(l) Threshold LOCATION OF THRESHOLD STUDIES CENTRAL STAIR Adolf Loos, ‘Ornament and Crime, Selected Essays’, California (1998), 39-189 Adolf Loos, drawings, Europeana Collections, [accessed 15/11/2019] Jackie Craven, ‘The Looshaus Scandal in Vienna’, Thought Co., 2019, [accessed 15/11/2019] References for additional images: Charles Rennie Mackintosh, ‘Rose and Teardrop’, Textile design, < https://www. theguardian.com/artanddesign/2018/ jun/07/charles-rennie-mackintoshIntroduction: Own work based on Adolf architect-of-choice-blade-runnerLoos, drawings, Europeana Collections, doctor-who-madonna-glasgow> (1915 [accessed and Crafts’, Journal of the Society of Archi- 15/11/2019] tectural Historians, 73 (2014), 285-287 Privacy and Publicity: Modern Architecture Cox Bernard Hugh, photograph, [accessed 15/11/2019] A History’, Vienna Secession, 2017, [accessed 04/12/2019] ory’, Journal of Architectural Education, 48 (1995), 185-201 Unknown author, ‘Adolf Loos’, Architectuul, 2019, [accessed 15/11/2019] ioning of ‘the other’, Interiors/Design/Architecture/Culture, 2 (2011), 213-237 Unknown Author, ‘Loos Haus, Vienna’, Architectuul, 2019, [accessed nating Lighting in Adolf Loos’ Early Com15/11/2019] mercial Designs’, Journal of Design History, 25 (2012), 145-154 Unknown Author, ‘The Story of the Loos Haus’, Secret Vienna, 2017, Daily, 2019, [accessed 15/11/2019] (l) Threshold Loos defines culture as “that balance of man’s inner and outer being which alone guarantees rational thought and action” - this is reflected throughout the thresholds within Looshaus. Mirrors, smooth curves and juxtaposition with the site through thresholds each create a sense of reflection. The privacy established by each of the thresholds implies a sense of calm; whilst mirrors located around prominent thresholds encourage thought and consideration of spatial boundaries - particularly as occupants transgress between spaces. Architect: Unknown Author, ‘Did Adolf Loos think Ornament was Crime?’, Phaidon, < https://uk.phaidon.com/ agenda/architecture/articles/2018/ december/10/did-adolf-loos-thinkornament-was-crime-and-was-heright/> [accessed 12/12/2019] Unknown Author, ‘Adolf Loos ‘Private Spaces’ at Barcelona Design Museum’, Bigmat International Architecture Agenda, < https://www.bmiaa.com/ events/exhibition-adolf-loos-privatespaces-at-barcelona-design-museum/> [accessed 12/12/2019] WINDOW SECONDARY STAIR CENTRAL STAIR COLUMNS / ENTRANCE SECONDARY STAIR 27 28 Unknown Author, ‘The Cafe Museum Story’, Cafe Museum, < https://www. cafemuseum.at/en/cafe-museum/thestory.html> [accessed 12/12/2019] Ermengem, Kristiaan, “Michaelerplatz, Vienna”, A View On Cities, 2019 [Accessed 12 December 2019] Emma Taggart, ‘Meet William Morris’, My Modern Met, (2018), [accessed 12/12/2019] CENTRAL STAIR 32 Gustav Klimt, ‘Beethoven Freize’, painting, < https://www.klimtgallery. org/the-complete-works.html?ps=96> [accessed 12/12/2019] Site: Unknown Author, ‘Künstlerhaus Wien’, Wikiwand, < https://www.wikiwand. com/de/K%C3%BCnstlerhaus_Wien> [accessed 12/12/2019] Jackie Craven, ‘Biography of Adolf Loos, Belle Epoque Architect and Rebel’, Thought Co., 2019, [accessed 15/11/2019] Gustav Klimt, ‘Kiss’, painting, < https:// www.klimtgallery.org/the-completeworks.html?ps=96> [accessed 12/12/2019] Jay Merrick, ‘The Loos Cannon’, Architects’ Journal, (2011), < https:// www.architectsjournal.co.uk/culture/ the-loos-canon-adolf-loos-at-theriba/8610849.article> [accessed 12/12/2019] Unknown Author, ‘Rufer House’, Great Buildings, [accessed 12/12/2019] Frederic Morton, ‘Vienna’s Evening Star’, Vanity Fair, [accessed 04/12/2019] SECONDARY STAIR Unknown Author, ‘Hoe cities have been shaped by defence’, Munson’s City, < https://www.pinterest.co.uk/ pin/420734790162597310/> [accessed 12/12/2019] Loos, Adolf, Roberto Schezen, Kenneth Frampton, Joseph Rosa, and Maria Nievoll, Adolf Loos (Salzburg: Residenz Verlag, 1996) Jackson, Jake “Jake Jackson”, 2019 [Accessed 12 December 2019] “VIE I PEE VIENNA | Vip Table & Bottles | Bookings, Info & Prices”, Nightlife VIP Tables, 2019 [Accessed 12 December 2019] vienna, Map, and Austria. Europe Map of Vienna, “Map Of Vienna, City Map, Austria. Europe Stock Vector - Illustration Of Minor, Europe: 114911027”, Dreamstime, 2019 [Accessed 12 December 2019] Sforzi, Riccardo, “Exhibiting The City Kooza/Rch”, Kooza/Rch, 2019 [Accessed 12 December 2019] Programme: “Flickriver: Photoset ‘AUSTRIA Architecture In Vienna’ By Carlo. Fumarola”, Flickriver.Com, 2019 [Accessed 12 December 2019] “Vienna Luxury And Elegance At The Loos House - The Vienna BLOG - Lifestyle & Travel Blog In Vienna”, The Vienna BLOG - Lifestyle & Travel Blog In Vienna, 2019 [Accessed 12 December 2019] profile, View, “Inside The Loos Haus #2”, Vrenisviennadailyphoto.Blogspot.Com, 2019 [Accessed 12 December 2019] 1, Správa, “Loos Interiors: Official Website Of The City Of Pilsen”, Pilsen. Eu, 2019 [Accessed 12 December 2019] Burger, Manfred, “Loos -Fotografie Von Archtitektur | Manfred Burger Wien”, Manfred Burger, 2019 [Accessed 12 December 2019] “Goldman And Salatsch Building Dwg Drawings”, Archweb.It, 2019 [Accessed 12 December 2019] Structural Strategy: Materiality: Unknown Author, ‘Inside the Loos House #3’, Vreni’s Vienna Daily Photo, (2016) < http://vrenisviennadailyphoto.blogspot. com/2016/09/inside-loos-haus-3.html> [accessed 12/12/2019] Own work based on “Goldman And Salatsch Building Dwg Drawings”, Archweb.It, 2019 [Accessed 12 December 2019] Unkown Author, ‘Looshaus’, Wikipedia, (2019), < https://en.wikipedia.org/wiki/ Looshaus> [accessed 12/12/2019] Christopher Long, ‘The Looshaus’, (Yale: Yale University Press, 2011) Concept Development: Environmental Strategy: Christopher Long, ‘The Looshaus’, (Yale: Yale University Press, 2011) p.47 “Looshaus”, COOL CITIES, 2019 [Accessed 12 December 2019] Ibid., p.47 Ibid., p.48 Ibid., p.51 Ibid., p.86 Ibid., p.87 Ibid., p.118 Ibid., p.106 Ibid., p.104 Week, Vienna, “TOUR 3: CZECH INTERPRETS LOOS — Vienna Design Week”, Vienna Design Week, 2019 [Accessed 12 December 2019] “Goldman And Salatsch Building Dwg Drawings”, Archweb.It, 2019 [Accessed 12 December 2019] Ibid., p.105 Ibid., p.132 Ibid., p.146 White Carrara marble photograph, Christopher Long, ‘The Looshaus’, (Yale: Yale University Press, 2011) p.169 All other photographs own work. Threshold: Loos, Adolf, Roberto Schezen, Kenneth Frampton, Joseph Rosa, and Maria Nievoll, Adolf Loos (Salzburg: Residenz Verlag, 1996) “Celebrating Vienna’s Architecture”, Thoughtco, 2019 [Accessed 12 December 2019] BELL, DAVID. “The Irritation of Architecture.” Journal of Architectural Education (1984-), vol. 64, no. 2, 2011, pp. 113–126., www.jstor.org/ stable/41318787. Own work “Search The Royal Institute Of British Architects Image Library | RIBA”, Ribapix, 2019 [Accessed 12 December 2019] “ 33 (l) Threshold INTERIOR DOOR WINDOWS/ STORE FRONT FACADE MAIN ENTRANCE - COLUMNS Geometric collage exploring symmatry and reflection on mirror pattern. Mirrors and reflections change the sense of each threshold, distorting one’s perception of special boundaries. As well as physical mirrors, reflections in marble also play with interpretation of space and inhabitants’ perception of each threshold. Dominantly these reflective threshold features are located around stairs and passageways. Loos’ architecture sought to address a “perceived loss of balance” - this sense is created through reflections and controls how it feels to pass between spaces. This became “ his way of resisting the entire spectrum of cultural falsifications that he saw in Austrian life”. The columns are occupant’s first interaction with Looshaus; they are described as “conservative and radical”, which is evident through Adolf Loos’ “uneasy juxtaposition” between the “plastic materiality of the Doric column” and other architectural surroundings, which are depicted to have “prismatic and crystalline austerity. 29 174 AP P E N DI X 30 AP P E N D I X 175