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social forms,
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while Loos’s understanding is more closely aligned to Georg Simmel’s connected
idea that the individuality of great works of art is of little value from the perspective of culture.
CHAPTER SUMMARIES
Mimicking the structure and language of Loos’s own essay titles, the chapter titles make explicit
the key element of Loos’s argument that it is here argued is espoused by the featured essay,
and links it specifically to the building components with which it is paired. As set out above,
there are particular intensities of development of the various groups of
building components that
suggest correlations with each of the selected essays. In some instances, however, observed
changes in Loos’s built work seem to precipitate the amendment of previously stated ideas in a
new essay—whereas in others the crystallization of thought in writing appears to prompt a
change in the design of his buildings, or progressive changes in the work accelerate before or
after the publication of an essay. The design of some building components seems to remain
relatively unchanged from early in Loos’s career; others appear to gradually mature into the
form in which they appear in the Müller House; some exhibit periods of experimentation
followed by a change of approach. All of the groups of building elements occur throughout either
all or most of Loos’s built work, and so there are significant overlaps to the chronologies of
projects that are considered in relation to each essay. Similarly, all of the selected essays
discuss art and ornament in relation to architecture and it is proposed that through them Loos
collectively sets forward the argument that architecture is composed of discrete elements of art
and function. Consequently, the structure of the chapters does not refute that the pairings of
essays and groups of building elements are relatively interchangeable, but rather sets out to
highlight particular connections between the two that are suggested by the design research.
Each chapter espouses an argument that is particular to each essay and group of building
elements—but can also be read independently as an investigation of the overall hypothesis that
the Müller House can be understood as composed of sculptural elements and furnishings, and
that Loos himself conceived of it in these terms, using the terms ‘art’ and ‘function’.
Chapter One: Art and Function
A literature review of English language scholarship on Loos is followed by an analysis of Loos’s
own writing, with particular reference to his use of the terms ‘art’, ‘function’, and ‘ornament’. The
five Loos essays that are utilized to structure the chapters in Part Two are here placed in a
specific but broad context. The chapter quantifies the extent to which existing scholarship is
underpinned by the assumption that Loos’s work forms part of a lineage of modernism
understood as grounded in issues of function, technology, structure and social change. The
authors who have highlighted the limitations or inappropriateness of this assumption are
identified, as are those whose work points towards the possibility of understanding Loos’s
architecture as a form of art practice.
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Forty,
Words and Buildings, 165.
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