出版社：Institute of the History of Art of the Academy of Sciences of the Czech Republic
摘要：The protagonists of the modern movement accepted both Adolf Loos and Henry van
de Velde as father figures because of their distinguished theoretical
reflections on art, architecture and culture, corresponding to their
architectural practice which broke with the academic historicism and eclecticism
of late 19th century. Van de Velde as well as Loos had helped to
reformulate the architectural discipline - and to advance architecture (and
industrial design) as the prototypical expression of their time. Hitherto,
research and analysis have been concerned with the historic role of each of the
two architects: their designs and buildings, their theoretical texts and
influences, and, of course, critical revision of the modernists' reductive
readings of these. This essay takes a different approach: perhaps the polemic
attacks launched by Loos were not so much "spoken into the void" as he allowed
his readers (then and now) to believe, but should be evaluated against the
background of a larger discourse, in which architecture and culture under modern
conditions - had already been introduced. Loos as well as van de Velde take up
the threads of the long 19th Century, and in many cases they refer to
the same sources, such as Semper, Ruskin or Nietzsche, however dialectically
opposed in their readings of these. This study uncovers a strong
interrelationship between van de Velde's essays and the counterattacks of Loos,
with a close reading of some initial texts that establishes their relationship
to earlier debate. Yet, the metaphor of the pivot suggests another possible
perspective - and this is the underlying theme of continuous Modernity, i. e.
the theory that various aspects of the subsequent architectural discourse of the
20th Century can be identified in the polarity of of Loos and van de
Velde: take for example the syntactic linguistic analogy of architecture of the
1960-1980s in the work of Aldo Rossi or Peter Eisenman inscribed in nuce
in Loos' reflection on grammar and plan, whereas the idea of an organic,
animated architecture became a side branch of High Modernism and has re-entered
the scene in the last decade with "architecture non-standard," along with
a revived interest in ornament and conceptual art.
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