Criminal Skins: Tattoos and Modern Architecture in the Work of Adolf Loos
Criminal Skins: Tattoos and Modern Architecture in the Work of Adolf Loos
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犯罪皮肤：阿道夫·路斯作品中的纹身和现代建筑
DOI：
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发表时间：
2005
影响因子：
0.4
通讯作者：
Andrew Herscher
中科院分区：
文献类型：
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作者：
Jimena Canales;Andrew Herscher
阿道夫·卢斯的著名论文《装饰与犯罪》，果断地将无装饰的建筑与现代文化联系起来，并以此成为现代建筑的关键组成部分之一。在很大程度上，这篇文章的力量来自于19世纪犯罪人类学的论点。然而，卢斯的作品一直只在两次世界大战之间的先锋派的背景下被理解。在20世纪20年代，勒·柯布西耶特别热衷于将卢斯的作品推向前台，从而建立了其未来的接待。“装饰与犯罪”成为建筑从19世纪的历史主义向现代主义转变的重要催化剂。在世纪之交，卢斯的文章已经预示了“少即是多”的白色抽象建筑和国际风格的功能主义严谨，这将主导20世纪。
Adolf Loos’s famous essay, ‘Ornament and Crime’, decisively linked unornamented architecture with the culture of modernity and, in so doing, became one of the key formulations of modern architecture. To a great extent, the essay’s force comes from arguments drawn from nineteenth-century criminal anthropology. Nevertheless, Loos’s work has been consistently understood only within the context of the inter-war avant- gardes. In the 1920s, Le Corbusier was particularly enthusiastic in bringing Loos’s work to the fore, thereby establishing its future reception. ‘Ornament and Crime’ became an essential catalyst for architecture’s conversion away from the historicism of the nineteenth century to modernism. At the turn of the century, Loos’s essay already foreshadowed the white abstraction of ‘less is more’ architecture and the functionalist rigour of the International Style which would dominate the twentieth century.