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review begins with the most widely available books published in English, which have inevitably
shaped the widespread perception of Loos, and then proceeds to a brief outline of the way in
which a number of these assumptions underpin a diverse range of academic articles on Loos.
Just as there has been a vast amount written about Loos, he also wrote prolifically, and on a
wide range of subjects. As set out above, this research project concerns itself with the unusual
level of consensus amidst the diverse writing on Loos that he was a functionalist opponent of
ornament. With regard to the architect’s own writing, it is similarly Loos’s apparent repetition of a
number of ideas throughout most of the essays of his career rather than the particular subject
material of each, that is the focus of the research. While Loos’s essays deal with a diversity of
issues, including furniture, furnishings, fashion, and architecture, Loos repeatedly discusses the
role of art, function and ornament. This research proceeds not only with the thesis that Loos’s
ideas are in fact contradictory to the predominant view of Loos as a functionalist modernist—but
also that his discussions of them are neither simply repetitive, nor contradictory with one
another or his buildings. Instead, it is proposed that his ideas on art, function and ornament
evolve over time, in relation to his own design work in practice. As set out in the methodology
section below, five Loos essays have been selected to focus the research through the main
chapters, but the ‘Art and Function’ chapter places these detailed analyses in the context of
Loos’s other writing.
The historical investigation into Loos is undertaken through research by design, utilizing my own
work in practice as a lens. Composite House was selected as the project through which to focus
this methodology, because at the time of commencing the research,
it was the design in
progress that brought together most comprehensively the ideas that I had developed through
the buildings of my first decade of practice. Consequently, Composite House functions as useful
shorthand for this collection of ideas, and a meaningful mechanism for structuring references to
the other projects through which these ideas emerged and evolved. The project, located in
Balham, a central suburb to the south of central London, was commissioned in 2006, designed
and documented during 2006 and 2007, and completed on site in 2008. Composite House was
constructed for private clients, a couple and their two young children, who live in the house with
a nanny. The inherent nature of design work means that using it to structure research will
almost inevitably result in original outcomes. Conversely, however, one of the intrinsic
challenges of research by design is ensuring that the investigation is structured so as to
produce outcomes that are not only original, but also that teach others something material about
the subject to which they are applied—rather than only possessing meaning when paired with
the design material. This could be described as a research equivalent of the value of
a design
process itself—to deliver an outcome other than that which the author would have arrived at
instinctively. Research by design carries with it a risk also attendant on the design process
itself—appearing to pose and answer questions, when in fact engaged in rhetorical and self-
reflexive dialogue that has no meaning outside of its own framework. Using my own design
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