

On Loos, Ornament and Crime : Columns of Smoke: Volume II (Paperback)
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While the first volume of Columns of Smoke considered epoch-making architect Adolf Loos’s relationship with photography, here Lahuerta turns to the Classical strand in Loos’s architecture and to his written work—and specifically his engagement with architectural and artistic theory. Lahuerta pays particular attention to Loos’s seminal “Ornament and Crime,” the essay that established disornamentation as the signal feature of twentieth-century architecture. Through close analysis of that essay he unearths the racially charged, pseudoscientific ideas from early anthropology that underpin Loos’s thinking. Sure to be controversial, this new reading of Loos’s landmark writings calls the whole disornamentation project into question, and in the process, it reveals a radically new perspective on a major turn in modern design and culture.
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- Book formatPaperback
- Fiction/nonfictionNon-Fiction
- Publication dateNovember, 2015
- Pages112
- Series titleColumns of Smoke
- Number in series2
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On Loos, Ornament and Crime is the most controversial of the essays in the series entitled Columns of Smoke, in which Professor Juan José Lahuerta undertakes an acute and thoroughly documented rereading of modernity, linking the ideas of architecture and ornamentation and exploring the ways these have been treated in print.
In the previous volume of this series Lahuerta exploded clichés with his penetrating analysis of Loos's relationship with photography, and here he examines in fine detail the architect's written work, and in particular the texts that engage with architectural and artistic theory and continue the classical tradition of Schinkel, Semper and Riegl — an allegiance readily apparent in Loos's architecture. Lahuerta also discusses other articles in which Loos confronted his fellow architects over issuesfar removed from their shared profession, and shows us with tellingly insightful examples how 'Ornament and Crime', the founding essay of modernity that established disornamentation as the signal feature of twentieth-century architecture and culture, belongs to this second category. The ornament that Loos criminalizes, in language charged with the vocabulary of criminal anthropology and bioevolutionism of Max Nordau and Cesare Lombroso, has less to do with the decoration of buildings than with the tattoos, beads and feathers of 'primitives' and degenerates — women, Papuans, artists and criminals. Lahuerta traces Loos's adoption of pseudo-scientific beliefs that shaped the culture of the early twentieth century, and in so doing dismantles the historical value accorded to his famous text, which in this reading takes on a deeply disturbing significance.
While the first volume of Columns of Smoke considered epoch-making architect Adolf Loos’s relationship with photography, here Lahuerta turns to the Classical strand in Loos’s architecture and to his written work—and specifically his engagement with architectural and artistic theory. Lahuerta pays particular attention to Loos’s seminal “Ornament and Crime,” the essay that established disornamentation as the signal feature of twentieth-century architecture. Through close analysis of that essay he unearths the racially charged, pseudoscientific ideas from early anthropology that underpin Loos’s thinking. Sure to be controversial, this new reading of Loos’s landmark writings calls the whole disornamentation project into question, and in the process, it reveals a radically new perspective on a major turn in modern design and culture.
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