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The disconnection between the observations of my research through historical and theoretical
sources on Loos, and my research by design, is centred on the notion that architecture can be
understood as a form of art practice. This issue is placed in a broader context by Robin Evans,
when he observes that ‘it is more difficult to make a building art-like than a picture because the
perceptions of the building are more in themselves but less manageable, less capable of full
orchestration’.
4
Evans distinguishes between the capacity of architecture by comparison to other
forms of art
practice,
5
noting that ‘Architecture is the exceptional case because, substantial yet
representational, it is more equivocally of the world and, at the same time,
about the world than
any other art form’.
6
Evans’s focus on the notion of projective space resonates with my design-
based understanding of Loos’s work, and architecture more generally, as art in the sense that it
is one’s emotional response through perception that is central. Loos’s use of false beams, non-
load-bearing columns, and space-enhancing mirrors suggests an architecture concerned with
perception, and runs counter to modernist notions of transparency and truth. In this respect, this
research project could be seen as an attempt to apply Evans’s general ideas on architecture
and art to reach a specific understanding of Loos—but which in turn facilitates a reconsideration
of modern architecture more generally, as a particular form of art practice, in order to effect a
change in the way it is both understood historically, and practised.
Evans also laments architecture’s tendency to draw upon mathematics, the natural sciences,
the human sciences, painting, and literature, and asks ‘Why is it not possible to derive
a theory
of architecture from a consideration
of architecture?’
7
This question also resonates with one of
the primary motivations for this research project, the observation of a distinct gap between the
statements and actions of architects since the modern period. Rather than understanding Loos
through abstract theoretical reference or rhetoric, this research sets out to derive an
understanding of Loos’s theory of architecture from close observation of his work in practice
.
8
The gap between architects’ stated and enacted processes is to at least some degree
connected to Donald Schön’s observation of ‘a widening rift between the universities and the
profession, research and practice, thought and action’,
9
and a ‘selective inattention to practical
competence and professional artistry’. In this respect, this research project also sets out to
4
Robin Evans,
The Projective Cast:
Architecture and Its Three Geometries (Cambridge Mass.:
MIT Press, 1995), xxi.
5
Evans,
The Projective Cast, 65.
6
Evans,
The Projective Cast, 65.
7
Evans,
The Projective Cast, xxxvi.
8
Leslie Van Duzer and Kent Kleinman,
Villa Müller: A Work of Adolf Loos (New York: Princeton
Architectural Press, 1994), 17. Van Duzer and Kleinman have noted that in existing scholarship
on Loos, ‘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’. 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’, it is argued here that this is
evidence that Loos’s writing is not rhetorical at all, but rather has a reciprocal relationship with
his built practice.
9
Donald A Schön,
The Reflective Practitioner: How Professionals Think in Action (London:
Ashgate, 1983), vii-viii.
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