ART AND FUNCTION
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Duzer and Kleinman’s observations and proposed methods of analysis, this research project
ostensibly builds on their attempt to approach the subject afresh, and to some extent could be
seen as extending a line of argument from the detailed resource that they have assembled.
Like Tournikiotis,
Van Duzer and Kleinman recognize a degree of seriality to Loos’s work, noting
that ‘The interior cladding for the discreet spatial units was selected from a palette of materials
that dates back to Loos’s earliest work in Vienna’.
55
However, Van Duzer and Kleinman are
more precise in defining the nature of this development, noting that Loos’s ‘technique was
characterized by re-alignment, re-assemblage, re-constitution, re-use and only very rarely by
invention’
56
—and remarking that by ‘linking material transcendence to technical mastery,
architectural production is removed from the realm of original genius and from the stimulus of
fabulous creative inspiration. Architectural form is tied to a slowly evolving plate, where shifts
are infrequent, but when they occur, their effect is cataclysmic and irreversible’. Van Duzer and
Kleinman note some isolated similarities between various projects, but at one level this research
project could be said to implement the research strategy that they identify as a fruitful line of
enquiry but recognize is beyond the scope of their publication. Similarly, Van Duzer and
Kleinman also sanction but do not pursue at length the subject matter pursued here through this
research method, when they assert that ‘Given Loos’s preoccupation with issues of cladding,
there is value in scrutinizing the Villa Müller in literally the most superficial way, by tracking the
thin and textured veneers that make up the interior’.
Van Duzer and Kleinman document a number of fairly significant changes to the design of the
Müller House from the original sketches,
57
which are revealing of Loos’s design intentions; and
they outline the role of ‘Loos’s local partner’,
58
Karel Lhota,
noting that, ‘As Loos’s illness grew
more acute towards the end of his life, he was increasingly compelled to abdicate responsibility
to his assistants’.
59
While Van Duzer and Kleinman argue that the agreement between the
Müllers and Loos was terse, the copies of the contract that they publish is relatively perfunctory,
and photographic evidence from other sources suggests a relatively amicable client-architect
relationship—not only showing Loos and Lhota on the roof of the house with the client and his
dogs, but also Loos sitting on the built-in seat in the living room, celebrating his sixtieth birthday
at the Müller House.
60
Van Duzer and Kleinman recognize the active role of the client, but by
noting that ‘Müller’s work placed him at the forefront of technological invention’ of the type that
could ‘rip holes in the tradition of building’, it could be argued that they succumb to naming and
tagging in that they seem to somewhat force a relationship with Loos’s statements. The role of
55
Van Duzer and Kleinman,
A Work of Adolf Loos, 29.
56
Van Duzer and Kleinman,
A Work of Adolf Loos, 44.
57
Van Duzer and Kleinman,
A Work of Adolf Loos, 48. A series of changes to the south
elevation are documented.
58
Van Duzer and Kleinman,
A Work of Adolf Loos, 24.
59
Van Duzer and Kleinman,
A Work of Adolf Loos, 24.
60
Burkhard Rukschcio and Roland L. Schachel,
Adolf Loos: Leben und Werk (Salzburg:
Residenz Verlag, 1982), 364.
Van Duzer and Kleinman,
A Work of Adolf Loos, 20.
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