Architecture and Modernity : A Critique

exterior is distinguished by the explicit contrast between the front facade with its al- most threatening character that seems t ...

91 90 48 Adolf Loos, house on the Michaelerplatz, Vienna, 1909–1911. (Photo: Albertina, ALA 2408.) ...

equivalent spaces between the rectangular column blocks are occupied by the bow windows of the mezzanine gallery. The relation b ...

93 92 52 50 Adolf Loos, house on the Michaelerplatz, view of the Loos house together with the neighboring Herberstein palace. Ad ...

of the mezzanine the interior fills up the empty space above the porch: the top of the columns is indicated by a simple metal gi ...

95 nity as a very specific continuation of the tradition. His ideas are not avant-garde in character: one does not find any reje ...

interiors that are decorated by professionals. In such interiors dwelling is not experi- enced on the basis of personal memories ...

97 into exile and from then on his situation was extremely precarious. A minimal grant from the Institut für Sozialforschung^42 ...

because it is an authentic expression of the “poverty” that is typical of this civiliza- tion, thus foreshadowing the realizatio ...

99 consciously a text is constructed, and the more motivated the words, the less arbitrary the words become, and their abstract ...

The hallmark of modernity is the decay of the subject’s mimetic faculty and, with it, of the influence of tradition and of the s ...

101 mersed in a work of art as is the case, say, when one looks at a painting—it is rather the work of art itself that is immers ...

from Paradise; it has got caught in his wings with such violence that the an- gel can no longer close them. This storm irresisti ...

103 In theory, then, the possibility of realizing the utopian final goal is implicit in every par- ticular historical moment. Re ...

tential for reversal (Umschlag), as a state, in other words, whose revolutionary pos- sibilities should be recognized and exploi ...

105 104 Galerie Véro-Dodat, Paris, 1823–1826. (Photo: Annemie Philippe.) 55 Galerie Véro-Dodat. (Photo: Annemie Philippe.) 54 ...

Passage des Panoramas, Paris, 1800. (Photo: Annemie Philippe.) Passage des Panoramas. (Photo: Annemie Philippe.) 56 57 3 Reflect ...

107 Streets are houses of the collective. The collective is an ever-vigilant, mobile being, that experiences, learns, and create ...

ety. This assessment of modern architecture is closely linked to his call for a new bar- barism, for a new start for humanity th ...

109 tory. His underlying purpose was to explore the notion of allegory with a view to shedding light on the approaches and strat ...