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Entrance hall of a residential and commercial building erected in 1892 at Kohlmarkt 16 in Vienna's first district. The architects were Gustav Orglmeister and Franz Kupka.
The publishing house Manz moved in here, and in 1912 the famous architect of Viennese Modernism Adolf Loos designed the portal of the company bookstore and the manager's rooms on the upper floor.
This is a shot made during a trip to Wien... is from the Knize shop, designed by the Architect Adof Loss in 1913, a little jewel of architecture!!!
Still without time... but holidays are nearby :o))
thanx for everithing!!!
kisses and hugs!!! and have a fantastic week!!!
I want to thanx borleanz - Jill and NinianLif for the textures!!!
If you want to visit my blog the world in my eyes
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230715_142640_iphoneSE_Wien
Bridge-Club-Wien
Reischachstraße
Schallautzerstraße
Innere Stadt
Wien
Niederösterreich
Österreich
230715_135039_iphoneSE_Wien
Bridge-Club-Wien
Reischachstraße
Schallautzerstraße
Innere Stadt
Wien
Niederösterreich
Österreich
Am Michaelerplatz in Wien
"The Looshaus is a commercial and residential building at Michaelerplatz 3 [...] in Vienna. Designed by Adolf Loos and completed in 1912, it is considered a major building of Viennese Modernism.
[...] The modernist design of the Looshaus contrasts with both historicism and the floral ornament of Secessionist architecture. [...]
The building was constructed by Pittel+Brausewetter, with Ernst Epstein as construction manager. However, although the city had accepted the plans, in 1910 the unornamented upper storeys caused a scandal; construction was permitted to proceed only after Loos added window boxes with flowers to mitigate what one of many insulting articles in the press called their "inappropriate nakedness", and defended his design in a public meeting. It was finally completed in 1912. Reportedly, Emperor Franz Joseph disliked the Looshaus so much that he ordered the curtains on the windows of the Hofburg facing the square to remain closed."
en.wikipedia.org/wiki/Looshaus
de.wikipedia.org/wiki/Looshaus
Das Gebäude:
Das Looshaus (jetzt Raiffeisenbank) ist ein berühmtes Gebäude in Wien und gilt als eines der zentralen Bauwerke der Wiener Moderne.
Es markiert die Abkehr vom Historismus, aber auch von dem floralen Dekor des Secessionismus.
Es steht an der Adresse Michaelerplatz 3 gegenüber dem Michaelertrakt der Hofburg.
1909 erteilte Leopold Goldmann nach einem Architekturwettbewerb, aus dem kein siegreicher Entwurf hervorging, freihändig Adolf Loos den Bauauftrag zur Errichtung eines Geschäftsgebäudes für das Nobelgeschäft Goldman & Salatsch. Bauleiter war Ernst Epstein. Errichtet wurde es von dem Bauunternehmen Pittel+Brausewetter.
Trotz seines ästhetischen Funktionalismus ist das Gebäude kein schlichter Zweckbau – gerade bei den Materialien wurden weder Kosten noch Aufwand gespart. Auffallend ist der Kontrast zwischen dem mit Marmor ausgekleideten unteren Fassadenbereich (Cipollino aus Euböa) und der schlichten Putzfassade der oberhalb liegenden Wohngeschosse.
Dem Geschäftsbereich ist ein Säulengang mit toskanischen Säulen vorgebaut – gedacht als Anspielung auf den Portikus der Michaelerkirche.
Statt Ornamenten haben die Obergeschosse Blumenkästen vor den Fenstern – der Legende nach soll die Form an den Erzherzogshut erinnern und eine Anspielung auf die Hofburg sein.
Nach seiner Fertigstellung löste das Haus einen Schock in der noch ganz vom historistischen Geschmack geprägten Stadt aus.
Es wurde von den Wienern Haus ohne Augenbrauen genannt, da die damals üblichen Fensterverdachungen gänzlich fehlten.
Der Kaiser:
Es heißt, Kaiser Franz Joseph habe nicht nur den Rest seines Lebens vermieden, die Ausfahrt am Michaelerplatz zu benützen, sondern auch die Fenster der Hofburg vernageln lassen, damit er das „scheußliche“ Haus nicht mehr sehen musste.
Der Architekt:
Adolf Loos (* 10. Dezember 1870, † 23. August 1933) war österreichischer Architekt, Architekturkritiker und Kulturpublizist.
Er gilt als einer der Wegbereiter der modernen Architektur.
Loos' berühmteste Schrift ist der Vortrag Ornament und Verbrechen (1910).
Darin wird argumentiert, dass Funktionalität und Abwesenheit von Ornamenten im Sinne menschlicher Kraftersparnis ein Zeichen hoher Kulturentwicklung seien und dass der moderne Mensch wirkliche Kunst allein im Sinne der Bildenden Kunst erschaffen könne.
Ornamentale Verzierungen oder andere besondere künstlerische Gestaltungsversuche an einem Gebrauchsgegenstand seien eine ebenso unangemessene wie überflüssige Arbeit: „Gewiss, die kultivierten Erzeugnisse unserer Zeit haben mit Kunst keinen Zusammenhang.
Die barbarischen Zeiten, in denen Kunstwerke mit Gebrauchsgegenständen verquickt wurden, sind endgültig vorbei“ heißt es dazu an anderer Stelle.
;-) ...
Ich werde euch noch eine Innenaufnahme zeigen und die Hofburg, das Visavis, das wichtigste Gebäude am wichtigsten Platz Wiens ...
_MG_9571_77_pt_bw2
Joseph Maresca, Loos, 2021, oil and wax on canvas, 31x31 inches
"Loos: Abstract Geometric Painting Inspired by Adolf Loos Architecture & De Stijl"
Pamela Salisbury Gallery, Hudson NY
About the play by Friedrich Dürrenmatt: "Wikipedia English: "The Physicists"
Itzhak Perlman, Martha Argerich: Ludwig van Beethoven Kreutzer Sonate (youtube)
soft pastel, hard pastel, pastel pencil, black paper (45% cotton) 24x32cm
Part of: mask maske masque maschera persona // Secession, Fin de sieclé, Jugendstil, Art nouveau, Art deco - Wien um 1900 - Klimt - Loos "Ornament und Verbrechen" // "An Exercise: Fools Tower, One Thousand and One Sights ~ Narrenturm Tausendundeine Ansichten, eine Übung" I asked for learning - he does not find it worth the effort to answer
DMC-G2 - P1860390 - 2014-11-14
#kimono #musterbogen #schnittmuster
About the play by Friedrich Dürrenmatt: "Wikipedia English: "The Physicists" hard pastel, pastel pencil, black paper (45% cotton) 24x32cm
Itzhak Perlman plays Fritz Kreisler`s arrangement of Tartini "The Devil`s Trill - Teufelstrillersonate"
Part of: Mask // Secession, Fin de sieclé, Jugendstil, Art nouveau, Art deco - Wien um 1900 - Klimt - Loos "Ornament und Verbrechen" // An Exercise: Fools Tower ~ Narrenturm, eine Übung I asked for learning - he does not find it worth the effort to answer.
DMC-G2 - P1860383 - 2014-11-14
#kimono #musterbogen #schnittmuster
Das Looshaus am Michaelerplatz in Wien wurde 1910-11 nach Plänen von Adolf Loos erbaut, der als Wegbereiter der modernen Architektur gilt. Das gegebenüber dem Michaelertrakt der Hofburg gelegene Gebäude war seinerzeit sehr umstritten.
de.wikipedia.org/wiki/Michaelerplatz
de.wikipedia.org/wiki/Looshaus
The Looshaus at Michaelerplatz in Vienna. Built in 1910-11 after plans of the modern architecture pioneer Adolf Loos this house in front of the St. Michael's Wing of the Hofburg was highly controversial at that time.
atelier ying, nyc.
The composing huts of Austrian composer Gustav Mahler inspire this design.
Mahler's chief antagonist was the orchestra which he could never really neglect for long it's administrative functions the most important of which was as its conductor.
So the design honors him by proposing a dual function space that would allow him to separate from the orchestra for his composing work yet still be attached to it.
The enclosure has a built-in desk for composing. Also part cafe table and part dining table, there is actually no keyboard to work out issues of orchestration, a major consideration of this particular composer's work. The proximity of the space to his day-to-day conducting activities should already keep his ear fresh and primed. The desk is also a Viennese cafe table. It's layout recalls a clavichord with a sunken custom tray for condiments. This tray will be seen by Mahler as having an element of luxury as Austrian and German cuisines have precious few condiments. Below are three drawers. Each contains a leather bound book and a vertically laid out tray of tools specific to each book. The center contains Mahler's current composition(s), the right contains a Bach score and the left a Wagner score. The side drawers are inset in the manner of ottavini for a virginal. Two overhead art nouveau lamps (from the living room of the Villa Muller) provide balanced illumination whilst being unobtrusive when the occupant is seated. The Thonen chair and arm chair is by the architect Adolf Loos. The exterior of the enclosure is lined with travertine marble (unheard of for the Mahler composing huts) but the interior is lined in warm dark wood. One descends two steps into the space. Below the composer's feet the floor and back kick of the desk area are lined with a dark red plush carpet. The occupant will feel swallowed up by the space which with its cafe booth glass panels slightly above him allows a view of the rest of the orchestra house interior as a vast space, like a sunken living room thereby providing a more private space yet still very public. A channel of water in front of the entrance acts as a moat which deters onlookers. The location of the office suggests that of a press room for the orchestra hall with a shared wall adjacent to the auditorium as the orchestra stage door is steps away.
Note: please also see my design nos. 275a and b for related designs.
Design, concepts, text and drawing are copyright 2016 by David Lo.
atelier ying, nyc.
Like a score for a piece of music, you live with it and revisit it over a long period of time, decades if possible, with re-interpretations, each one adapted to reveal a different facet, or in this design, a different feeling for luxury, history.
Adolf Loos' denial of ornament is a perfect design aesthetic for the Cabinet War Rooms. His design for the Khuner Villa of 1930 is adapted for the hallway and bedroom office of Churchill. Precisely scaled built-in furniture and elegant craftsmanship with local inexpensive materials provide functional luxury for this historical structure. Staff rooms down the corridor have less detail and privacy screens to accommodate for Churchill's dressing area.
References to Churchill's habit of formal dress for festive occasions and Chartwell are highlighted without changing the historical function of this bunker.
Unravel Japanese book cover, homemade notebook paper insert
Design, concepts, text and drawing are copyright 2014 by David Lo.
Chinatown, nyc
Interpreting the score at the neighborhood tavern over a plate of meat. Olbrich and Loos, wonderful and opposite although somewhat similar. Instead of marking passages with a red pencil, I draw cameras/huts/palanquins/and other structures with a bright red pen ... in the margins!
American Bar, Vienna, by Adolf Loos in 1908
This is the only photo I took outside of Otto Wagners 'Postsparkasse' during my stay in Vienna (shortly before leaving for the airport). It is obviously strongly related to the 'Splitting Postsparkasse' series, that I was commissioned for.
Adolf Loos' American Bar is my favorite bar (and my favorite interior space) in town and I always imagined the space projected by those mirrors above the liquor shelves as being quite psychedelic.
I have Clare Beck Loos portrait of her husband which I have converted into a "Loos Portfolio". I do prefer this more to a sketchbook. I have put many designs into its pages and designs that overlap her letters, like a pictorial slideshow.
The Promenade des Anglaise house has a prominent garden in front giving it privacy. A low terrace is extended to a tree lined street alongside this garden.
Under the terrace a subterranean bohemian cafe is created, with a grand entrance of two staircases, the first leading to a bronze bust of the architect, and an arcade walkway with views of the garden, then down two side stairs to the main lower cafe level. At the other end, a grand staircase goes through the arcade level into a hallway that extends to the villa house. The misunderstood element is the contrast in spaces. The tiny stair down to the bronze bust of Loos shifts in scale to the circumference of the arcade with clerestory windows. The coffeehouse is meant for a salon-sized function yet is connected with grand stairs and hallways. The terrace should be private yet is open and guards the garden when the reverse should be the case. A very fancy railing about the circumference of the arcade level would disappoint Loos, but the size of the space is too big to avoid using this. Pillars of the arcade level seen from outside make the cafe seem intimate and bohemian when it isn't. The gradual reduction in size of the floor plan saves the space. Misunderstandings abound.
Amidst the confusion, this is a place for Loos to get away and relax with a cup of free coffee under the eaves and with the camaraderie of artists. I was reminded of the burdened poet in Les Contes Hoffmann and the Cafe Momus of La Boheme in envisioning the function of this space.
Design, concepts, text, photograph & drawing are copyright 2016 by David Lo
"Architecture arouses sentiments in man. The architect's task therefore, is to make those sentiments more precise."
Adolf Loos
I discovered the glass and the bottle during a visit of the famous Loos House (Looshaus) which was designed by the architect Adolf Loos in the Style of the Viennese Modern Art or Art Nouveau in 1909. The building that is silhouetted against the window is the Hofburg Imperial Palace.
A house he designed in Montmatre, Paris, (not a his and hers loo). "Ornament is crime" he said. What about the flower boxes then? Loonie.
Truth be told, I understand that he was reacting to some excesses of his time. But fundamentalism is not good. A bit like Djikstra claiming gotos are harmful. Well they are useful sometimes.
The argument that technology creates bias is valid, the medium is the message, but one has to balance that with minimal paternalism and maximal freedom. Always a problem.
We can only hope that the middle of the bell curve, where excess on either side cancels out, is in the right place to allow our society to thrive peacefully. Not really working too well these days.
Completed in 1899, this is Loos' first major work, famous for its pure inner design. However, remodelled by Josef Motti in the early 1930's, and has been deprived of its simple purity.
Junk Jet n°3 asked for fluxing architectures, boogie, buildings, rolling rocks, flying architectures, provisory pyramids, and temporary eternities; for all kinds of practical concepts and conceptual practices, for stable happenings and unstable thoughts, for lifted cellars and dugin landmarks, for curtains, mobiles, house boats, bubbles, zeppelins, flying saucers ...
... it received fantastic forms of material, immaterial, physical and mental flux. Not only were immovables made movable, but also were put forth moving ideas of aesthetic, social, and political concern. We recognize that it is in microarchitectures, where architecture resides today, that speculations cannot be hilarious enough, and that the post-digital is the era, we already live in.
With fluxing contributions by: Albo Jeavons, Aristide Antonas, Asli Serbest, Chris Papasadero (fwis), Claude Closky (sittes), Claude Lothier, David L. Hays, Edgartista Gonzalez, Enrique Ramirez (A456), Erwin Weil, Francois Blanciak, Greg J. Smith, Gregor Passens, HeHe, Hussein Chalayan, Isabelle Willnauer, Jim Venturi, Joop de Boer, Kate Bowden, Luna Maurer, Maider Lopez, Marion Kalmer, Matthew Pull, Mimi Zeiger, Mona Mahall, Moorhead&Moorhead, N.I.E.I, The Office Of Playlab Inc., Slater Harrison, South Pole Station, SpY, Taizo Yamamoto, Tom Ngo, Liam Young of Tomorrow‘s Thoughts Today, Urban Operations
Release Date: February 2010
ISBN: 978-3-00-030127-8
Number of pages: 120
Measurements: 18 x 13 x 1 cm
Toyota Kijang.
The Kijang (this Indonesian word means "deer" but also muntjac) was the first car that was designed in Indonesia. That was in the late 1970s. This model is from the 2nd generation (early 1980s).
The reason why these cars look like shoe boxes is that at that time Indonesia did not have the powerful machines that can press sheet metal into complex shapes. When Indonesia finally got that technology they immediately introduced the 3rd generation Kijang which had much smoother lines. And the price of the car doubled.
Hey, wait a minute: Does that mean that all our cars could be much cheaper if they had simpler shapes? I bet it does. Now, I would like to have a car that looks like a bloody brick with a 200 horsepower engine for 50,000 Euro, how about that? No automotive corporation would ever do that because they don't like to admit that all that stuipd car design is just a marketing gimmick that allows them to sell their products for higher and higher prices. Retro design, come on, leave me alone. Nobody needs trim strips.
The Kijang is still in production. It's in the 6th generation by now and it has become the most boring looking vehicle I have ever seen. 20% of its sales revenue probably goes directly to the Astra design department and the car looks absolutely forgettable.
Designers talk a lot about "form follows function" (bullshit!) and "minimalism" and even about as little design as possible but that's not what I mean. That's just an even more expensive kind of design. What I'm talking about is no design at all. I want to have products that were produced with no designer ever having been allowed anywhere near them. Something like this. Or that. And long live Adolf Loos.
A Raiffeisen headquarters at the moment of shooting at Michaelerplatz, Vienna, Austria. Adolf Loos (1870-1933) was the most influential representative of Vienna Secession. The Looshaus was completed in 1911.
Two frames are stitched vertically; on the upper one clouds were seen perfectly, in the bottom one there were less pedestrians in the foreground. - Originally taken with an Olympus 740 UZ.
Also see the one designed by Loos, taken in Paris, though in a smaller scale.
Tenuous Link: a bank's hall
Ehrengräber Berthold Viertel und Elisabeth Viertel Neumann, Adolf Loos. Zentralfriedhof Wien. Central Cemetery Vienna. Part of: Paseos at Viennese Cemeteries. DMC-G2 - P1030954 12.5.2011