Welcome to 1910....

"We have outgrown ornament,
we have fought our way through to freedom from ornament."







Lately, I keep coming back to the works of Adolf Loos, and Charles Rennie Mackintosh. The love of the grid, the line, and the idea of simplicity kept them strong. A hundred years later, their works are more relevant than ever, standing tall, presenting the grid to a new generation. Their attention to detail (or lack of, depending on your viewpoint) and to color, or lack of color is devastatingly beautiful on all accounts. Welcome to 1910....

- David John

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"The house should be like by all. Unlike a work of art, which does not require anyone to like it. The work of art is the private affair of the artist. The house is not.... And thus I love the house and hate art."

Adolf Loos, Architektura ('Architecture'), 1910.













1930 March 4th, 1930, Villa Müller building is completed


"Adolf Loos himself designed the interiors, including the light fittings, the fitted and some of the non-fitted furniture. He himself said of the house that it was his most beautiful, and spent his 60th birthday there in the company of a close circle of friends. It was here that he was most perfectly able to embody the ideas of his 'Raumplan'. The severity of the external facade, composed with a refined balance in the asymmetric symmetry of the window apertures, contrasts with the noble elegance of the interiors, even in the ostensibly secondary spaces."


Green Corridor: "The corridor is arresting with its unusual polychrome harmony, green-tinted opaque tiles and the deep terracotta colour of the floor and the frieze below the ceiling. The red radiator is deliberately set in a conspicuous location. Loos felt that technical elements should be not only part of the functional fittings of the house, but also deserved to contribute to the overall aesthetic appearance of the interiors."

Blue Ceiling: "Here too there is an interesting play of contrasting colours: the floor tiles are the earthy colour of terracotta, while the wooden panelling of the walls, with the repeated square motif known from others of Loos' interiors, is painted white. The colours of the space are rounded off by the surprisingly deep blue ceiling, the colour of an early evening Venetian sky. The hall includes a cloakroom with pegs and a mirror, set into a broad niche with Japanese hangings."


















"The house should be like by all. Unlike a work of art, which does not require anyone to like it. The work of art is the private affair of the artist. The house is not. The work of art is sent out into the world, without anyone needing it. The house fulfils certain requirements. The work of art is not answerable to anyone, the house to everyone. A work of art seeks to draw people out of their comfort. The house should serve comfort. The work of art is revolutionary, the house conservative. The work of art shows humanity new paths and thinks of the future; the house thinks of the present.
Man loves everything that serves his comfort. He hates all that seeks to draw him from his customary and secure state, and all that constricts him. And thus I love the house and hate art."


Adolf Loos, Architektura ('Architecture'), 1910.





"Among his pioneering acts was a radical departure from the Secession and all figural and ornamental decoration, which of course he replaced by the natural structure of selected stones, wood and other fine materials, and the entrance of the term "Raumplan" ("spatial plan") into architectural practice. Despite his character of social feeling he was not an advocate of social experiment through architecture, but through his works prepared the way for Constructivism and Functionalism."





images and text taken from here...











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All work
by
Josef
Hoffmann
1870-1956











By the year 1900, Vienna was becoming a center of activity for architects and designers like Josef Hoffmann. Hoffmann was a founding member of the Vienna Secession, a radical anti-historicist movement, and together with Koloman Moser, created the Wiener Werkstatte cooperative workshop.

Although Hoffmann's designs for the decorative arts were influenced by the British Arts & Craft movement, he embraced the advent of the industrial age and concentrated on abstract and geometric shapes in his work. While he did not reject traditional decoration out of hand, he succeeded in making it serve structural principles which he believed should determine the form of buildings, interiors and objects. Hoffmann studied architecture at the Vienna Academy where he was taught by Otto Wagner. Between 1901 and 1905, he designed four villas in Vienna and a sanatorium for which he developed a "cubistic" language of form with its emphasis on straight, unadorned lines."

taken from DWR website.































"In 1905, he established the Kuntschau with painter Gustav Klimt and two years later, founded the Destscher Werkbund. Like Otto Wagner, his early projects were conceived as Gesamtkunstwerke (total works of art) and he produced both free-standing and built-in furniture for his interiors, pared-down rectilinear pieces, elongated to emphasize their structural role. Hoffmann is well-known for the simple, restrained, yet visually interesting dining chairs, several intended for cafés, that he designed early in the 20th century. His "birdhouse" chair, for example, reveals his way of using a decorative feature to emphasize structure. Hoffmann worked well into his eighth decade, continuing to use the geometric motifs that would influence the Art Deco Style of the 1920s."








































renderings by Josef Hoffmann
1903





"The Vienna Secession was founded on April 3, 1897 by artists Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich, Max Kurzweil, Otto Wagner, and others. The Secession artists objected to the prevailing conservatism of the Vienna Künstlerhaus with its traditional orientation toward Historicism. The Berlin and Munich Secession movements preceded the Vienna Secession, which held its first exhibition in 1898.

Also in 1898, the group's exhibition house was built in the vicinity of Karlsplatz. Designed by Joseph Maria Olbrich, the exhibition building soon became known simply as "the Secession" (die Sezession).

The group earned considerable credit for its exhibition policy, which made the French Impressionists somewhat familiar to the Viennese public. The 14th Secession exhibition, designed by Josef Hoffmann and dedicated to Ludwig van Beethoven, was especially famous. A statue of Beethoven by Max Klinger stood at the center, with Klimt's Beethoven frieze mounted around it.

In 1903 Hoffmann and Moser founded the Wiener Werkstätte as a fine-arts society with the goal of reforming the applied arts (arts and crafts).

On June 14, 1905 Gustav Klimt and other artists left the Vienna Secession due to differences of opinion over artistic concepts."










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