ART AND FUNCTION
38
the canon of modernism’.
114
‘Loos wanted a clear distinction between art and practical life’,
115
Veiteberg remarks. Ingrid Stevens, writing on the role of nature in design in 2008, collects Loos
under the banner of functionalist modernism and misquotes his seminal essay to lend certainty
to the association—‘The modernists would no doubt answer in the negative, given the tenets of
“form follows function” and the battle cry of the modernist architect Adolf Loos, “Ornament is
crime”’.
116
A connected underlying assumption of much writing on Loos is the notion of a disconnection
between the external form and interiors of his buildings. Utilising issues of theatre, sexuality,
and fashion as her lens, Beatriz Colomina’s essay ‘The Split Wall: Domestic Voyeurism’ argues
that there is ‘a radical difference between interior and exterior’ in Loos’s buildings.
117
Applying
aspects of Loos’s essays and lifestyle as metaphors for his architecture,
Colomina compares
the boudoirs of the Moller House and Müller House to theatre boxes, refers to ‘the theatricality
of Loos’ interiors’,
118
and describes the photographs of his empty interiors as resembling stage
sets. Colomina recognises the limits of this mode of investigation, however, noting that
understanding the elevations as masks oversimplifies their role—and so instead proposes the
notion of the ‘split wall’.
119
The dotted lines of floor levels on Loos’s elevations are cited as
support for this notion—that Loos’s subjects are inhabiting the wall—thereby projecting her own
meaning onto what is in essence only evidence of the architect reconciling floor levels and
elevations. Loos’s writing on the subject of fashion is similarly applied directly by Colomina to
her investigation of his buildings as if the latter are simply explications of the former—describing
the surfaces that cover structure as clothing.
120
Nonetheless, Colomina’s observation of the
importance of surfaces provides some support to the focus on the aesthetic perception of
building components in this research project. Colomina also applies her own interest
in issues
of sexuality to Loos’s houses in order to portray them as divided into male and female
domains.
121
The elevations and interior of Loos’s design for Josephine Baker and descriptions
of the project by Gravagnuolo and Münz are even characterized as ‘fetishization’ in response to
‘the threat of castration’.
122
Reviewing Colomina’s
Privacy and Publicity, Caroline Constant writes in 1997 that in
understanding Loos through gender issues, Colomina elucidates disjunctions between the
forceful tone of Loos’s writings and the elusive complexity of his built work, as well as those
114
Jorunn Veiteberg, ‘Running Room,’ in
Place(s): Papers and Exhibition, 3
rd
ed. (Gmunden:
Think Tank, 2006), 41.
115
Veiteberg, ‘Running Room,’ 42.
116
Ingrid Stevens, ‘Nature and Design: Thoughts on Sources and Subjects,’
South African
Journal of Art History 23 (2008): 96–111.
117
Beatriz Colomina,
Sexuality and Space. New York: Princeton Architectural Press, 1992, 94.
118
Colomina,
Sexuality and Space, 82.
119
Colomina,
Sexuality and Space, 94–95.
120
Colomina,
Sexuality and Space, 94.
121
Colomina,
Sexuality and Space, 81.
122
Colomina,
Sexuality and Space, 98.
38