Ornament and Crime
Ornament and Crime
Revolutionary essays on design, aesthetics and materialism - from one of the great masters of modern architecture
Adolf Loos, the great Viennese pioneer of modern architecture, was a hater of the fake, the fussy and the lavishly decorated, and a lover of stripped down, clean simplicity. He was also a writer of effervescent, caustic wit, as shown in this selection of essays on all aspects of design and aesthetics, from cities to glassware, furniture to footwear, architectural training to why 'the lack of ornament is a sign of intellectual power'.
Translated by Shaun Whiteside
With an epilogue by Joseph Masheck
Adolf Loos, the great Viennese pioneer of modern architecture, was a hater of the fake, the fussy and the lavishly decorated, and a lover of stripped down, clean simplicity. He was also a writer of effervescent, caustic wit, as shown in this selection of essays on all aspects of design and aesthetics, from cities to glassware, furniture to footwear, architectural training to why 'the lack of ornament is a sign of intellectual power'.
Translated by Shaun Whiteside
With an epilogue by Joseph Masheck
67.93Lei
67.93Lei
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Revolutionary essays on design, aesthetics and materialism - from one of the great masters of modern architecture
Adolf Loos, the great Viennese pioneer of modern architecture, was a hater of the fake, the fussy and the lavishly decorated, and a lover of stripped down, clean simplicity. He was also a writer of effervescent, caustic wit, as shown in this selection of essays on all aspects of design and aesthetics, from cities to glassware, furniture to footwear, architectural training to why 'the lack of ornament is a sign of intellectual power'.
Translated by Shaun Whiteside
With an epilogue by Joseph Masheck
Adolf Loos, the great Viennese pioneer of modern architecture, was a hater of the fake, the fussy and the lavishly decorated, and a lover of stripped down, clean simplicity. He was also a writer of effervescent, caustic wit, as shown in this selection of essays on all aspects of design and aesthetics, from cities to glassware, furniture to footwear, architectural training to why 'the lack of ornament is a sign of intellectual power'.
Translated by Shaun Whiteside
With an epilogue by Joseph Masheck
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