Adolf Loos: The Art of Architecture by Joseph Masheck

By Joseph Masheck

Considered as the most major prophets of contemporary structure, Adolf bathrooms used to be a cultural megastar from early on. His paintings is emblematic of the turn-of-the-century new release break up among the traditionalist tradition of the 19th century and the leading edge modernism of the 20 th. His essay decoration and Crime equated superfluous decoration with tattooing with a view to inform sleek Europeans that they need to understand greater. however the negation of decoration was once presupposed to display stable sort; and an indefatigable ironist has been taken too actually in denying structure as a good paintings. with no normalizing bogs s edgy radicality, Masheck argues that he affirmed real culture in addition to software, even convenience, whereas attacking the Vienna Secession as a pseudo-modern font of indulgently ornamental utilized paintings. No basic anti-architect, Masheck's bathrooms is an unruly but integrally canonical artist-architect. it is a brilliantly written revisionist analyzing of a perennially renowned founding modernist.

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Babbitt 11). This fascination—spurred by ubiquitous electric lighting, sensational accounts of electrocutions, and rapid technological innovations in communications—lingers well into the twentieth century. At the World’s Fair of 1900, in fact, “electricity became the focal point of the whole exposition” (Garelick 68). “The Electricity Fairy triumphs at the Exposition,” one witness enthused: “[S]he is born in heaven like true kings. . [E]lectricity cures everything. It is progress, the poetry of the poor and the rich; it brings illumination.

Finally, Michael Golston’s 2008 account of the “science” of “Rhythmics,” as understood by Pound and Yeats (and, to a lesser extent, Williams), likewise recognizes the intersection of these two kinds of discourse. * * * It is my further contention in this book that this often uneasy confluence of two disparate realms of discourse occurred, not coincidentally, at a time of rapid industrial and technological progress that evoked conceptions of the human body as newly vulnerable, with a particular “awareness of corporeal 16 ● Modernist Writings and Religio-scientific Discourse fragility” (to borrow Cassandra Laity’s description) (425).

We remain so today. . We were the last group to grow up under the formidable discipline of the nineteenth century whose effect, however much we resent it, cannot be entirely eradicated from our systems” (203). For many contemporary scholars on modernism (from Bradbury and McFarlane to those of the present) as well as for modernists themselves, the dawn of the twentieth century is often posited as a point of rupture, a definitive and irreparable break from everything that had come before it. What is ignored in this narrative of fracture, however, is that there is some degree of continuity between the nineteenth and twentieth centuries, that the early twentieth century simultaneously represses and expresses many elements of nineteenth-century history, culture, and thought.

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