark on culture.

Raumplan: Alternative Principles of Space Organization

In addition to his innovative ideas regarding facades, Loos radically changed the perception of the interior space of buildings. He introduced the concept of the "free plan," which challenged the conventional layering of floors.

Instead of dividing the building into strict horizontal floors, he designed rooms with a variety of ceiling heights, depending on their purpose. For example, in residential complexes, the living room might be wide and high, while the bedroom was lower and more intimate. This approach contributed to the feeling of a spacious and fluid space, in which each zone flowed naturally into the next.

A raumplan is a spatial organization idea proposed by Loos, in which rooms vary in height and are connected by a complex three-dimensional composition, rather than standard floors. This approach allows for greater flexibility in the use of space.

The essence of a raumplan is the organization of space in which rooms are arranged according to the principle of flow. It is customary to start with the least enclosed areas, such as the hall, and move towards more private ones, including the owners' bedrooms. Transitions between rooms are made through steps, creating a spiral effect. A separate "back" staircase is also provided, which allows for quick movement up and down the building, bypassing many rooms.

A striking example of a raumplan is the Villa Müller, located in Prague and built between 1928 and 1930. This house was designed with three-dimensional planning in mind, which is reflected in the fact that the floor height in one room differs significantly from the level of the adjacent one.

This approach creates a unique impression: each individual space is perceived not as an independent element, but as a component of a complex and multifaceted architectural whole.

The famous Moscow Narkomfin Building also implements the multi-level concept: duplex apartments are designed with the idea of ​​​​a "through" space, where there is no strict demarcation between floors. Public, technical and sleeping areas are located on different levels, and the layout creates associations with the “flow” movement characteristic of Loos’s buildings.

However, if Loos’s raumplan was conceived as a means of organizing civilized socialization and intimacy, then in the Narkomfin Building, the different levels of space are intended to form the coexistence of a new type of person.

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The Riddle of the Relationship between the Persecutors and Their Followers

Adolf Loos did not hesitate to express a negative opinion of his colleagues, calling them "aesthetes who do not understand the principles of functionality." According to the testimonies of his contemporaries, he did not know jokes and was always distinguished by a frightening seriousness. His forthright judgment undoubtedly cost him his social life, or rather, its complete absence. Naturally, this architect's work has also been the subject of criticism on numerous occasions. A case in point is the Looshaus building, erected in 1911 at Michaelerplatz 3 for the Viennese firm Goldman & Salach. Its minimalist façade, devoid of the usual Viennese decorative elements, provoked considerable public outcry and quickly acquired the nickname "The House Without Eyebrows." According to some sources, Emperor Franz Joseph I of Austria even had an aversion to this structure, which forced him to avoid leaving the Hofburg Palace through the main gate, which was in close proximity to this, in his opinion, terrible architectural creation.

Despite his ambiguity, Loos became a source of inspiration for an entire generation of architects who defined the design standards of the 20th century.

• Le Corbusier, a proponent of the use of "sincere" materials and minimalist forms.
• Ludwig Mies van der Rohe, a key representative of the Bauhaus, created projects that clearly demonstrated the minimalist ideas characteristic of Loos.
• Frank Lloyd Wright, who worked on the concepts of open spaces and "organic" architecture, introduced many elements into his projects that contradict the principles of the "Raumplan".

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The history of French architects is inextricably linked with elements such as reinforced concrete, the church designed by Le Corbusier, and the concept of "glass walls." In this context, reinforced concrete became the basis for the creation of buildings, providing them with strength and durability.

Le Corbusier, one of the most influential architects of his time, left a significant mark on the architectural world by creating a church that embodies his unique approach to form and space. His works demonstrate a harmonious blend of functionality and aesthetics, making them recognizable and inspiring.

The concept of "glass walls" also played a significant role in the development of architecture, allowing for the creation of open and bright spaces that connect the interior with the outside world. This idea reflects architects' desire for innovation and experimentation, leading to new ways of perceiving architecture and its role in human life.

Loos would approve

Today, Loos's concepts are actively used by architects in various parts of the world. A minimalist approach, an emphasis on open spaces, and the use of simple, easy-to-read materials no longer come as a surprise, does it?

Loos's influence is visible in the architecture of prominent contemporary artists such as Tadao Ando, ​​Norman Foster, and David Chipperfield.

Modern architecture still draws on his basic ideas:

• In Japanese minimalism, elements such as concrete, air, and natural light play an important role. These components not only create a unique atmosphere but also emphasize the philosophy of simplicity and harmony with the environment. Concrete, as a building material, symbolizes strength and stability, while open spaces and airiness create a sense of freedom. Natural light streaming through large windows fills the space with warmth and vitality, strengthening the connection between the interior and nature. All these aspects together form a distinctive style that emphasizes minimalism and aesthetics, as well as the importance of human interaction with nature.
• Scandinavian interiors are characterized by the use of natural materials and a desire for minimalism.
• The popularity of open spaces in both residential and office interiors continues to gain momentum.

In the modern era of digital technology and smart homes, Loos's ideas have not lost their relevance. His concepts of rationality and minimalism continue to influence new generations of architects.

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• Organic modernism is an artistic and architectural movement that emphasizes the harmonious interaction between nature and man-made objects. This concept seeks to integrate buildings and spaces into the environment, emphasizing natural forms and materials. Unlike traditional styles, organic modernism believes that architecture should not only serve functional purposes but also be aesthetically pleasing, achieved through the use of natural lines and textures.

  At its core, organic modernism is based on the idea that architectural works should evolve in unison with the landscape, rather than dominate it. This means that architects are guided by the characteristics of the terrain, climate conditions, and cultural contexts. The result is spaces that appear natural and organic, as if growing out of the earth. Significant attention is also paid to sustainability and ecology, making this approach relevant in light of modern challenges.

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  At the end of the 20th century, in the 1990s and early 2000s, design underwent significant changes, encompassing both industrial and architectural spheres. This period was a time of experimentation and innovation, during which traditional approaches to design were reconsidered and adapted to new conditions.

  Industrial design during these ten years was characterized by a desire for functionality and simplicity. Products became more user-friendly and ergonomic, which became possible thanks to the introduction of new technologies and materials. Designers began to actively use computer technologies for creation and modeling, which made it possible to bring ideas to life faster. As a result, a multitude of products appeared on the market that combined aesthetic qualities with practical utility. Architecture also underwent significant changes, reflecting the spirit of the times. Architects began to abandon strict geometric forms in favor of organic lines and innovative designs. This period saw the active use of glass and metal, which allowed for the creation of light and transparent buildings. One of the prominent trends was the high-tech direction, which focused on sustainable construction and environmental solutions.

  Thus, the 1990s and 2000s became an important stage in the development of design, where new technologies, aesthetic ideas and functional requirements intersected, which in turn shaped the modern appearance of both industrial design and architecture.

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