19
word ‘raum’—and in particular Semper, who is ‘responsible for the introduction of “space” as the
principal theme of modern architecture’.
34
The philosophical development of the term ‘space’
that is relevant to architecture can be traced through Georg Hegel, Arthur Schopenhauer,
Robert Vischer, Friedrich Nietzsche, Conrad Fielder, Adolf Hildebrand, August Schmarsow,
Theodor Lipps, and Lefebvre.
35
Forty notes the importance of Sigfried Giedion’s
Space, Time
and Architecture in collating a number of these ideas and presenting them in English to a broad
audience of architects,
36
but remarks more generally that the understanding of space within the
architectural discipline is comparatively limited.
37
The analysis of space in relation to Loos’s later
built projects in this research project is supported by Forty’s observation that space is of
increasing importance in Loos’s work after 1914.
38
Loos uses the word ‘culture’ in relation to classical music and antiquity, and with particular
reference to architecture he uses the term to refer to the physical crafting of a building. This is
quite distinct from my own use of the term ‘culture’ to refer to the mechanisms by which
architecture is designed in practice. This conception of the term recognizes that design
outcomes are inevitably shaped by all of the processes by which it is produced, rather than only
those that are widely recognized as the location of design—such as drawing, and in particular
the initial sketch. In other words, my use of the term ‘culture’ posits an architecture practice as a
microcosm of society or civilization, in which certain ways of thinking and doing are innate.
Loos’s use of the word ‘culture’ suggests that it is the preserve of the educated and wealthy—a
valuing of ‘high culture’ directly at odds with the more recent interest in architecture’s
relationship to popular culture. With reference to Robert Venturi, Vincent Scully has remarked
upon ‘the unsuspected life to be found in the common artefacts of mass culture when they are
focused upon individually’. Scully continues that, ‘It is significant in this regard that Venturi’s
ideas have so far stirred bitterest resentment among the more academic-minded of the
Bauhaus generation—with its utter lack of irony, [and] its spinsterish disdain for the popular
culture but shaky grasp on any other’.
39
While quite distinct, Loos’s notion of ‘culture’ is
connected to my own through the notion that architecture is the product of culture. It is argued in
this research that for Loos ‘culture’ is the appropriate source of ornament and the mechanism by
which architecture can be taught, while in my own work architecture is posited as the outcome
of the specific ‘culture’ of a practice. My own conception of ‘culture’ is tangentially connected to
Adolf Behne’s proposal that form is a social matter, and that architectural forms correspond to
34
Forty,
Words and Buildings, 257.
35
Forty,
Words and Buildings, 258-272.
36
Forty,
Words and Buildings, 268.
37
Forty,
Words and Buildings, 270.
38
Forty,
Words and Buildings, 265.
39
Vincent Scully, Introduction to
Complexity and Contradiction in Architecture,
by Robert Venturi
(New York: Museum of Modern Art, 1966), 10.
19