Thursday, February 24, 2011
Saturday, February 19, 2011
Andy Spade, Bill Powers, and James Frey own this Art Gallery for up and coming artists in a variety of mediums. Check it out.
Adolf Loos (1870-1933) ranks as one of the most important pioneers of the modern movement in architecture. Ironically, his influence was based largely on a few interior designs and a body of controversial essays. Adolf Loos 's buildings were rigorous examples of austere beauty, ranging from conventional country cottages to planar compositions for storefronts and residences. His built compositions were little known outside his native Austria during his early years of practice.
Adolf Loos was born in Brno (Bruenn), Moravia, now Czech republic, on December 10, 1870. Adolf Loos was introduced to the craft of building at an early age while working in his father's stone masonry shop. At the age of seventeen. Adolf Loos attended the Royal and Imperial State College at Reichenberg in Bohemia. In 1889 Adolf Loos was drafted for one year of service in the Austrian army. From 1890 to 1893, Adolf Loos studied architecture at the Technical College in Dresden. As a student, Adolf Loos was particularly interested in the works of the classicist Schinkel and, above all, the works of Vitruvius. Adolf Loos 's developing tastes were considerably broadened during a three-year stay in the United States, which began in 1893. The 23-year-old architect was particularly impressed by what Adolf Loos regarded as the innovative efficiency of U.S. industrial buildings, clothing, and household furnishings. In 1896, Adolf Loos returned to Vienna where Adolf Loos began working in the building firm of Carl Mayreder.
In 1897, in the pages of The Neue Freie Presse of Vienna, Adolf Loos initiated a series of polemic articles that later established his international reputation. Adolf Loos did not directly address architecture in his writings. Instead, Adolf Loos examined a wide range of social ills, which Adolf Loos identified as the motivating factors behind the struggle for a transformation of everyday life. Adolf Loos 's writings focused increasingly on what Adolf Loos regarded as the excess of decoration in both traditional Viennese design and in the more recent products of the Vienna Secession and the Wiener Werkstatte. In 1898, in the pages of the review Ver Sacrum, which was an organ of the Wiener Secession, Adolf Loos published an essay that marked the beginning of a long theoretical opposition to the then popular art noveau movement. His theories culminated in a short essay entitled, "Ornament And Crime," published in 1908. To Adolf Loos, the lack of ornament in architecture was a sign of spiritual strength. Adolf Loos referred to the opposite, excessive ornamentation, as criminal - not for abstract moral reasons, but because of the economics of labor and wasted materials in modern industrial civilization. Adolf Loos argued that because ornament was no longer an important manifestation of culture, the worker dedicated to its production could not be paid a fair price for his labor. The essay rapidly became a theoretical manifesto and a key document in modernist literature and was widely circulated abroad. Le Corbusier later attributed "an Homeric cleansing" of architecture to the work.
Another point of contention decried by Adolf Loos was the masking of the true nature and beauty of materials by useless and indecent ornament. In his 1898 essay entitled "Principles of Building," Adolf Loos wrote that the true vocabulary of architecture lies in the materials themselves, and that a building should remain "dumb" on the outside. In his own work, Adolf Loos contrasted austere facades with lavish interiors. Much like Mies van der Rohe, Adolf Loos arrived at the reduction of architecture to a purely technical tautology that emphasized the simple assemblage of materials. This article was followed by the 1910 essay entitled "Architecture," in which Adolf Loos explained important contradictions in design: between the interior and the exterior, the monument and the house, and art works and objects of function. To Adolf Loos, the house did not belong to art because the house must please everyone, unlike a work of art, which does not need to please anyone. The only exception, that is, the only constructions that belong both to art and architecture, were the monument and the tombstone. Adolf Loos felt that the rest of architecture, which by necessity must serve a specific end, must be excluded from the realm of art.
Tuesday, February 15, 2011
"In the forest, there was a crooked tree and a straight tree. Every day, the straight tree would say to the crooked tree, "Look at me...I'm tall, and I'm straight, and I'm handsome. Look at you...you're all crooked and bent over. No one wants to look at you." And they grew up in that forest together. And then one day the loggers came, and they saw the crooked tree and the straight tree, and they said, "Just cut the straight trees and leave the rest." So the loggers turned all the straight trees into lumber and toothpicks and paper. And the crooked tree is still there, growing stronger and stranger every day."
— Tom Waits
Wednesday, February 9, 2011
The WHIT Fall show is tomorrow. Their fundamentals are almost as beautiful as their clothes.
View the lookbook:
Woolrich has taken the interest in American heritage dress and brought made in the USA craftsmanship and materials into modern fitting. It's beautiful.
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