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Adolf Loos [1870-1933] Austrian
Rank: 103
Architect


Adolf Franz Karl Viktor Maria Loos was an Austrian and Czechoslovak architect and influential European theorist of Modern architecture.

Architecture, Art, Truth, Future, Home, Nature, Work



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The house has to please everyone, contrary to the work of art which does not. The work is a private matter for the artist. The house is not. Art, Home, Work
101
Be truthful, nature only sides with truth. Nature, Truth
102
Changes in the traditional way of building are only permitted if they are an improvement. Otherwise stay with what is traditional, for truth, even if it be hundreds of years old has a stronger inner bond with us than the lie that walks by our side. Truth
103
The work of art shows people new directions and thinks of the future. The house thinks of the present. Architecture, Art, Future
104
The law courts must appear as a threatening gesture toward secret vice. The bank must declare: here your money is secure and well looked after by honest people.
105
The work of art is brought into the world without there being a need for it. The house satisfies a requirement. The work of art is responsible to none; the house is responsible to everyone. The work of art wants to draw people out of their state of comfort.
106
The house has to serve comfort. The work of art is revolutionary; the house is conservative.
107
Does it follow that the house has nothing in common with art and is architecture not to be included in the arts? Only a very small part of architecture belongs to art: the tomb and the monument. Everything else that fulfils a function is to be excluded from the domain of art. Architecture
108
The room has to be comfortable; the house has to look habitable.
109
Be not afraid of being called un-fashionable.
110
At the beginning of the nineteenth century we abandoned tradition, it's at that point that I intend to renew it because the present is built on the past just as the past was built on the times that went before it.
111
Man loves everything that satisfies his comfort. He hates everything that wants to draw him out of his acquired and secured position and that disturbs him. Thus he loves the house and hates art.
112
Architecture arouses sentiments in man. The architect's task therefore, is to make those sentiments more precise. Architecture
113
Supply and demand regulate architectural form.
114
It does not do to use it with forms whose origin is intimately bound up with a specific material simply because no technical difficulties stand in the way.
115
The Potemkin city of which I wish to speak here is none other than our dear Vienna herself.
116

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