Podcasts about Adolf Loos

Strengere Regeln für KI-Nutzung, Rettung einer Adolf-Loos-Villa, Tschechisch gesagt: Der Papst, Goldene Kutsche aus Krumau auf Schloss Eggenberg in Graz

Czechia mourns and remembers Pope Francis, Adolf Loos villa reconstruction, interview with daughter of photographer Jan Lukas

Czechia mourns and remembers Pope Francis, Adolf Loos villa reconstruction, interview with daughter of photographer Jan Lukas

From Theory and Design in the First Machine Age, 1960

Send us a textWhat happened to the architectural manifesto? This fascinating question from a listener propels us into an exploration of how architects have historically proclaimed their design philosophies—and why such bold declarations seem increasingly rare in contemporary practice.The architectural landscape was once dramatically shaped by manifestos: Le Corbusier's "Towards New Architecture," Adolf Loos's "Ornament and Crime," and the revolutionary Bauhaus movement all articulated clear visions that transformed how we think about building. But today, as we scroll through endless Instagram feeds of similar-looking projects, has something fundamental been lost? Have we surrendered the courage to stake out distinctive architectural territory?We examine whether BIG's "Yes Is More" represents perhaps the last true modern architectural manifesto, and whether practice websites and mission statements have become watered-down replacements for the revolutionary spirit that once drove architectural movements. The conversation takes surprising turns toward craft, material engagement, and how the "tall poppy syndrome" might be preventing architects from boldly declaring their principles.Most importantly, we consider whether writing your own manifesto—even if just for personal clarification—could help combat the global homogenisation of architectural styles. By articulating what you believe about design, perhaps you can recentre your practice and contribute something meaningful to architectural discourse. As we navigate a world increasingly dominated by AI-generated forms and committee-driven decisions, maybe the time is right for a return to architectural conviction.Key Sources:https://www.archdaily.com/921760/how-to-write-an-architectural-manifestohttps://designformindfulness.blog/significant-manifesto-examples/https://www.architectural-review.com/awards/world-architecture-festival/a-manifesto-for-the-next-10-yearshttps://www.thoughtco.com/architecture-timeline-historic-periods-styles-175996https://archeyes.com/architecture-chronology-timeline-important-architecture-projects/ Chapters:0:29 - Episode Introduction2:03 - Defining Architectural Manifestos6:44 - Famous Historical Manifestos13:19 - Modern Manifestos - Do They Exist?17:56 - Global Homogenisation of Architecture27:43 - Manifesto vs Craftsmanship36:56 - The Future of Architecture47:14 - Love It or Hate It Wrap-upFollow us on @designpriciplespod on Instagram.If you wish to contact us hit our DMs or email us on info@designprinciplespod.com

  EPISODE 25 - ORNAMENT Ornament has always had an important meta function within the human psyche. It has been "outlawed" for the past 100 years.   RESOURCE LINKS https://www.gadarchitecture.com/en/ornament-in-architecture https://www.artforum.com/features/louis-sullivans-ornament-209337/ https://journals.sagepub.com/doi/abs/10.1177/1354067x13515937?journalCode=capa https://medium.com/the-thinking-of-design/ornament-as-an-abstraction-of-society-853bb29cdf08 https://www.youtube.com/watch?v=5PmydPmwrKA https://dreamswork.co.uk/portfolio/how-ornament-is-functional/ https://designmanifestos.org/adolf-loos-ornament-and-crime/   AK links: Four D Design - Organic Architecture, Geometry of Nature www.fourddesign.com Star Tile - Multidimensional Ceramics www.star-tile.com Star Tile Studio - Joshua Tree, CA https://g.co/kgs/DUMmCLh   Contact: ak@fourddesign.com     WHY DO WE USE ORNAMENT? - SIGNIFIER Social signaling - and this changes over time!  Example tattoos - British nobility 1900-1920 Historically it was the demarcation of class and status - governments had rules about what colors and types of clothing could be worn, so that people could never be socially mobile- Ornament on clothing has always been important for the military and in battle, people wore family crests / telling others who they were The same went for houses - all ornament had meaning that could be learned (this is western) Heraldry   WHY DO WE USE ORNAMENT? - SOCIAL & PSYCHOLOGICAL Belonging is so important that people will go into debt to buy clothing that lets them fit into a social group, or a car, or jewelry etc - people are wildly craving belonging, and ornament is a way to show your tribe.   OTHER REASONS: Repetition causes peace - relaxation of the nervous system By creating the ornament, the maker can embody the energy of the thing that might be feared  Establish historic continuity - memory, legacy. Spiritual Side of Ornament - Adornment, Defense, Totems, Enhancing Consciousness. META FUNCTION, embodied practice Adorning parts of us that are vulnerable - defensive and actively stating who we are / calling in our guides.   HISTORY OF ORNAMENT Industrial Revolution - 1851 - now possible to make cheap ornament / mass production Attempt at standardizing the language - Owen Jones “Grammar of Ornament” - huge interest in revival of styles / what we would now call Cultural Appropriation.. started with Archaeology around 1750, people discovering ruins, Marie Antoinette wearing toile / chinoiserie In victorian era, people started ascribing a moral judgment to the ornament - Augustis Pugin:  ornament should be flat if the floor is flat, not 3d etc.. can't be inappropriate.  He was a CATHOLIC in England - super religious, championed gothic revival because it was faith-based John Ruskin  - wrote on architecture but also on geology, botany, ornithology etc - polymath Said that the moral condition of a society could be determined by the ornament - ornament was being incorrectly applied- Shows what is leading up to the birth of modernism, nothing happens in a vacuum.   What Happened - Loos, Modernism and the 1920s As both Sullivan and Lévi-Strauss indicate, ornament (as well as other factors) becomes a language of social structures, social experience and even social contradictions. It signifies the status and position of the building, which is itself a representation of the importance of its “owners” and users. Here the manipulation of the image, or in architecture the adding of ornamental beauty to a structure, may increase its relative desirability and value. For buildings are models of ourselves and our society, communicating through form and organizational system the character of that society.   BUILDINGS REFLECT THE VALUES AND VALUE OF THE OWNER.   MODERNISM - WHAT HAPPENED? Adolf Loos Ornament and Crime The evolution of culture marches with the elimination of ornament from useful objects", Loos proclaimed, thus linking the optimistic sense of the linear and upward progress of cultures with the contemporary vogue for applying evolution to cultural contexts.[2]  "The child is amoral. To us the Papuan is also amoral. The Papuan slaughters his enemies and devours them. He is no criminal. If, however, the modern man slaughters and devours somebody, he is a criminal or a degenerate. The Papuan tattoos his skin, his boat, his oar, in short, everything that is within his reach. He is no criminal. The modern man who tattoos himself is a criminal or a degenerate. There are prisons where eighty percent of the inmates bear tattoos. Those who are tattooed but are not imprisoned are latent criminals or degenerate aristocrats. if a tattooed person dies at liberty, it is only that he died a few years before he committed a murder."   Where do we go from here - how do we start?   (HUMANS ALWAYS START OVER WITH FORMS FROM NATURE) Architectural adornment or ornament, like cooking—that most basic transformation of nature—is a way of being in and representing the world simultaneously, a world that in Sullivan's words “procreates man's own personality, that fits him, that he might feel at home with himself,” a world of natural objects transformed by the hand of man. This is why Sullivan defined the architect's task in a manner that reveals his belief in man's transforming power: the architect as the agent who brings nature into community.   James Trilling - The Language of Ornament Harvard-trained art historian, former Textile Museum associate curator, and independent scholar James Trilling expands here on many of the highly original themes that appeared in his The Language of Ornament (2001). He offers intriguing new views of the modernist movement in art and architecture, its puritanical hostility to ornament, and its manifold relationships to the history of technology, science, and industry in the phenomenon known as modernization. Trilling is a passionate advocate of ornament, and he makes a fervent plea for its revival, largely on the grounds that it gives pleasure and "makes people happy" (p. 227). Ranging widely across cultures, time periods, disciplines, and topics, Ornament: A Modern Perspective is a densely layered book of formidable learning, imagination, and complexity. The argument is deceptively simple and difficult to summarize; as Trilling writes of Comte (p. 177), "it is rarely possible to give the bare bones of a utopian vision without making it sound naive." Ornament for Trilling is a specific, intricate concept. He spends part 1 of his two-part book explicating this concept, by which he means the use of motifs and patterns by skilled artists/craftsmen, "the art we add to art" (p. xiii), in the creation of one-of-a-kind objects laden with cultural meaning and symbol, esteemed as art by collectors, connoisseurs, and knowledgeable art historians. In part 2 Trilling traces the links between modernism and the rejection of ornament. Though the focus is on the period since the pivotal Crystal Palace exhibition of 1851, his book includes an impressive intellectual history [End Page 418] of the many ways in which ornament was repudiated as idolatry and artifice in numerous societies long before modernism. But after the triumph of mechanization and the ascendancy of efficiency, materialism, and positivism, the leading theorists of modernism thoroughly devalued and assaulted ornament. The most famous instance was Viennese architect and critic Adolf Loos's 1908 essay that seemingly equated ornament with crime. Modernism's visionaries instead exalted functionalism and simplicity in architecture and design. They saw ornament as wasteful, inefficient, and, after the Industrial Revolution, as the product of dehumanized, debased workers far removed from the ideal of the skilled artisan/craftsman of the prefactory era. Modernism's subsequent long reign among intellectual and cultural elites (despite the thin, pale revolt of the postmodern movement), Trilling argues, has now all but blinded us to ornament, erased it from our collective memory and from art. Early modernist theorists sought to jettison the wealth of inherited patterns and motifs rather than welcoming their incorporation and reworking, as traditional crafts had done. (Ironically, one of Trilling's most original arguments is that modernism in fact had its own ornamental style, employing materials that had pattern and texture and creating art rooted in indeterminacy, "labile, ambiguous, unpredictable" [p. 217].) Trilling's mission is to restore understanding and appreciation of the rich, lost world of artisanal ornament. His book addresses artists, architects, designers, their clients and collectors, art historians—tastemakers and all who care about taste.                

Nuno Crespo nasceu em Lisboa em 1975. É licenciado e doutorado em filosofia pela Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. É professor e director da Escola das Artes, Universidade Católica Portuguesa, e investigador do Centro de Investigação em Ciência e Tecnologia das Artes (CITAR).É crítico de arte e membro do conselho editorial do Ípsilon (suplemento cultural do jornal Público). A sua actividade de investigação tem sido dedicada, principalmente, ao cruzamento entre arte, arquitectura e filosofia, e a autores como Kant, Wittgenstein, Walter Benjamin, Peter Zumthor e Adolf Loos. De entre as suas publicações podem destacar-se trabalhos sobre Adriana Molder, Axel Hütte, Bernd e Hilla Becher, Candida Höffer, Daniel Blaufuks, Fassbinder, Gerhard Richter, Luísa Cunha, Miguel Ângelo Rocha, Nuno Cera, Rui Chafes, Vasco Araújo, entre outros, bem como os livros publicados: “Textos Públicos. Arte Portuguesa Contemporânea 2003-2023” (2024), “Julião Sarmento: Olhar Animal” (2014), “Wittgenstein e a Estética” (2011) e “Corpo Impossível” (2007). Fez parte do colectivo de comissários do Prémio EDP – Novos Artistas (2006-2011) e BESPhoto (2007-2009). Como curador, foi responsável pelas exposições «Fantasmas», de Nuno Cera (CCB) , «Corpo Impossível», com Adriana Molder, Noé Sendas, Rui Chafes e Vasco Araújo (Palácio de Queluz), «Encontro Marcado», de Adriana Molder (Museu de Belas Artes de Oviedo, Espanha), pela exposição antológica de Pires Vieira no Museu da Cidade de Lisboa, «Involucão», de Rui Chafes (Casa-Museu Teixeira Lopes), «Serralves», de João Luís Carrilho da Graça (Appleton Square), «Fragmentos. Arte Contemporânea na Colecção Berardo» (Museu de Arte Contemporânea de Elvas), «Aires Mateus. Voids» (Appleton Square), «Riso: Uma Exposição a Sério», Museu da Eletricidade Lisboa, «Paisagem Como Arquitectura» Garagem Sul do CCB, Lisboa, «Antes e Depois» (Miguel Ângelo Rocha), Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisboa, «Haus Wittgenstein. 90 anos», MAAT, Fundação EDP (em coprodução com a associação de arquitetura austríaca), Lisboa, «O que pode a arte? 50 anos do maio de 68», Atelier- Museu Júlio Pomar, Lisboa, «Arenário» (Francisco Tropa), Sala de Exposições da Escola das Artes, Porto e «Julião Sarmento. Film Works», Sala de Exposições da Escola das Artes, Porto, entre outras.Links: https://artes.porto.ucp.pt/pt-pt/pessoa/nuno-crespo https://umbigomagazine.com/pt/blog/2021/07/07/entrevista-a-nuno-crespo-diretor-da-escola-das-artes-da-universidade-catolica-portuguesa/ https://www.rtp.pt/programa/tv/p33458/e4 https://www.publico.pt/autor/nuno-crespo https://www.buala.org/pt/cara-a-cara/os-nacionalismos-nao-sao-discursos-inocuos-tem-raca-e-genero-entrevista-a-lilia-schwarcz https://www.maat.pt/pt/exhibition/haus-wittgenstein-arte-arquitetura-e-filosofia https://contemporanea.pt/edicoes/09-10-2019/pensar-escola-alem-da-escola Episódio gravado a 14.11.2024 *o título é um verso da música escolhida pelo convidado Créditos introdução: David Maranha - Flauta e percussão Créditos música final: Força Estranha / Interpretação Gal Costa / Letra Caetano Veloso / Produção Guilherme Araújo e Roberto Menescal http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral / A2P / MyStory Hotels Apoio:Câmara Municipal de Lisboa Financiamento:República Portuguesa – Cultura / DGArtes – Direcção Geral das Artes © Appleton, todos os direitos reservados

Gustav Klimt, Gustav Mahler, Adolf Loos und Sigmund Freud: Das sind Namen, die uns zur Kulturszene rund um 1900 in Wien einfallen. Aber was ist mit den Frauen? Waren die nur im Hintergrund? Die Filmemacherin Beate Thalberg weiß es.Diese Episode wurde am 09 10 2024 auf Ö1 Campus gestreamt und ist Teil des zeit- und kulturgeschichtlichen Archivs von oe1.ORF.at

Kaiser Franz Joseph fand so einiges 'scheußlich' von dem, was um 1900 in Wien alles an Neuem entstand – in der Architektur und Kunst, aber auch in der Philosophie, der Musik, der Literatur... Wie es dazu kam, dass ausgerechnet Wien zum Hotspot der Moderne wurde, wer die wichtigsten Pionier*innen damals waren und welche 'places to go' du hier heute auf keinen Fall verpassen solltest: Das erzählen dir die beiden plazy-Gründerinnen Kathrin Sander und Inka Schmeling in dieser Episode.

News, Adolf Loos building in Plzen to become museum, Kutna Hora featured in Kingdom Come:Deliverance II, life of Lidice survivor Jaroslava Sklenickova. 

News, Adolf Loos building in Plzen to become museum, Kutna Hora featured in Kingdom Come:Deliverance II, life of Lidice survivor Jaroslava Sklenickova. 

Adolf Loos, vizionářský architekt, zemřel 23. srpna 1933. Pocházel z Brna, jeho domovem se však později stala Vídeň. Na přelomu 19. a 20. století stanul v čele modernistického hnutí a začal své názory prezentovat v novinách a časopisech. V textu s titulem Ornament a zločin odsoudil okázalou zdobnost a nasměroval kurz k purismu, jednoduchosti a účelnosti. Budovy, které navrhoval, se vyznačovaly hladkými stěnami a přísně geometrickými tvary.

Adolf Loos, vizionářský architekt, zemřel 23. srpna 1933. Pocházel z Brna, jeho domovem se však později stala Vídeň. Na přelomu 19. a 20. století stanul v čele modernistického hnutí a začal své názory prezentovat v novinách a časopisech. V textu s titulem Ornament a zločin odsoudil okázalou zdobnost a nasměroval kurz k purismu, jednoduchosti a účelnosti. Budovy, které navrhoval, se vyznačovaly hladkými stěnami a přísně geometrickými tvary.Všechny díly podcastu Příběhy z kalendáře můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Adrian Elton is an award-winning creative who has worked for some of the world's biggest brands including Disney, Sesame Street, Australia Post, Fairfax and many others.  Adrian's career journey is as eclectic as it is inspiring. He started by studying interior design, transitioned to graphic design, evolved into an art director, became a musician, and finally found his calling as a copywriter. His work spans multiple sectors, and he's known for his creative strategy and compelling copywriting. Tune in to discover how Adrian's diverse background shapes his approach to copywriting and learn valuable tips for creating award winning copy. In this episode, you will learn how to: 1. How to Identify and Develop Your Creative Talents: Discover the steps Adrian took to transition from interior design to graphic design, and eventually to copywriting. Learn how diverse creative skills can be integrated and leveraged across different mediums. 2. How to Break Into the Copywriting Industry: Gain insights into Adrian's unconventional journey into copywriting and how he turned opportunities into long-term success. Understand the importance of taking on different roles and projects to build a robust portfolio. 3. How to Create Impactful Brand Messages: Explore Adrian's approach to balancing design and copywriting to create powerful and cohesive brand narratives. Learn the significance of headlines and brand positioning in advertising. 4. How to Leverage Short-Form Content: Understand why Adrian prefers short, impactful copy and how to excel in creating concise and compelling messages. Get tips on writing effective headlines and brand positioning lines. 5. How to Apply Creative Philosophies: Discover the influence of Bauhaus architect Adolf Loos on Adrian's work and the principle of "God is in the details." Learn how meticulousness in creative decisions can elevate the quality of your work. 6. How to Excel in Outdoor Advertising: Learn why billboards and outdoor advertising are considered the primary unit of advertising   Get tips on how to craft messages that capture attention. 7. How to Use Songwriting to Enhance Copywriting: Understand how songwriting helps develop a keen sense for language and rhythm in copywriting. Learn the parallels between crafting lyrics and writing compelling ad copy. 8. How to Maintain Creative Momentum: Learn the importance of continually practising and developing new ideas, even outside of client briefs. Discover how personal projects can keep your creative skills sharp and lead to unexpected opportunities. Read the show notes This podcast is brought to you by the Australian Writers' Centre. WritersCentre.com.au Join our community of copywriters at CopyClub.com.au.See omnystudio.com/listener for privacy information.

In the previous episode "Dandies: Gentleman of Style from the 19th Century to Today", Carl was joined by cultural historian and maker of fine custom clothing, Nathaniel Lee Adams for a look at this most interesting breed of society's tastemaking men.  In this new episode, Carl and Natty take the discussion further and focus on the early 20th century, when a new brand of dandy was emerging  - one with style perhaps, but also often tinged by scandal. Being a "dandy" is generally thought to be more than just being a stylish dresser.  There is attitude, perspective and perhaps even a sense of the revolutionary that ties many of history's so-called dandies together.  In this episode, Carl and Natty start with the world of the dandy immediately following the death of Oscar Wilde and begin with a discussion of the British author and caricaturist Max Beerbohm and the  American self-proclaimed inventor of the tuxedo, Evander Berry Wall.  They then discuss the fascinating, complex black American boxer Jack Johnson, who in order to fight not only his opponents but the pervasive prejudice of his time,  created a boundary-breaking persona of style laced with scandal.  Returning to Europe the discussion continues Oscar Wilde's own nephew and writer (and also boxer),  Arthur Cravan, the War Poets including Rupert Brooke and Siegfried Sassoon, the minimalist Austrian architect Adolf Loos and finally one of the most polarizing personalities of them all, the flamboyant Italian poet and would be revolutionary, Gabriele D'Anunzio.  

Architekt Josip Plečnik se narodil v Lublani 23. ledna 1872. Vyrůstal v truhlářské dílně, kterou měl po otci převzít. Když otec náhle zemřel, byl na takový úkol ještě moc mladý, a tak mohl zůstat na studiích. Na vídeňské umělecké akademii byl žákem Otty Wagnera a jeho spolužáky byli třeba Jan Kotěra nebo Adolf Loos. V roce 1911 Plečnik přijal nabídku stát se profesorem na UMPRUM v Praze a strávil zde následujících deset let.Všechny díly podcastu Příběhy z kalendáře můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

This week we visit Rome's Villa Médici, which has undergone an acoustic makeover, and designer and hotelier Jacu Strauss joins us in our London studio to discuss his career. Plus: an early modernist home in Prague by architect Adolf Loos.See omnystudio.com/listener for privacy information.

Vila v pražských Střešovicích, kterou si v letech 1928 až 1930 nechal postavit významný stavební podnikatel František Müller, patří ke skvostům světové moderní architektury. Autorem projektu byl světoznámý architekt Adolf Loos ve spolupráci s Karlem Lhotou. Adolf Loos zde vytvořil své vrcholné dílo, ve kterém se mu podařilo realizovat prostorový plán, takzvaný Raumplan.

Vila v pražských Střešovicích, kterou si v letech 1928 až 1930 nechal postavit významný stavební podnikatel František Müller, patří ke skvostům světové moderní architektury. Autorem projektu byl světoznámý architekt Adolf Loos ve spolupráci s Karlem Lhotou. Adolf Loos zde vytvořil své vrcholné dílo, ve kterém se mu podařilo realizovat prostorový plán, takzvaný Raumplan.

Vila v pražských Střešovicích, kterou si v letech 1928 až 1930 nechal postavit významný stavební podnikatel František Müller, patří ke skvostům světové moderní architektury. Autorem projektu byl světoznámý architekt Adolf Loos ve spolupráci s Karlem Lhotou. Adolf Loos zde vytvořil své vrcholné dílo, ve kterém se mu podařilo realizovat prostorový plán, takzvaný Raumplan.

Vila v pražských Střešovicích, kterou si v letech 1928 až 1930 nechal postavit významný stavební podnikatel František Müller, patří ke skvostům světové moderní architektury. Autorem projektu byl světoznámý architekt Adolf Loos ve spolupráci s Karlem Lhotou. Adolf Loos zde vytvořil své vrcholné dílo, ve kterém se mu podařilo realizovat prostorový plán, takzvaný Raumplan.

Vila v pražských Střešovicích, kterou si v letech 1928 až 1930 nechal postavit významný stavební podnikatel František Müller, patří ke skvostům světové moderní architektury. Autorem projektu byl světoznámý architekt Adolf Loos ve spolupráci s Karlem Lhotou. Adolf Loos zde vytvořil své vrcholné dílo, ve kterém se mu podařilo realizovat prostorový plán, takzvaný Raumplan.

Vila v pražských Střešovicích, kterou si v letech 1928 až 1930 nechal postavit významný stavební podnikatel František Müller, patří ke skvostům světové moderní architektury. Autorem projektu byl světoznámý architekt Adolf Loos ve spolupráci s Karlem Lhotou. Adolf Loos zde vytvořil své vrcholné dílo, ve kterém se mu podařilo realizovat prostorový plán, takzvaný Raumplan.

Vila v pražských Střešovicích, kterou si v letech 1928 až 1930 nechal postavit významný stavební podnikatel František Müller, patří ke skvostům světové moderní architektury. Autorem projektu byl světoznámý architekt Adolf Loos ve spolupráci s Karlem Lhotou. Adolf Loos zde vytvořil své vrcholné dílo, ve kterém se mu podařilo realizovat prostorový plán, takzvaný Raumplan.

Vila v pražských Střešovicích, kterou si v letech 1928 až 1930 nechal postavit významný stavební podnikatel František Müller, patří ke skvostům světové moderní architektury. Autorem projektu byl světoznámý architekt Adolf Loos ve spolupráci s Karlem Lhotou. Adolf Loos zde vytvořil své vrcholné dílo, ve kterém se mu podařilo realizovat prostorový plán, takzvaný Raumplan.

Vila v pražských Střešovicích, kterou si v letech 1928 až 1930 nechal postavit významný stavební podnikatel František Müller, patří ke skvostům světové moderní architektury. Autorem projektu byl světoznámý architekt Adolf Loos ve spolupráci s Karlem Lhotou. Adolf Loos zde vytvořil své vrcholné dílo, ve kterém se mu podařilo realizovat prostorový plán, takzvaný Raumplan.Všechny díly podcastu Výlety můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Vila v pražských Střešovicích, kterou si v letech 1928 až 1930 nechal postavit významný stavební podnikatel František Müller, patří ke skvostům světové moderní architektury. Autorem projektu byl světoznámý architekt Adolf Loos ve spolupráci s Karlem Lhotou. Adolf Loos zde vytvořil své vrcholné dílo, ve kterém se mu podařilo realizovat prostorový plán, takzvaný Raumplan.

1898 read by Kate Finning

Krankenversicherung für Menschen aus Nicht-EU-Ländern, Aktualisierung der Berufslehrpläne, Letztes Haus von Adolf Loos

Krankenversicherung für Menschen aus Nicht-EU-Ländern, Aktualisierung der Berufslehrpläne, Letztes Haus von Adolf Loos

You may not expect beauty in these brutalist marvels but at La Tourette beauty is bountiful in every purposeful step.

(00:00) Welcome to Decorating by the Book Podcast!(00:09) Hosted by Suzy Chase(00:19) Ateliers of Europe(00:30) Renaissance(00:42) Decorating by the Book (00:46) Crystal(00:48) Ceramics(00:50) Wrought Iron(00:52) Fabric(00:54) Bookbinding(00:56) The Visually Stunning Love Letter(01:13) John Whelan(01:20) Guild of Saint Luke(01:30) Purchase the Book(01:33) French Brasserie(01:47) Art Nouveau Cornice(02:06) The Only Design Book Podcast(02:16) Follow the Show(02:25) Purchase the Book(02:46) Brasserie Work(02:55) The Book(03:12) Modern Office(03:30) Tools of the Trade(03:42) Accidentally Beautiful(04:00) Natural Light(04:17) Why is the Book Described as an Atlas?(04:36) British Atelier(04:38) French Atelier(04:40) Italian Atelier(04:47) DBTB(05:03) Workshop or Atelier(05:20) The Most Beautiful Workshops in Europe(05:57) Garage Workshop(06:08) Atelier or Workshop(06:31) Oskar Proctor(06:48) The Photos in the Book(07:00) J. & L. Lobmeyr(07:25) Natural Light(07:49) The Brutalists Book(08:00) Lehni AG(08:22) Buy the Book(08:33) Oskar (08:41) Contemporary Atelier(08:48) Avant-Garde Swiss Design(08:51) Swiss Water(09:02) Rudolf Lehni(09:14) Lehni Factory(09:21) Loop(09:27) Extraordinary Space(09:40) Lehni(09:53) Order the Book Here(10:16) Take Screenshot Follow the Show(10:42) Total Artwork(10:54) Lehni AG Factory(11:05) Doris Lehni(11:32) Donald Judd Furniture(11:35) J. & L. Lobmeyr(11:52) The Metropolitan Opera New York City(11:54) Wall Sconce(12:05) Ramshackle(12:26) Precision of the Glass Making(12:36) Germanic Chateau(12:55) The Podcast(13:02) Famous Starburst Chandeliers(13:20) Atelier Lobmeyr(13:25) Peter Rath(13:46) Lobmeyr(14:14) Rath(14:16) Adolf Loos(14:20) Josef Hoffman(14:26) Wiener Werkstätte(14:41) Purchase the Book(14:54) My Photo From The Met(15:00) Another Met Photo Taken by Me(15:01) Next Year(15:04) My Son at The Met 2015(15:12) Lobmeyr Glassware(15:35) Jamb(15:55) Jamb Pimlico Road(16:05) Hangar(16:29) Jamb The Space(16:48) Atelier Jamb(16:57) DBTB Podcast(17:10) Jamb Juxtaposition(17:25) The World of Interiors(17:37) This Space(17:48) Jamb's Collections(18:02) Will Fisher(18:16) Purchase the Book Here(18:47) Many Materials(19:05) Atelier Lorenzi(19:22) Atelier Lorenzi in the Book(19:48) Death Masks(19:52) Sherlock Holmes(19:59) Hanging Masks(20:20) Oskar Proctor the Photographer(20:37) Obsession with Staircases(20:50) Casts(21:05) Inside Atelier Lorenzi(21:32) Staircase(22:50) Oskar Proctor's Website(23:04) John Whelan's Website(23:17) Thanks for listening(23:28) Thank youChapters, images & show notes powered by vizzy.fm.

Vi går mot ljusare tider, vilket får Elin och Kattis att grotta ner sig i temat fönster. Hur inreder man fönsterkarmen, vilka gardintrender lockar och hur kan man dölja fula fönsterfoder och element? Det blir färre men värre, fler av samma, mönstrade gardinkappor och DIY blandat med inspiration från inredningsikoner som Adolf Loos, Finn Juhl och Ilse Crawford. Elin har varit hos psykologen och fått rådet att inte tänka och känna så mycket. Istället: gör, bara gör! Är att skjuta upp ett minne blott för Elin 2.0? Dessutom om att framstå som fattig förälder (eller bara missköta sina barn), favoritkonton på Instagram och content som utmanar journalistiken.Trevlig lyssning! Hosted on Acast. See acast.com/privacy for more information.

“Oskar Kokoschka“ Un fauve à Vienneau Musée d'Art moderne de Parisdu 23 septembre 2022 au 12 février 2023Interview de Fanny Schulmann, conservatrice au Musée d'Art moderne de Paris et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 22 septembre 2022, durée 18'16.https://francefineart.com/2022/09/22/3306_oskar-kokoschka_musee-d-art-moderne/Communiqué de presseCommissariat :Dieter Buchhart, Anna Karina Hofbauer et Fanny Schulmannassistés d‘Anne Bergeaud et Cédric HussLe Musée d'Art Moderne de Paris présente la première rétrospective parisienne consacrée à l'artiste autrichien Oskar Kokoschka (1886-1980). Retraçant sept décennies de création picturale, l'exposition rend compte de l'originalité dont fait preuve l'artiste et nous permet de traverser à ses côtés le XXe européen.Peintre, mais aussi écrivain, dramaturge et poète, Oskar Kokoschka apparaît comme un artiste engagé, porté par les bouleversements artistiques et intellectuels de la Vienne du début du XXe siècle. Par sa volonté d'exprimer l'intensité des états d'âmes de son époque, et un talent certain pour la provocation, il devient pour la critique l'enfant terrible de Vienne à partir de 1908 où, soutenu par Gustav Klimt et Adolf Loos, il inspire une nouvelle génération d'artistes, parmi lesquels Egon Schiele. Portraitiste de la société viennoise, Kokoschka parvient à mettre en lumière l'intériorité de ses modèles avec une efficacité inégalée.Ébranlé par sa rupture avec la compositrice Alma Mahler avec qui il entretient une relation tumultueuse entre 1912 et 1914, Kokoschka s'engage dans l'armée au déclenchement de la Première Guerre mondiale. Il sera gravement blessé à deux reprises. Il enseigne ensuite à l'Académie des Beaux-Arts de Dresde, où il recherche de nouvelles formes d'expressions picturales, en contrepoint des mouvements contemporains tels que l'expressionnisme, la Nouvelle Objectivité et l'abstraction.Voyageur infatigable, il entreprend dans les années 1920 d'incessants périples en Europe, en Afrique du Nord et au Moyen Orient. Sa fragilité financière l'oblige à revenir à Vienne, qui connaît dès le début des années 1930 d'importants troubles politiques, le contraignant à partir pour Prague en 1934. Qualifié par les nazis d'artiste « dégénéré », ses oeuvres sont retirées des musées allemands. Kokoschka s'engage alors pleinement pour la défense de la liberté face au fascisme. Contraint à l'exil, il parvient à fuir en Grande-Bretagne en 1938 où il prend part à la résistance internationale.Après la guerre, il devient une figure de référence de la scène intellectuelle européenne et participe à la reconstruction culturelle d'un continent dévasté et divisé. Il explore les tragédies grecques et les récits mythologiques afin d'y trouver le ferment commun des sociétés. Prenant ses distances avec la culture et la langue germanique, il s'installe à Villeneuve, en Suisse romande, en 1951. Les oeuvres des dernières années témoignent d'une radicalité picturale proche de ses premières oeuvres, dans leur absence de concessions. Sa croyance dans la puissance subversive de la peinture, vecteur d'émancipation et d'éducation, demeure inébranlable jusqu'à sa mort.Oskar Kokoschka. Un fauve à Vienne réunit une sélection unique des 150 oeuvres les plus significatives de l'artiste grâce au soutien d'importantes collections européennes et américaines. L'exposition sera présentée au Guggenheim Bilbao du 17 mars au 3 septembre 2023.#expoKokoschka Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Hossa, diesen Monat geht es genial-dilletantisch zu: Unsere beiden Radioautodidakten Eisi und Meisi widmen sich einem ganz besonderem Thema: Outsider Art aka Art Brute oder auch aka Naïve Kunst. All die Kunst eben, die nicht durch akademischen Druck in eine Form hineingepresst wurde. Denn: Jeder Mensch ist ein Künstler und oft sind es diejenigen Künstler, die von aussen auf das gesellschaftliche Treiben blicken, die uns die wirklich spanneden Ideen auf den Sockel hinauffabrizieren können. Und so geht es um den Kunstmarkt und was alles nicht dazugehört, Adorno schaut mal wieder kurz vorbei und singt uns das Lied von der Kommodifizierung und der Authentizität, wir kratzen ein Graffito von der Wand, sehen und hören beim Bachmann-Preis Elefanten beim tröten und malen zu und geben Herrn Loos eine kleine Backenklatsche. Dazu gibt es einen riesen Haufen Interviews mit und über Outsiderkünstler und vielleicht sogar ein paar freshe Gesangseinlagen, zum Beispiel über den Wurstartisten Adolf Dürer und obendrauf noch zwei schöne Texte unseres Eisimeisiautorenpools. Viel Spaß beim Selbermachen wünscht Pappy, der Redaktionspapagey Die Autorinnen und Sprecherinnen: - Lea Schlenker - Lena Kratzer Im Interview: - Klaus Bayer - Marco Brosolo - Frank Behnke - Lili und Thomas vom Kunstraum Nürnberg - Lutz Krutein und Christian Vittinghoff vom Kunstraum Nürnberg

Designers have been drafting design manifestos (DM) for over a hundred years with varying degrees of success and fidelity in their professional practices. According to author Alexandra Franzen, a DM is “A written statement where you publicly declare your intentions, opinions and vision,” yet despite such a succinct characterization there appear to be gaps in understanding when it comes to the features which distinguish an exemplary DM and the function it serves (if any) in contemporary professional design practices. These days, designers' websites seemingly prefer short generic statements that mix their approach to design with lists of technical aptitudes and team biographies. Is this a more client-focused mission statement as opposed to a manifesto? What is the difference between them? Have manifestos been co-opted into what is really a branding exercise with the intent to sell but somehow still come off looking like they are deeply caring? Perhaps it's a bit of both. In this episode of Bevel we meet up with Bulent Akman during Clerkenwell Design Week in London to unpack the current state of DMs and try to set the record straight on their proper form, function and value. We discuss some of the design industry's most influential DMs by heavyweights such as Adolf Loos, Walter Gropius, Dieter Rams and Jasper Morrison, and then examine the particulars of what a DM should include, who should write it and when. Bulent is an instructor and communications specialist with over 20 years of experience teaching digital and integrated marketing communications. He recently led a course in writing design manifestos for the School of Form, part of SWPS University in Warsaw, Poland.

Jak jedna dávná procházka s babičkou po pražských Malvazinkách změnila jeho život? Kdo byl jeho pradědeček Josef Winternitz a jak se stalo, že mu vilu projektoval slavný Adolf Loos? Jaký byl osud vily poté, co její majitelé nastoupili nedobrovolnou cestu do Terezína? Jak se před téměř 25 lety zrodil projekt Winternitzova vila? Jaký je hlavní úkol kameramana dokumentárních filmů? Nachází v příbězích jejich protagonistů poučení pro svůj vlastní život?Všechny díly podcastu Jak to vidí... můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Jak jedna dávná procházka s babičkou po pražských Malvazinkách změnila jeho život? Kdo byl jeho pradědeček Josef Winternitz a jak se stalo, že mu vilu projektoval slavný Adolf Loos? Jaký byl osud vily poté, co její majitelé nastoupili nedobrovolnou cestu do Terezína? Jak se před téměř 25 lety zrodil projekt Winternitzova vila? Jaký je hlavní úkol kameramana dokumentárních filmů? Nachází v příbězích jejich protagonistů poučení pro svůj vlastní život?

You may not expect beauty in these brutalist marvels but at La Tourette beauty is bountiful in every purposeful step.

Uma conversa que vai desde a curadoria do espaço à arquitetura. O processo de construção de uma exposição e o interesse pelas primeiras obras dos arquitetos. Na verdade, são as visões parciais que mais detêm a sua atenção.Discutimos a janela e a paisagem, a escala, a inevitabilidade tectônica, as metamorfoses do lugar...e a ruína. Cruzam-se nomes (Eduardo Souto Moura, Adolf Loos, Corbusier, Álvaro Siza) e obras. Faz-se arquitetura...falando.Convidado: Nuno Graça MouraModeração: Ana Catarina Silva, Estudante de Arquitetura

L'architettura moderna è nata nella Vienna cosmopolita di fine '800 per rispondere al bisogno di ambienti che rispettassero i nuovi standard sanitari richiesti dai medici: spazi ampi, più luce e migliore areazione. Oggi, mentre ci lasciamo lentamente alle spalle una lunga pandemia, il legame tra architettura, salute e stile di vita è tornato a essere un tema cruciale. Costantino e Francesco ci raccontano una storia laterale dell'architettura contemporanea, parlando di anarchitetti batterici come Gordon Matta-Clark e archistar mancati come gli italiani di Archizoom, dell'architettura senza architetti di Yona Friedman e dell'architettura per i poveri promossa da Hassan Fathy e Laurie Baker.In questa puntata si parla di Sigmund Freud, Egon Schiele, Arnold Schönberg, Beatriz Colomina, Josef Hoffman, Adolf Loos, Gordon Matta-Clark, Mark Wigley, Holly Solomon, Roberto Matta, Benjamin Ward Richardson, Ludwig Mies van der Rohe, Gunter Sachs, John Zorn, Luis Barragán, Jill Magid, Rolf Fehlbaum, Federica Zanco, Harald Szeemann, Laurie Baker, Josef Albers, Anni Albers, Banksy, Kaws, Takashi Murakami, John Hilliard, Hassan Fathy, Superstudio, Archizoom, Poltronova, Ufo, Gianni Pettena, Rem Koolhaas, Mario Dezzi Bardeschi, Stefano Boeri, Gianandrea Barreca, Rachel Whiteread, Bruce Nauman, Sant'Agostino, Yona Friedman, Toni Negri, Renzo Piano, Richard Rogers, Minecraft, Bernard Rudofsky e Jeff Wall.

Quando all'arte contemporanea non bastano più le installazioni o le fotografie, il corpo diventa l'ultima frontiera. Dalle performance sadomaso degli azionisti viennesi alla brutale manicure di Valie Export, dalle favolose trasformazioni di Leigh Bowery allo stunt-man esistenziale Chris Burden, dall'arte antipatriarcale di Ana Mendieta a quella facilona di Frida Kahlo: nella body art, buon sangue non mente.Costantino, l'Henry Kissinger della Maremma, spiega il concetto di “stato climatico interiore” (che non ha capito neanche lui), mentre Francesco racconta la riscoperta di un antico piacere all'indomani di un miracoloso intervento alla prostata. E, nel finale, una corposa rivelazione per tutti i fan di ArteFatti.In questa puntata si parla di Umberto Galimberti, Günther Brus, Otto Muehl, Rudolf Schwarzkogler, Hermann Nitsch, Egon Schiele, Gustav Klimt, Chuck Close, Adolf Loos, Sifgmund Freud, Ludwig Wittgenstein, Banksy, Henry Kissinger, Gerry Scotti, Carmelo Bene, Dario Cecchini, Justice Yeldham, Valie Export, Gina Pane, Marina Abramović, Slobodan Milošević, Carolee Schneemann, Robert Morris, Claes Oldenburg, Sabina Ciuffini, Mike Bongiorno, Donald Judd, Walter De Maria, Paula Cooper, Holly Solomon, Marian Goodman, Yoda, Midnight Cowboy, Madame Claude, Ana Mendieta, Fidel Castro, Sara Ann Otten, Carl Andre, O.J. Simpson, Frida Kahlo, David Alfaro Siqueros, Leon Trotsky, Leigh Bowery, Alberto Angela, Colonnello Bernacca, Damien Hirst, Alexander McQueen, Anthony d'Offay, Paolina Borghese, Nicola Bateman, Lucian Freud, Chris Burden e Tino Sehgal.

David Cysař je dědicem slavné Winternitzovy vily v Praze. Jeho rodina získala po revoluci dům, který navrhl Adolf Loos, zpět a začala ho opravovat. „Materiální část, tedy rekonstrukce vily, se u nás prolíná s duchovní rekonstrukcí. Ve chvíli, kdy jsme opravovali vilu, tak jsme pomalu přicházeli na rodové souvislosti. Abychom to dobře zrekonstruovali, pátrali jsme v archivech, dozvídali se o rodině. Ten proces trval hrozně dlouho a zdaleka ještě není završený,“ přiznává.

Neulpívat na pomíjivých věcech, schopnost pochopit realitu moderního života a snaha reagovat na dějinné změny a krizi kultury přelomu 19. a 20. století. V tom podle amerického profesora dějin architektury Christophera Longa vynikal Adolf Loos. Kde hledal tento průkopník moderny odpovědi na výzvy své doby a v čem je dodnes inspirativní coby myslitel? Na otázky Petry Kultové odpovídá v Akcentu architekt a historik architektury ze spolku Pěstuj prostor Petr Klíma.

Před 150 lety se 10. prosince 1870 narodil významný rakouský architekt a teoretik architektury Adolf Loos (1870–1933). Klasik moderní architektury a jeden z hlavních představitelů architektonického purismu. Jak se na konci 19. století dařilo realizovat vynálezy, které v mnoha směrech ovlivňují náš život v 21. století?

Před 150 lety se 10. prosince 1870 narodil významný rakouský architekt a teoretik architektury Adolf Loos (1870–1933). Klasik moderní architektury a jeden z hlavních představitelů architektonického purismu. Jak se na konci 19. století dařilo realizovat vynálezy, které v mnoha směrech ovlivňují náš život v 21. století? Připravila: Lenka Kopecká Premiéra: 2019-06-15

Adolf Loos se do Brna vracel velmi pravidelně a to nejen kvůli pracovním zakázkám. Ve svém rodném městě také přednášel, navštěvoval přátelé a svým charizma ovlivnil budoucí architektonickou tvář města. Tentokrát Simona Kostrhunová hovořila s historiky umění z Oddělení dějin architektury Muzea města Brna Dagmar Černouškovou a Jindřichem Chatrným.

V roce 1923 se na čas Adolf Loos vrátil do svého rodného města Brna, kde přednášel dějiny umění na fakultě architektury, psal do časopisu Bytová kultura a začal také spolupracovat s Janem Vaňkem a jeho UP závody, které později zastupoval v Paříži. S historikem uměním Jindřichem Chatrným natáčela Simona Kostrhunová.

Velmi výraznou stopou, nedaleko od rodného města, jsou Loosovy práce pro Hrušovany u Brna. Tentokrát Simona Kostrhunová hovořila s Dagmar Černouškovou z Oddělení dějin architektury Muzea města Brna. Odborně spolupracovala Jana Kořínková, autorka knihy Adolf Loos a konfiskované vzpomínky rodiny Viktora rytíře von Bauera–Rohrfelden.

Kameník a sochař Adolf Loos starší, otec slavného architekta, byl typickým představitelem brněnské kultury druhé poloviny 19. století a na podobě historického centra města se také sám podílel. S historičkou umění Pavlou Cenkovou natáčela Simona Kostrhunová.

Kameník a sochař Adolf Loos starší, otec slavného architekta, byl typickým představitelem brněnské kultury druhé poloviny 19. století a na podobě historického centra města se také sám podílel. S historičkou umění Pavlou Cenkovou natáčela Simona Kostrhunová.

Redaktorka a moderátorka Karolína Vránková zve tentokrát na jubilejní 10. ročník Dne architektury. Můžete ho navštívit první říjnový týden ve stovce měst a obcí napříč Českou i Slovenskou republikou. Letošní program nabídne procházky, projížďky na kolech, přednášky či workshopy. Otevře témata udržitelnosti a environmentálních aspektů architektury, zavzpomíná na výrazné osobnosti, jako Adolf Loos, Josef Gočár nebo Otakar Novotný.

Redaktorka a moderátorka Karolína Vránková zve tentokrát na jubilejní 10. ročník Dne architektury. Můžete ho navštívit první říjnový týden ve stovce měst a obcí napříč Českou i Slovenskou republikou. Letošní program nabídne procházky, projížďky na kolech, přednášky či workshopy. Otevře témata udržitelnosti a environmentálních aspektů architektury, zavzpomíná na výrazné osobnosti, jako Adolf Loos, Josef Gočár nebo Otakar Novotný.

„Ornament und Verbrechen“ heißt der berühmteste Aufsatz des Stararchitekten Adolf Loos. Doch er selbst wurde wegen ganz anderer Verbrechen verurteilt: Loos missbrauchte kleine Mädchen und fertigte Kinderpornografie an. Die neue Ausgabe des Kriminalmagazins ZEIT Verbrechen liegt am Kiosk und ist online bestellbar (https://shop.zeit.de/sortiment/die-zeit-magazine/zeit-verbrechen/). In Folge 63 reden Sabine Rückert und Andreas Sentker mit dem Architekturkritiker der ZEIT Hanno Rauterberg über Kunst und Verbrechen. Den Text, auf dem diese Podcastfolge basiert, finden Sie hier: https://www.zeit.de/2015/31/adolf-loos-architekt-paedophilie Hintergründe und Aktuelles aus der Redaktion erfahren Sie auch im neuen ZEIT-Verbrechen-Newsletter. Sie können sich hier anmelden: www.zeit.de/zv-newsletter

Ventana o Pasillo, el podcast de viajes de Valencia Plaza, hace un recorrido por Viena para conocer las huellas de la antigua monarquía de los Habsburgo, visitar los impresionantes palacios barrocos de Schönbrunn y Belvedere, echar un vistazo al Palacio Imperial, antiguo centro de control del gigantesco reino, y pasear por la señorial avenida Ringstrasse. Después, dejará a un lado esa Viena imperial para adentrarse en el modernismo de la mano de arquitectos como Otto Wagner, Josef Hofmann o Adolf Loos. Sin olvidar, por supuesto, de sus museos, a través de los cuales se pueden admirar las obras de arte de Schiele o Gustav Klimt. Un recorrido por Viena en el que no faltarán sus parques, la gigantesca noria del Prater y sus coquetos cafés, ideales para hacer un alto en el viaje y probar su famosa tarta sacher.Olga Briasco (@obriasco) y Clara Estrems, (@lassandaliasde), del blog las Sandalias de Ulises, te invitan a conocer una de las ciudades más bonitas de Europa. En cada nuevo episodio de Ventana o Pasillo ambas viajeras proponen visitar un destino diferente, donde también analizará temas relacionados con el mundo del turismo y los viajes o entrevistará a protagonistas de este sector.El podcast Viena, mucho más que una ciudad imperial ha sido publicado en Plaza Radio

Ludwig Wittgenstein ist einer der einflussreichsten deutschsprachigen Philosophen. Und sicher einer der schillerndsten. Sein geerbtes Vermögen spendete er Künstlern wie Rainer Maria Rilke und Adolf Loos.

Quelle: https://de.m.wikisource.org/wiki/Ornament_und_Verbrechen

Rok 2020 je aj rokom významného viedenského architekta českého pôvodu, kľúčovej osobnosti modernej architektúry – Adolfa Loosa. Narodil sa presne pred 150 rokmi. Bol predstaviteľom vtedy nového štýlu, presadzoval modernú architektúru bez ornamentov, v puristickom duchu. Jeho dielo dnes hodnotíme – okrem iného – ako nadčasové. Stavby Adolfa Loosa môžeme najbližšie obdivovať vo Viedni, Prahe, či v Plzni. Jeho Müllerova vila v Prahe predstavuje vrchol jeho tvorby a dnes funguje ako múzeum života a diela Adolfa Loosa. Ale môžete sa vybrať aj ďalej – napríklad v Paríži stojí dom, ktorý vytvoril pre dadaistu Tristana Tzaru a pre Josefine Bakerovú vytvoril návrh stavby, tá sa však nikdy nerealizovala. Autorka dnešnej časti relácie RTVS Rádia DEVÍN Fenomény Zuzana Golianová zaradila jej skladbu k rozprávaniu s historičkou architektúry Katarínou Haberlandovou z oddelenia architektúry Historického ústavu Slovenskej akadémie vied.

A028: Adolf Loos "The Poor Little Rich Man". Įskaito Sigita Simona Paplauskaitė

A028: Adolf Loos "The Poor Little Rich Man". Įskaito Sigita Simona Paplauskaitė

简介： 这几年，实体书店在经历了一波经营困难而不得不关门的困境之后，似乎又迎来了一轮复兴热潮，各种「最美书店」频繁出现在公众视野。怎么看待这些「网红」书店？一个好的书店应该具备哪些因素？国内外有哪些做得不错的书店呢？我们邀请到刚刚完成书店设计的「不也工作室」两位主理人姜伯源和郭宇辰，从书店聊起，然后一路从「书的容器」聊到「人的容器」，甚至还展望了下一次的工业技术革命对建筑行业的影响。 聊到的东西很多，以下是不含时间的时间轴摘要： 每个人心目中怎么样算是一个好的书店； 书是否讲究「当下性」：McNally v.s. Strand； 实体书店复兴热潮； 怎么样算「网红书店」？ 书店的复合功能：书、文创、咖啡、活动、展览； Open House用书店做了一个Food Court； 建筑师做书店很想做成图书馆？ 网红和postmodern； 戏剧化的场景营造； 城市是否要回归小尺度的街道空间； 不同年代的人如何解决这个时代的孤独感； Urban Fabric: Community的不同形成方式，不是地理based，而是兴趣based； 新零售； 下一次的工业技术革命对建筑行业的影响的猜想； Cyber的革命有什么Material的可能性； 再讲到反乌托邦； 对人physical身体的信仰。 人物： 璟璐、姜伯源、老郭（郭宇辰） 相关链接： 姜伯源/郭宇辰的设计事务所：「不也工作室」 (https://s-nor.com/) 两位嘉宾设计的绿瓦体育书店 (http://wenhui.whb.cn/zhuzhanapp/jqp/20191212/308358.html?state=123×tamp=1576332117696&from=groupmessage&isappinstalled=0) 纽约的 McNally Jackson 书店 (https://www.mcnallyjackson.com/) 纽约的 Strand 书店 (http://www.strandbooks.com/) 伦敦的 Shakespears 书店 (https://shakespeareandcompany.com/) 上海的半层书店 (http://sh.eastday.com/pdzt/bookstore/n1011261/n1011270/index.html) 哥伦比亚大学建筑系前院长 Mark Wigley (https://en.wikipedia.org/wiki/Mark_Wigley) 电影《Ready Player One (头号玩家)》 (https://movie.douban.com/subject/4920389/) 电影《I, Robot (我，机器人)》 (https://movie.douban.com/subject/1308843/) 电影《Mortal Engines (掠食城市)》 (https://movie.douban.com/subject/4221462//) 艺术与工艺运动 / 工艺美术运动 Arts and Crafts Movement (https://en.wikipedia.org/wiki/Arts_and_Crafts_movement) The International Congresses of Modern Architecture (CIAM) (https://en.wikipedia.org/wiki/Congr%C3%A8s_Internationaux_d%27Architecture_Moderne) 阿兰·德波顿发起的「Living Architecture」项目（注：阿兰·德波顿曾出版《幸福的建筑》一书） (https://www.living-architecture.co.uk/our-story.asp) 建筑师、建筑理论家 Adolf Loos (https://en.wikipedia.org/wiki/Adolf_Loos) 另注：口头提到的po-mo是postmodern的简称 收听方式： 推荐在泛用性播客客户端中搜索「所建所闻」订阅之后收听。 苹果手机推荐使用Overcast、Pocket Casts、Castro 安卓手机推荐使用AntennaPod、Pocket Casts、Castbox 此外还可以在喜马拉雅、网易云音乐、Spotify上收听。 联系方式： 网站：architalk.xyz 邮箱：hi@architalk.xyz 新浪微博：所建所闻 (https://m.weibo.cn/profile/6895347942) Twitter：ArchiTalkXYZ (https://twitter.com/ArchiTalkXYZ) Instagram：architalk.xyz (https://www.instagram.com/architalk.xyz/)

On Belonging with Professor Richard Larshan What do we mean by “belonging”? And is there any difference between the accompanying prepositions “to” or “with”? Discussing Walt Whitman’s “Crossing Brooklyn Ferry,” Adolf Loos’s “Poor Little Rich Man,” and William Faulkner’s “A Rose for Emily” can provide better understanding of both the works themselves and of their larger implications: Belonging as a sense of oneness with others and the universe? Belonging as ownership of property? Belonging as a form of control against the threatening abyss? To have and to have not. Richard Larschan is an English Professor Emeritus at the University of Massachusetts-Dartmouth. He earned his PhD from UC Berkeley with a dissertation on Jonathan Swift. His academic honors include two Fulbrights and four NEH summer grants. His publications include a critical introduction to "GULLIVER’S TRAVELS" and a co-authored book for cancer patients, along with various scholarly articles. He has also written and produced two videos about Sylvia Plath, was featured in a televised biography of Plath, and is cited in a half-dozen scholarly books on Plath.

On Belonging with Professor Richard Larshan What do we mean by “belonging”? And is there any difference between the accompanying prepositions “to” or “with”? Discussing Walt Whitman’s “Crossing Brooklyn Ferry,” Adolf Loos’s “Poor Little Rich Man,” and William Faulkner’s “A Rose for Emily” can provide better understanding of both the works themselves and of their larger implications: Belonging as a sense of oneness with others and the universe? Belonging as ownership of property? Belonging as a form of control against the threatening abyss? To have and to have not. Richard Larschan is an English Professor Emeritus at the University of Massachusetts-Dartmouth. He earned his PhD from UC Berkeley with a dissertation on Jonathan Swift. His academic honors include two Fulbrights and four NEH summer grants. His publications include a critical introduction to "GULLIVER’S TRAVELS" and a co-authored book for cancer patients, along with various scholarly articles. He has also written and produced 2 videos about Sylvia Plath, was featured in a televised biography of Plath, and is cited in a half-dozen scholarly books on Plath.

Ten years ago, the Austrian-born, New York–based graphic designer Stefan Sagmeister—famous for his attention-grabbing exhibitions, posters, and books, as well as for his impeccable album covers for bands like The Rolling Stones, OK Go, and Aerosmith—walked onto the stage at the TED Global conference in Oxford, England. There to present his findings about the power of time off, he spoke specifically about the virtues and values, personal and professional, of taking a sabbatical every seven years, something he started to do in 2000 and has continued to practice since. Coming in the midst of the Great Recession, the talk resonated widely: its resulting video has been watched more than three million times. Clearly, Sagmeister was, and is, onto something. Even if it’s something most people can only dream about. Since then, Sagmeister has gone on yet another sabbatical—his third, in 2016—this time stopping in Mexico City, Tokyo, and the town of Schwarzenberg, Austria, over the course of a year. (For his first sabbatical, he was in New York City; for his second, Bali.) On this episode of Time Sensitive, the 56-year-old looks back, with a fuller-picture view, at his three periods of time off. Digging in to how the sabbaticals created opportunities for incubating ideas that became two massive multi-year undertakings—one a project on happiness, the other on beauty—Sagmeister shares with Spencer Bailey how certain things have changed for his practice since that TED Talk a decade ago. In 2012, he joined forces with Jessica Walsh; their firm, Sagmeister & Walsh, now operates in a different, slightly larger office than the one he was in, and having another partner at the firm has shifted how things run overall. Still, Sagmeister’s signature approach to design remains as exuberant as ever. For clients including the duffel-bag brand Baboon, the Jewish Museum, and the Miami advertising agency Gut, the firm continues to produce inventive and playful work.

A arquitetura precisa funcionar, disfuncionar ou algo além de funcionar? DESCRIÇÃO No fim do século XIX o arquiteto Louis Sullivan, tradicionalmente associado à Escola de Chicago, cunhou a expressão "a forma segue a função". Desde então, o lema se transformou em grito de guerra para uma ética do projeto de pretensões modernizadoras e totalizantes. Anos mais tarde Adolf Loos associaria todo ornamento ao delito (“The evolution of culture marches with the elimination of ornament from useful objects”) e o clássico Mies van der Rohe diria que "menos é mais". Já nos anos 60, contudo, jovens arquitetos respondiam à sugestão de que "less is more" com "less is a bore": o casal Venturi e Scott Brown, em particular, explorava aspectos semióticos dos edifícios que contradiziam as supostas associações entre forma e função. Mais de um século após Sullivan, esse debate ainda faz sentido? MARCAÇÕES 00h01min30s - Preâmbulo 00h04min16s - Debate 00h50min58s - Entrevista 01h08min51s - Crônica LINKS Archidaily: Louis Sullivan Interesting Engeneering: 25 casos de falhas na arquitetura Archdaily: A polêmica dos novos pontos de ônibus em São Paulo Monografia de Luiza Orsini Cavalcanti: A Implantação do BIM e a Melhoria do Processo de Projeto na CPTM. MÚSICAS Eliza Aria (Wild Swans Suite) - Elena Kats-Chernin Variations for Vibes, Pianos and Strings: I Fast - Steve Reich Five Nine Seven Eight - Virt Playlist no Spotify

Ciclos de conferencias: Cuatro ciudades. Episodios de la historia cultural del siglo XX en Occidente (I). Viena 1900-1918: Wagner, Freud, Klimt. Luis Fernández-Galiano. La Viena de comienzos del siglo XX fue escenario de un extraordinario florecimiento cultural. Si en las grandes metrópolis europeas –Londres, París o Berlín– las élites intelectuales, artísticas o científicas vivían enclaustradas en sus campos específicos, en Viena existió una fluida comunicación entre disciplinas que promovió la innovación y la apertura de nuevos territorios: en la psicología con Freud, en la literatura con Hofmannsthal o Kraus, en la historia del arte con Riegl, en la música con Mahler, en el urbanismo con Wagner o Sitte, en la pintura con Klimt, Schiele o Kokoschka, en la economía con Menger y en la política con Adler o Bauer. La ciudad que estaba transformando su realidad urbana con el gran proyecto de Ringstrasse alumbró una nueva arquitectura racional con las obras de Otto Wagner y los escritos de Adolf Loos, exploró los abismos del inconsciente con Sigmund Freud e hizo visible la importancia de la sexualidad con las imágenes convocadas por Gustav Klimt y Egon Schiele, pero toda esta construcción cultural se vio arrastrada por el vendaval de la Gran Guerra a la que llevaron unos líderes sonámbulos. Nuestro relato comienza en 1900, fecha en la que se publicó La interpretación de los sueños de Sigmund Freud, y llega hasta 1918, que marca el fin del Imperio austrohúngaro y la muerte de Wagner, Klimt o Schiele, todos ellos víctimas de la llamada "gripe española", una pandemia que causó más fallecimientos que la propia Guerra Mundial. Explore en www.march.es/conferencias/anteriores el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Most people refer to architect Mies van der Rohe as Mies, which puts him into that rare club of people known by their first names, like Cher or Sting or Wynonna.  Born in Germany, Mies was into totally architect Adolf Loos -- who famously declared that ornament is a crime and pursued unadorned Modernist design to represent the new era of technology and production. Mies got worldwide attention with two projects, the Barcelona Pavilion and the Villa Tugenhat. He joined the avant-garde Bauhaus school as director of architecture and left Germany in 1937 to head up the architecture school at the Illinois Institute of Technology in Chicago. He designed many buildings on that campus including Crown Hall for the School of Architecture. Along with Gropius and Lecorbusier, Mies is widely regarded as one of the masters of Modernist architecture. Mies died fifty years ago in 1969.  One of this three daughters was named Marianne, and her son became a talented architect in his own right. Dirk Lohan, grandson of Mies van der Rohe, was born near Berlin in 1938 and left Germany to study with his grandfather at the Illinois Institute of Technology.  Later, he worked with Mies designing projects as the New National Gallery in Berlin, the IBM office building in Chicago and The Toronto Dominion Centre.  He's known for the renovated Soldier Field, the original McDonald's campus (where he witnessed the first McNuggets), and many other buildings. He served on the Board of the Illinois Institute of Technology, the Board of Directors of Chicago Maritime Museum, and not surprisingly, the Mies van der Rohe Society.  

Wir sprechen in dieser Folge über den Architekten Adolf Loos. Er gilt als Wegbereiter der modernen Architektur und war ein scharfer Kritiker des Jugendstils, der Wien zur Jahrhundertwende prägte. Vor allem das Ornament war ihm ein Dorn im Auge, was ihn auch zu seinem berühmtesten Essay „Ornament und Verbrechen“ inspirierte. 1928 wurde Loos verhaftet und er musste sich wegen Vorwürfen des sexuellen Missbrauchs an drei Mädchen verantworten. Zwar wurde Loos „von den Verbrechen der teils vollbrachten, teils versuchten Schändung freigesprochen“, aber „wegen Verführung zur Unzucht von ihm anvertrauten Kindern bedingt zu vier Monaten Arrest verurteilt“. Die Strafe wurde zur Bewährung ausgesetzt. Während der Fall vor allem auf Basis der damaligen Medienberichterstattung aufgearbeitet wurde, kam es 2014 zu einer überraschenden Wende: der verschollene (und vollständige) Gerichtsakt tauchte auf und brachte neue Erkenntnisse über Anklage, Verhöre und Verlauf des Prozesses. Gerichtsakten in der Strafsache gegen Adolf Loos (Wiener Stadt- und Landesarchiv)

Adolf Loos’s essay ‘Ornament and Crime’ (1910) is considered the classic modernist polemic against the frills and folderols of the established arts of the day. We're in the city of Freud — and the neurotic subtext is very close to the surface. We discuss a little of Loos’s career as an architectural iconoclast, jersey fanatic, and pervert :-/ Then we go on to a more freeform discussion of ornament in the contemporary, during which we massively contradict ourselves several times. We discussed —  Freud Nietzsche Hegel Darwin Louis Sullivan Mrs Beeton English Free Building — Hermann Muthesius Peter Behrens Karl Friedrich Schinkel Joseph Maria Olbrich Henry van der Velde Joseph Hoffmann Josephine Baker’s 'Banana Dance' The black granite bathroom at Villa Karma (On the subject of reprehensible characters) Albert Speer Contemporary ornamenters —  Caruso St John Farshid Moussavi & her book on facades Music —  Victor Sylvester and his Ballroom Orchestra ‘Vienna, City of my Dreams’ The Three Suns ‘Alt Wien’ (1949) Philharmonic Orchestra Berlin ‘Von Wien durch die Welt' Oldbrig's zither trio ‘Wien bliebt Wien’ All from archive.org Follow us on twitter // instagram // facebookWe’re on the web at aboutbuildingsandcities.orgThis podcast is powered by Pinecast.

Architectural drawing as an autonomous form of art. A short film about the 40000 drawings architectural-collection of Albertina Museum in Vienna. Produced by CastYourArt.

Die Architekturzeichnung als eigene Kunstform. Einblick in die über 40000 Zeichnungen umfassende Sammlung zur Architektur des Albertina Museums. Produziert von CastYourArt.

We conclude our discussion of the 1922 Chicago Tribune competition, going through a few of the less favoured entries, and discussing how it’s been seen and understood in the years since. Apologies for some clipping on the audio – we’ve tried to edit most of it out but some is still left.As before, you can see all the entries in this bookWe discuss the entries of – Walter Gropius (197) Adolf Loos (196) Paul Gerhardt (159 & 160) Saverio Dioguardi (248) Vittorio Pino (252) Alfred Fellheimer & Steward Wagner (158) – the big pyramid Emile Pohle & Adolf Ott (200) – the bridge Walter Fischer (221) Bruno & Max Taut (231, 229) Gerhardt Schröder (228) Fritz Sackermann (225) Anonymous (281)  Plus anonymous entries by –  Hans Scharoun Wassili Luckhardt Manfredo Tafuri’s 'The Disenchanted Mountain' — published in ‘The American City’ (Cambridge, MIT Press, 1979)Ludwig Hilberseimer’s unentered design Hugh Feriss’s Envelope Drawings Pier Vittorio Aureli’s ‘The Barest Form in which Architecture Can Exist’The book of ‘Late Entries’ can be found hereDiana Agrest ‘Architectural Anagrams’ in Oppositions 11Music includes Collins and Harlan ‘The International Rag’ King Olivers Creole Jazz Band ‘Just Gone’ …both from the Free Music Archive and first heard on the excellent Antique Phonograph Music ProgramThis podcast is powered by Pinecast.

American author Jonathan Franzen's interest in the Austrian satirist and journalist resulted in him publishing The Kraus Project. He joins Philip Dodd, novelist Lawrence Norfolk and literary historian, Heide Kunzelmann for a programme exploring the writing and politics of Karl Kraus (1874–1936) - whose artistic achievements include 700 one man performances of works by Brecht, Goethe, Shakespeare and others - plus performances of Offenbach's operettas, accompanied by piano and singing all the roles himself; whose magazine Die Fackel published Oskar Kokoschka, Adolf Loos, Heinrich Mann, Arnold Schönberg, August Strindberg and Oscar Wilde and whose support for other artists included assisting Frank Wedekind in staging his controversial play Pandora's Box. In 1915 Kraus began writing a satirical play about World War One called The Last Days of Mankind which mixes dialogue drawn from contemporary documents with fantasical expressionist scenes of apocalypse. A dramatisation featuring actors Giles Havergal and Paul Schofield was broadcast by BBC Radio 3. Part of Radio 3's Breaking Free series of programmes exploring music and culture in Vienna. Producer: Zahid Warley

Cuma Adli Adamlar: 19 Temmuz 2013 Beatriz Colomina'nın 'Mahremiyet ve Kamusallık: Kitle İletişim Aracı Olarak Modern Mimari' başlıklı kitabından yola çıkarak modern mimaride kamusallık ve mahremiyet üzerine bir tartışma. Mahremiyet ve Kamusallık, modern mimari hareketinin Adolf Loos ve Le Corbusier gibi iki önemli figürünün eserlerinden yola çıkarak, mimarinin ancak kitle iletişim araçlarıyla temasa geçtiğinde modern olduğunu ve böylece geleneksel mekân ve öznellik anlayışlarının temellerini sarstığını savunuyor. Mimarlığın kabul gören bakış açılarının temel varsayımlarını sorguluyor ve mimari eleştirinin yöntemini yeniden değerlendiriyor. Arşivden şehre, modaya, savaşa, reklamcılığa ve müzeye kadar uzanan entelektüel bir yolculukta, mekânları deneyimleme biçimlerimizdeki değişikliklerin izlerini süren kitap, mimari söylemi çizim, model, fotoğraf, kitap, film ve reklam gibi pek çok temsil biçiminin kesişim noktası olarak gördüğü için, mimari nesneye, yani başlı başına bir temsil mekanizması olan binalara başka gözlerle bakmayı öneriyor.

The architect Adolf Loos was also forging a path into the modern age, but his philosophy was utterly opposed to that of the Secession designers. Here we take a look at these two philosophical approaches to modern design at the turn of the 20th Century.

Bart Lootsma über Josef Hoffmann und Adolf Loos

Can art create a livable space? A podcast on the exhibition “Viennese Model Rooms” at the Belvedere in Vienna.

Wherein lies "The Power of Ornaments"? The curator Sabine B. Vogel and the artist Parastou Forouhar answer at the Orangery, Lower Belvedere.

Kokoschka war expressiv, als Maler und Schriftsteller, als aufstrebender Künstler wie auch als Liebender. Alfred Weidinger, Chefkurator des Museums Belvedere über den Künstler.

Kokoschka war expressiv, als Maler und Schriftsteller, als aufstrebender Künstler wie auch als Liebender. Alfred Weidinger, Chefkurator des Museums Belvedere über den Künstler.

Kokoschka war expressiv, als Maler und Schriftsteller, als aufstrebender Künstler wie auch als Liebender. Alfred Weidinger, Chefkurator des Museums Belvedere über den Künstler.

Il famoso American Bar di Adolf Loos

Le bar renommé de Adolf Loos: le American Bar.

I've found some buildings that look better in reality than in rendering -- and they are all designed by one firm. The firm is Herzog & de Meuron, the Swiss architects, whose de Young Museum in San Francisco opened recently. What struck me about their work, as it relates to a discussion of architectural rendering is that many of their buildings look, well, dull in renderings -- and they even look dull in models. But consistenly, Herzog & de Meuron's built work is better than the renderings. That is rare in contemporary architecture, especially in architecture where the renderings seem to rely more and more on computer tricks and lighting for dramatic effect. It was the architect Adolf Loos who, in 1908, set us on a difficult and publicly unpopular course through the 20th century, declaring Ornament a Crime -- and it was interpreted by Modernists to include any ornament, and anyone who chooses to decorate their designs was suspect for most of the 20th century, but now, perhaps the tide is turning? Herzog and de Meuron are breaking this century-long trend and in many buildings celebrate ornament. Is this their secret to rendering reality? Photograph is a backlit panel of the perforated copper screens at the de Young Museum in San Francisco. Other Herzog & de Meuron buildings to look up: the Ricola Production and Storage Building; the Library of Eberswald University; the Tate Modern; the Dominus Winery. For more information about the new de Young Museum, visit www.thinker.org. And for some designs for which I am guilty, visit www.tedwells.com.