Adolf Loos

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Adolf Loos
Adolf Franz Karl Viktor Maria Loos
BirthplaceBrünn (Brno), Austria-Hungary

Loos, Adolf


Born Dec. 10, 1870, in Brünn (now Brno, Czechoslovakia); died Aug. 22, 1933, in Vienna. Austrian architect.

Loos graduated from the Technische Hochschule in Dresden in 1893. Although he worked in the United States from 1893 to 1896 and in Paris from 1923 to 1928, his major efforts were in Vienna, where he was the principal architect from 1920 to 1922.

Influenced by L. Sullivan, Loos voiced his opposition to the art nouveau style in architecture in the 1890’s, contrasting its picturesqueness and rich ornamentation with the rationalism and accentuated asceticism of his own buildings, as well as with his exploitation of the specific qualities of construction materials. This rejection of art nouveau is expressed in the artist’s article “Ornament and Crime” (1908) and in a number of his architectural works in Vienna (the interior of the Kärntner-Bar, 1907; the office building in the Michaelplatz and the Steiner House, 1910; and the design of the Hoyberg Block, 1922).

Loos’ works, particularly those designed after 1925, reflect neoclassical tendencies, the influence of cubism (the house for T. Tzara in Paris, mid-1920’s), and an interest in folk architecture (the Khuner house in Payerbach, 1930).


Die Schriften, vols. 1–2. Innsbruck, 1931.


Mastera arkhitektury ob arkhitekture. Moscow, 1972. Pages 138–58. Münz, L. A. Loos. Milan, 1956.
References in periodicals archive ?
In Praise of the Present: Adolf Loos on Style and Fashion.
De Finetti remarca la importancia del pensamiento de Adolf Loos y su persistente actualidad, la carga emblematica de sus escritos, su capacidad de animar y de adelantarse a los tiempos.
Lo inspira la tumba que hizo Adolf Loos para su amigo, el poeta Peter Altenberg, con cuyo nombre nos familiarizamos tantas generaciones de bachilleres colombianos al leer el asombrosamente simple epigrafe de los versos de Guillermo Valencia, antes de que aquellos que estudiamos Arquitectura conocieramos a Loos.
Adolf Loos y Otto Weininger: una critica cultural basada en la diferencia sexual
Hoy, en cambio, es facil notar como la repeticion de los motivos formales de la arquitectura racionalista, privada de las motivaciones ideales sobre las que fue fundada, se ha transformado en un nuevo formalismo, mucho peor que el estigmatizado por Adolf Loos hace poco menos de un siglo.
De momento las propuestas hacen doble honor a Adolf Loos, quien afirmaba que la arquitectura en estado puro solo se encontraba en el panteon y el monumento.
Muschamp explains at length why Adolf Loos is the twentieth-century architect he admires most.
The Viennese architect Adolf Loos has long been named with Kraus, Schonberg, and Wittgenstein as exponents of a purism which conflicted with Vienna's lush 'decadent' culture around 1900.
The most famous chapter of Schoenberg's Harmonielehre (1911) constitutes an argument against the traditional view of nonharmonic tones, which Schoenberg equates with "decoration with ornaments, 'tattooing,' as Adolf Loos says" (Schoenberg, Theory of Harnony, trans.
Barker illuminates many other topics, notably Altenberg's brief career as co-editor with Adolf Loos of an art journal, his involvement with the Cabaret Fledermaus, and the reception of his work by Alban Berg in the Altenberg-Lieder and by Kafka, who owned two books by Altenberg and whose 'Ein Hungerkunstler' may have been inspired partly by Altenberg's sketch 'Die Hungerkunstlerin'.