000			02782cam a22004457i 4500
001			17831391
003			OSt
005			20230210195923.0
008			130730s2013 enka b 001 0 eng d
010			_a 2013431573
016	7		_a016172969 _2Uk
020			_a9781780764221 (HB)
020			_a1780764227 (HB)
020			_a9781780764238 (PB)
020			_a1780764235 (PB)
035			_a(OCoLC)ocn809977213
040			_aERASA _beng _cERASA _erda _dUKMGB _dBTCTA _dYDXCP _dYNK _dCDX _dNGA _dOSU _dOCLCQ _dDEBBG _dEMU _dDLC
050	0	0	_aNA1011.5.L6 _bM37 2013
082	0	4	_a724.6 MAS
092			_20
100	1		_aMasheck, Joseph, _eauthor.
245	1	0	_aAdolf Loos [electronic resource] : _bthe art of architecture / _cJoseph Masheck.
264		1	_aLondon ; _aNew York, NY : _bI.B. Tauris, _c2013.
264		4	_c©2013
300			_a1 digital resource (xxviii, 290 pages) : _billustrations ; _c24 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
490	0		_aInternational library of architecture ; _v1
504			_aIncludes bibliographical references (pages 277-284) and index.
505	0		_aLoos and fine art -- Loosian vernacular : an American case -- Loos and imperial New York -- Critique of ornament -- Architecture and ornament in fact -- Everybody's doric -- Architecturelessness and sustainable art -- The Wittgenstein house as Loosian -- Loos and minimalism.
520	8		_aWidely regarded as one of the most significant prophets of modern architecture, Adolf Loos was a celebrity in his own day. His work was emblematic of the turn-of-the-century generation that was torn between the traditional culture of the nineteenth century and the innovative modernism of the twentieth. His essay 'Ornament and Crime' equated superfluous ornament and 'decorative arts' with tattooing in an attempt to tell modern Europeans that they should know better. But the negation of ornament was supposed to reveal, not negate, good style; and an incorrigible ironist has been taken too literally in denying architecture as a fine art. Without normalizing his edgy radicality, Masheck argues that Loos' masterful "astylistic architecture" was an appreciation of tradition and utility and not, as most architectural historians have argued, a mere repudiation of the florid style of the Vienna Secession. Masheck reads Loos as a witty, ironic rhetorician who has all too often been taken at face value.
600	1	0	_aLoos, Adolf, _d1870-1933 _xCriticism and interpretation.
650		0	_aArt and architecture.
843			_aPhotocopy
887			_2CamTech Library
906			_a7 _bcbc _ccopycat _d2 _encip _f20 _gy-gencatlg
942			_2ddc _cBK _n0
999			_c495 _d495