ART AND FUNCTION
29
assemble a coherent Loosian theory of making architecture from these fleeting statements.
Similarly, the research method of pursuing the development of the design strategies evident in
the Müller House through all of the preceding projects is in part motivated by Tournikiotis’s
observation that Loos’s apartments are ‘counted among Loos’s most important contributions to
twentieth-century architecture’,
38
and the relative lack of existing comparative analysis of this
type. While acknowledging Pevsner’s observation that Loos’s work can be understood as
compositions of materials and proportions, rather than ornamental per se,
39
Tournikiotis does
not seem to subscribe to a conception of Loos’s architecture as a form of art, describing Loos
as an ethical, rather than aesthetic architect.
40
Rather, Tournikiotis proposes that the general
lack of ornament and sporadic use of classical elements in Loos’s work is evidence that Loos
‘opposed the quest for new forms as a refute of history’,
41
and instead proposed forms that
relate to their own making and cultural history. Tournikiotis uses Loos’s statement that
‘Architecture arouses sentiments in man. The architect’s task therefore, is to make those
sentiments more precise’,
42
as further evidence that Loos wished to make this relationship
evident—rather than connecting the statement with Loos’s other statements on the emotional
role of art. This frames the counter position proposed in this research project, that Loos uses
classical motifs as one form of ornament by which he can identify elements of his buildings that
are functional rather than sculptural.
Adolf Opel published two collections of Loos’s essays,
On Architecture and
Ornament and
Crime: Selected Essays, in 1995 and 1998 respectively—the first in collaboration with Daniel
Opel. The latter deals with essays that Opel deems to be concerned with the issue of ornament,
while the former is presented as a miscellany of all of Loos’s other writing. Both are prefaced by
short introductory essays that set out this delineation and provide historical context for the
essays. In the introduction to
On Architecture, Opel cites Loos’s 1925 letter to the
Neue Freie
Presse. In which he disputed the suggestion that he believed ornament is a crime.
43
Opel
acknowledges that Loos ‘did not leave a unified oeuvre’, and remarks that many interpret Loos’s
statement in the letter ‘as confirmation of the contradictions and inconsistencies they claim to
have found in Loos’.
44
Opel notes that Loos was an enigmatic figure to Pevsner, who could not
reconcile his radical thinking with his apparent advocacy for ornamentation; but that Kulka
countered that, ‘“Loss was no enigma, at least not for those that truly understood him”’.
Apparently unconvinced by Kulka’s retort, Opel states that Loos’s work ‘does appear to be
inherently paradoxical’, and explains Loos’s letter as an attempt to distance himself from over-
simplified radicalisation of his ideas by others.
45
Loos’s treatment
of space and ideas on urban
design are presented as Loos’s ‘great
positive contributions’, as opposed to his negative
38
Tournikiotis,
Adolf Loos, 35.
39
Tournikiotis,
Adolf Loos, 49. Citing Nikolaus Pevsner.
40
Tournikiotis,
Adolf Loos, 17.
41
Tournikiotis,
Adolf Loos, 9.
42
Tournikiotis,
Adolf Loos, 30.
43
Adolf Opel and Daniel Opel,
On Architecture, 1.
44
Adolf Opel and Daniel Opel,
On Architecture, 1.
45
Adolf Opel and Daniel Opel,
On Architecture, 2.
29
ART AND FUNCTION
30
struggle against ornamentation.
46
While acknowledging that reductionist
views of Loos are
widespread, Opel seems eager to establish that while ‘his struggle against ornamentation was
only one stage’ of Loos’s work, it was this formative stage that changed the face of modern
architecture,
47
and explains dismissively that in his late essays ‘Loos refines and develops his
attitude to ornamentation and concedes its justification in certain cases’.
48
Opel proposes that
Pevsner’s enigma ‘can be resolved if we look at the interplay between his theories and his
practice’,
49
but remarks in the introduction to
Ornament and Crime: Selected Essays, that ‘It
would, however, be wrong to regard Loos’ writings as the testament of a practitioner’.
50
However, Opel does not attempt such an analysis, except to conclude that in Loos’s design for
his own tomb, there is, ‘No question of ornament here, where he is drawing up a balance of his
life’s work’.
51
At
one level, this research project sets out to investigate the interplay that Opel
identifies but does not pursue.
Leslie Van Duzer and Kent Kleinman’s book presents perhaps the most revisionist assessment
of Loos to date, noting that in existing scholarship: ‘the built is seen as an illustration of the
written. This involves a kind of tagging of the former with excerpts of the latter, as if naming
constitutes an interpretation or description. In this approach, the pieces that do not match terse
Loosian quips naturally remain obscure, and the pieces that seem to match are consumed in
the process of naming’. By way of example, Van Duzer and Kleinman note that ‘the interiors
were deemed anachronistic, an inconvenient schism in the work of the eminently quotable
author of modernist slogans’—and cite this as evidence ‘that within the core of orthodox
modernity were the seeds of its opposition’.
52
However, while Van Duzer and Kleinman cite this
simply as an explanation for the suppression of documentation that is inconsistent ‘with the
architect’s own prodigious rhetorical output’,
53
it is argued in this research project that Loos’s
writing is generally not simply rhetorical, but often instead exhibits a serial and reciprocal
relationship with the progression of his built practice. Van Duzer and Kleinman posit their
publication primarily as ‘a thorough documentation’ of the Müller House,
54
and they attempt to
adopt a neutral tone. However, while Van Duzer and Kleinman identify a number of
shortcomings with the existing body of scholarship, they only touch on potential alternative
methods for analyzing and understanding this documentation. While questioning some of Van
46
Adolf Opel and Daniel Opel,
On Architecture, 2–3. Citing Münz and Künstler.
47
Adolf Opel and Daniel Opel,
On Architecture, 4.
48
Adolf Opel and Daniel Opel,
On Architecture, 10.
49
Adolf Opel and Daniel Opel,
On Architecture, 14.
50
Adolf Opel,
Adolf Loos: Ornament and Crime: Selected Essays, trans. Michael Mitchell
(Riverside, Cal.: Ariadne Press, 1998), 10.
51
Adolf Opel and Daniel Opel,
On Architecture, 15.
52
Van Duzer and Kleinman,
A Work of Adolf Loos, 16.
53
Van Duzer and Kleinman,
A Work of Adolf Loos, 17.
54
Van Duzer and Kleinman,
A Work of Adolf Loos, 16–17. The authors recognize the debate
regarding the impossibility of neutral description, but in spite of ‘this apparently circular
argument and the potentially paralyzing predicament’, aim to ‘measure and document the
building in great detail’, to discern its ‘concrete parameters’ and ‘measurable specificity’. Implied
in this introductory statement is the notion that much discussion of Loos is extrapolated from
limited information, and that there is insufficient focus on the actual architectural objects.
30