ADOLF LOOS

Architecture arouses sentiments in man. The architect’s task therefore, is to make those sentiments more precise.

At the beginning of the nineteenth century we abandoned tradition, it’s at that point that I intend to renew it because the present is built on the past just as the past was built on the times that went before it.

Be not afraid of being called un-fashionable.


Be truthful, nature only sides with truth.

Changes in the traditional way of building are only permitted if they are an improvement. Otherwise stay with what is traditional, for truth, even if it be hundreds of years old has a stronger inner bond with us than the lie that walks by our side.

Does it follow that the house has nothing in common with art and is architecture not to be included in the arts? Only a very small part of architecture belongs to art: the tomb and the monument. Everything else that fulfils a function is to be excluded from the domain of art.

It does not do to use it with forms whose origin is intimately bound up with a specific material simply because no technical difficulties stand in the way.

Man loves everything that satisfies his comfort. He hates everything that wants to draw him out of his acquired and secured position and that disturbs him. Thus he loves the house and hates art.

Supply and demand regulate architectural form.

The house has to please everyone, contrary to the work of art which does not. The work is a private matter for the artist. The house is not.

The house has to serve comfort. The work of art is revolutionary; the house is conservative.

The law courts must appear as a threatening gesture toward secret vice. The bank must declare: here your money is secure and well looked after by honest people.

The Potemkin city of which I wish to speak here is none other than our dear Vienna herself.

The room has to be comfortable; the house has to look habitable.

The work of art is brought into the world without there being a need for it. The house satisfies a requirement. The work of art is responsible to none; the house is responsible to everyone. The work of art wants to draw people out of their state of comfort.

The work of art shows people new directions and thinks of the future. The house thinks of the present.








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Comentarii

  • Student  On 3 Februarie 2011 at 8:04 pm

    Buna seara!
    Am observat ca arhitectii cu cele mai multe realizari sunt spaniolii. Chiar si astazi cele mai noi proiecte, cum ar fi BIONIC TOWER, locuinte izolate, etc sunt create de arhitecti spanioli. De foarte multe ori cand cautam proiecte de case din acestea majoritatea care ne plac sunt proiectate de arhitecti spanioli.
    Poate fi acest lucru influentat de faptul ca Spania nu a participat in al doilea razboi mondial?(cu toate ca avuse loc un razboi civil in tara chiar inainte sa izbucneasca razboiul mondial)

    • arhiprofesor  On 3 Februarie 2011 at 8:46 pm

      Cred ca genul asta de categorisiri sunt cel putin riscante. Nu mai spunde relatia fortata intre faptul ca Spania nu a avut razboi (sa nu uitam de razboiul civil care, dupa mine, este mult mai traumatizant decat un razboi impotriva unui dusman extern !!!) si faptul ca are arhitecti valorosi. Cred ca arhitectura nu are nici-o legatura cu etnicitatea – vbezi un alt post al meu mai vechi pe acest blog. Sigur ca se poate observa ca sunt multi arhitecti valorosi si au fost dintotdeuna. Cred insa ca ei au un mare avantaj, fata de arhitectii romani – de exemplu – si anume faptul ca au parte de pol;iticieni inteligenti care au stiut si stiu sa se adreseze arhitectului cu respect si incredere nu asa cum o fac derbedeii din politica romaneasca. Un alt element major, dupa parerea mea, in favoarea lor este invatamantul de arhitectura de foarte inalt nivel spre deosebire din nou de ce se intampla la noi. Si, sa nu uitam cel mai important factor si anume traditia fantastic de bogata a arhitecturii spaniole. Nu cred ca putem spune ca arhitectii spanioli – in grup – sunt mai buni decat altii numai pentru ca sunt spaniloli. Pot insa sa afirm cu certitudine ca Spania este un exemplu de stiinta din partea autoritatilor si de abilitate si inteligenta creatoare a arhitectilor de a imbina traditia cu avangarda. Un exemplu in acest sens este piata centrala din Zaragoza. Cand il ai in spate pe Gaudi probabil ca ti-este mai usor sa ai curajul unor gesturi iesite din comun intr-o conjunctura traditionala de exceptie. Este exact ce nu reusim sa indraznim noi, arhitectii romani, la noi acasa.

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