ORNAMENT AND CRIME - Adolf Loos

Adolf Franz Karl Viktor

Maria Loos
Austrian and Czech architect

Born in Czech republic on

10 December 1870
He died aged 62 on
23 August 1933
in Kalksburg near Vienna.
ORNAMENT AND CRIME - Adolf Loos
German parents, a sculptor and stonemason.

1880 1893
Attends series of Austrian and Czech technical colleges, including
architecture at Dresden Technical University.

1893 1896
Traveled and worked as a mason in the U.S., where he becomes
admirer with the efficiency of American architecture.
In particular, he comes to admire the work of Louis Sullivan, whose
aesthetic was based on form should follow function.

1897-
First solo design which was a beginning of theoretical and critical
activity.
ORNAMENT AND CRIME - Adolf Loos
MODERN ARCHITECTURE
Modern architecture is a term applied, to a group of
styles of architecture, which emerged in the first half
of the 20th century and became dominant
after World War II.

It was based upon new technologies of construction,

particularly the use of glass, steel and reinforced
concrete.

And upon a rejection of the traditional neoclassical

architecture
ORNAMENT AND CRIME - Adolf Loos
In 1908, he published Ornament and Crime.

The essay equated the use of ornamentation in

architecture with the damage of culture and society.

He felt strongly that ornament had no meaning within

modern culture, even going so far as to argue that
ornament actually delayed societys progress.

He viewed unnecessary ornament as an epidemic, which

contributed to the decline of objects.

He advocated for simplicity, because simple objects never

go out of style and therefore would be treasured for all
time.
ORNAMENT AND CRIME - Adolf Loos
Even today, Looss questioning of the role of
ornamentation still resonate within the
architecture and the decorative arts
communities.
What purpose does ornament serve the
design of an object?
Is it simply a function of style?
Does ornament contribute anything
meaningful to objects today?
ORNAMENT AND CRIME - Adolf Loos
Loos most definitely considers himself to be a
modern man.

He considers, the people in his society must not

favoring ornamentation.

Loos viewed that elimination of ornament is a

sign of progress and is the style of the modern
man.

Ornament and Crime is basically railing against all

objects possessing ornamentation.
ORNAMENT AND CRIME - Adolf Loos
He started the essay out by comparing the actions of an
native Papuan person to a Viennese person of his time: a
Papuan can tattoo himself and tattoo everything he can
lay hands on, The modern man who tattoos himself is
either a criminal or a degenerate.

He then compares the Papuans urge to tattoo to a childs

urge to naturally scribble on the wall. While this is
permissible for the Papuan and child, this is not acceptable
for the modern man.

Modern Man in Loos view meaning himself, and others

who had modernist tastes and perspective.

Anyone subscribed to ornamentation is less enlightened,

primitive and perhaps child-like.
ORNAMENT AND CRIME - Adolf Loos
Here are some Best Ofs from his essay:

I have made the following discovery and I pass it

on to the world: The evolution of culture is
synonymous with the removal of ornament from
utilitarian objects.

Every age had its style, is our age alone to be

refused a style? By style, people meant
ornamentWe have outgrown ornament; we
have fought our way through to freedom from
ornament.
ORNAMENT AND CRIME - Adolf Loos

I dont accept the objection that ornament heightens

a cultured persons joy in life, dont accept the
objection contained in the words: But if the ornament
is beautiful! Ornament does not heighten my joy in
life or the joy in the life of any cultivated person.

If I want to eat a piece of gingerbread, I choose one

that is quite smooth and not a piece representing a
heart or a baby or a rider, which is covered all over
with ornaments.

The man of the fifteenth century wont understand

me. But all modern people will.
ORNAMENT AND CRIME - Adolf Loos

For Loos, he continually mentions his

preferences for smoothness in his objects
that are designed, rather than extra
ornamental detail applied to it.

not only is ornament produced by criminals

but also a crime is committed through the fact
that ornament inflicts serious injury on
peoples health, on the national budget and
hence on cultural evolution.
ORNAMENT AND CRIME - Adolf Loos
Ornamented plates are very expensive,
whereas the white crockery from which the
modern man likes to eat is cheap.

It accumulates savings. It is the same with

whole nations. Woe when a people remains
behind in cultural evolution! The British are
growing wealthier and we poorer This
quote points towards the industrialization
occurring in the UK.
ORNAMENT AND CRIME - Adolf Loos
Loos praises technology in creating less labor
for workers in the production of simpler
goods.

He saw artisans and craftsmen laboring

creating ornate details such as lace, as time
consuming and unnecessary.

Since ornament is no longer organically

linked with our culture, it is also no longer the
expression of our culture.
ORNAMENT AND CRIME - Adolf Loos
Later he says he tolerates some unmodern people
making ornamented objects because the time they
spend working on it are their moments of joy or their
holy hours. I can tolerate the ornaments of

the Kaffir (an insulting term for a black African),

the Persian (inhabitant of ancient Persia (or Iran))
the Slovak peasant woman, (low social status)
my shoemakers ornaments,

for they all have no other way of attaining the high

points of their existence.
ORNAMENT AND CRIME - Adolf Loos
He also mentions in the essay that shoddily
made, overly ornamented gaudy furniture
made in Vienna, which falls out of style in ten
years is what keeps the Austrian economy
afloat (because they have to continually make
new furniture).

No ornament can any longer be made today

by anyone who lives on our cultural level.