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statements. Rather than being contradictory with one another or his buildings, it emerges from
this line of enquiry that in each of the essays Loos subtly modifies his ideas to accommodate
the changing issues he faces in his built work. The first portion of each chapter serves simply to
test whether the hypothesis that Loos’s work can be understood as similarly composed of
sculptural elements and furnishings, can be sustained through detailed and repeated testing.
The analysis of each essay then proceeds to test whether the hypothesis can be extended to
propose that Loos himself understood his own buildings in this way, and used the
corresponding terms ‘art’ and ‘function’ respectively.
Walls, floors and ceilings clearly occur throughout Loos’s built work, but this analysis is paired
with ‘The Poor Little Rich Man’
essay of 1900 because it is preceded by an interior project, and
was followed by a decade of apartment interiors in which Loos is dealing extensively with these
elements—not with external form, or external windows and doors; only to a limited extent with
staircases; and to no particularly notable degree with joinery or fixtures. Space inevitably forms
a part of these projects, but its role is less compositional and more perfunctory than in other
periods. As Loos does not refer specifically to his own built work in his essays, it is not possible
to establish direct links between an essay and components of the buildings that
precede or
follow it. Rather, the analysis of ‘The Poor Little Rich Man’ essay is presented here because the
period of most intense development of Loos’s handling of walls, floors and ceilings follows
directly from this first written discussion of architecture as a form art, and ornament as signifying
a building component as outside of this realm—and his handling of these elements can be
traced, relatively unchanged, from this period through the intervening projects to the Müller
House. The ‘Ornament and Crime’ essay is similarly paired with the discussion of staircases,
joinery and fixtures because a number of these elements of the Müller House can be traced
almost unchanged from examples that first occur in projects that immediately predate and
postdate its publication date of 1908. While the essay reiterates many of the statements of the
preceding essay with regard to art and ornament, the fundamental revision that Loos makes to
his ideas is the proposal that new ornament should be a product of culture. While Loos’s walls,
floors and ceilings of the period are either unadorned surfaces or treated with classical or
traditional detail, his treatment of staircases, joinery and fixtures demanded a modification of his
statements to explain the appearance of elements that were neither entirely unornamented nor
historically ornamented, but were instead signified as functional rather than art elements of his
architecture by the appearance of evidence of their craft.
While published only two years after ‘Ornament and Crime’, the ‘Architecture’ essay is paired
with the analysis of windows and doors because in the process of again restating the notion of
architecture as composed of autonomous elements of art and function, it is in this essay that
Loos asserts the importance of separating these two roles of architecture by rallying against the
notion of applied art, which attempts to combine the two. This realization in Loos’s writing
comes at a juncture when Loos is designing his first houses, which require him to deal with
external form, windows and external doors, which did not form part of the scope of the
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