Quand, en 1128, Charles le Bon est assassiné, la Flandre entre dans une longue querelle de succession qui va permettre au nouveau comte, Thierry d'Alsace, puîné de Lorraine, de s'illustrer sur la scène politique. L'intérêt qu'il montre pour la res monastica va faire de lui un atout non négligeable dans la quête de développement du nouvel ordre de Cîteaux. Bernard de Clairvaux met alors à profit ses relations fréquentes avec le comte pour fonder à Loos, en 1146, une nouvelle fille de son abbaye, dans le diocèse de Tournai nouvellement indépendant. En m'appuyant sur un corpus riche de documents, dépouillé et analysé au préalable, j'ai pu dégager cinq principaux domaines de recherche. Débarrasser, dans un premier temps, l'abbaye de toutes les fantaisies dont l'avaient ornée les historiographes et reconstituer le contexte de la fondation. Etablir, dans un second temps, l'espace structurel du monastère. Enfin, en trois parties distinctes, analyser les grands aspects de la vie monastique : la vie communautaire - passage de la vie séculière à la vie conventuelle, rôle et statut de chacun, conformité à la législation cistercienne - , le monde des convers - vie des granges, agriculture et principes d'écoulement des denrées ainsi produites-, l'implication dans le monde de ces moines pourtant cloîtrés - amis et bienfaiteurs, relations interreligieuses d'entente et de confrontation. La publication du chartrier du XIIème siècle, celle de deux chroniques, des notices concernant chaque grange et chaque abbé, puis quelques généalogies des principales familles impliquées dans la fondation font l'objet des annexes / In 1128, following the assassination of Charles le Bon, Flanders entered into a long dispute over succession which was to allow the new Count, Thierry of Alsace, the younger of Lorraine, to win fame on the political stage. The interest which he brought to res monastica was to make him a valuable asset in the quest for the development of the new order of Cîteaux. Bernard de Clairvaux made the most of his frequent dealings with the Count to found in Loos in 1146 a new branch of his abbey in the newly independent diocese of Tournai. Basing my study on a rich corpus of documents, suitably sorted and analysed beforehand, I have been able to extract five main areas of research. Firstly, to dispense with the fantasies surrounding the abbey which former historians had embellished and reconstruct the real context of its foundation. Secondly, establish the stuctural basis of the abbey. Lastly, in three distinct parts, analyse the main traits of monastic life. 1. Community life - the passage from secular to convent life, the role and status of each and everyone, conformity to Cistercien law, 2. Lay society - barn life, agriculture and the production and distribution of produce, 3. The involvement in society of monks in spite of their cloistered existence - friends and benefactors, made up of interreligious agreements and confrontation. The publication of the XII century charter, that of two chronicles, notices pertaining to each barn and each abbot, along with ancestry of the main families involved in the foundation can be found in the appendices

Diss. : Kunstgeschichte : Salzburg : 1981. - Bibliogr. des œuvres de A. Loos p. 217-222. Bibliogr. p. 223-243. -

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991. / Includes bibliographical references. / This dissertation investigates changes that occurred in architectural culture in respect to conditions of modernity. Large-scale industrialization and urbanization caused dramatic ruptures with traditional social and economic hierarchies, forcing a reconceptualization of the theoretical constructs underlying architecture. During the course of the nineteenth century, writers on architecture took an active role in attempting to make sense of these changes. By the end of the century, the Viennese architect and theorist Adolf Loos set forth a critical project, often in confrontation with the views of others, to overcome the growing separation between the realms of reality and representation in design. The particular objective of this study is to situate Loos's texts within the intellectual context of Austrian and German writings on architecture and the practical arts. Such theories prefigure important expressions of modernism in the twentieth century. These writings also express a deep range of thoughts on the changing material and intellectual conditions affecting the visual arts. They exemplify a long series of attempts to create a unified identity for architecture in a world of new social relations and value systems. Despite amorphous conditions which favored social heterogeneity and difference, writers sought uniformity and an authoritative ground for architectural logic. The textual discourse in journals and books reveals the mental structures and preoccupations of writers in the grips of rapid transformation. On the practical level, new functional needs led to an expanded and diverse range of building types and plans. Further, industrial advances in construction technology and the use of new materials such as iron and glass challenged the applicability of traditional architectural forms for these new buildings. In turn, in a theoretical vein, debates on ethnic and historical genealogy and the epistemological or ontological foundations of all aspects of design turned architectural thought away from its former reliance on classicist paradigms of knowledge. It was also during the nineteenth century that historical consciousness structured architectural epistemology. As traditional guarantors of knowledge were questioned, the entirety of concepts defining architecture was transfigured. Laos and other writers sought to re-define the now hotly contested concepts of craft, art, architect, beauty, function, and truth. Conceptual production was frequently crafted through binary oppositions such as national/international or real/ideal. Loos's response to these developments was divided. On the one hand, he recognized cultural fragmentation and argued for the separate development of art and architecture. On the other hand, his vision of a design world dominated by the hand crafts and aristocratic values constitutes the Enlightenment vision of stability amidst progress. / [Mitchell Schwarzer]. / Ph.D.

Buildings and the cities they make up are in a state of constant change. Temples become churches, palaces become apartment complexes, and railway stations have been turned into hotels and museums. Paris is an example of a city which reuses existing buildings, and on a smaller scale as the city changes over time, buildings are split in half, windows become doors, and row houses become apartments. In its centuries long evolution, Paris has developed into one of the most beautiful cities in the world full of an architecture of reuse and renovation of existing structures. As this process of reuse occurs, the history of a building is revealed as its original materials, structure, and scars are uncovered and celebrated. In the Montmartre House, the building's original vaulted brick structure is exposed. This traditional structure, along with new partitions and rooms, form a modern house in which new and old contrast, enhancing each other and creating a new architecture. The aim is not to reconstruct the old brick building into what it once was, but to use it in conjunction with modern construction methods and materials and continue the subsequent reuse and transformation making this house a reflection of the architectural spirit of Paris itself. / Master of Architecture

Partindo de um percurso pela cidade de São Paulo, a pesquisa identifica o ornamento de arquitetura. Tem o propósito de aprofundar a discussão a respeito da permanência do ornamento enquanto um dos elementos constitutivos da arquitetura e de contribuir para o aprofundamento e a ampliação das abordagens para a sua investigação. Através da discussão desenvolvida a partir de articulações de uma seleção de conceitos propostos, a pesquisa busca identificar como acontece o comparecimento do ornamento de arquitetura em diferentes circunstâncias de espaços e culturas. Assume como premissa que o significado associado ao objeto ornamental ultrapassa o âmbito da estética e impõe o conhecimento de outras abordagens, em articulação. Após o percurso pela cidade, outros percursos, agora conceituais, são desenvolvidos, no quais o objeto ornamental comparece de modos diferentes na história, no tempo, na sociedade e nos projetos de arquitetura. Este percurso não tem um ponto de chegada: visa a trazer elementos para subsidiar novas pesquisas. / Starting from a journey through the city of São Paulo, the research identifies the architectural ornament. It aims at deepening the ongoing academic debate on the continuance of ornament as a constituent element of architecture and at helping intensify and broaden the approaches to its examination. Throughout the discussion, held out of the articulation of selected propounded concepts, the research tries to identify manners of presentation of the architectural ornament under different circumstances in space and culture. It is assumed that the meaning associated to the ornamental object exceeds the sole scope of aesthetics, and it demands knowledge from other subject areas in an articulated way. After that city journey, other ones - this time conceptual journeys - are taken, in which the ornamental object arises differently in history, time, society and the architectural designing. This path leads to no point of arrival: this inquiry intends to supply additional supportive elements for further research.

Anita Loos’ Gentlemen Prefer Blondes constantly acknowledges tensions between the intentions and actions of its protagonist, Lorelei Lee. Some literary critics and authors have speculated in depth the reasons and/or effects of Lorelei’s humorous oblivion, coming to the conclusion that Loos creates this character as a parody for the reader. This article asserts instead that readers should grant Lorelei autonomy, thus giving her more credit than she is generally given at face value. I read Blondes as a self-help book rather than a parody. Specifically, I read Lorelei as not only a creation of modernist work, but a creator of such work: her diary works as a satire on the nineteenth century social etiquette texts directed at women. By identifying some implicit lessons in Lorelei’s diary, I will demonstrate how Loos carefully constructs Lorelei’s humorous rhetoric as a disguised societal guide for the contemporary American flapper who aspires upward mobility.

Partindo de um percurso pela cidade de São Paulo, a pesquisa identifica o ornamento de arquitetura. Tem o propósito de aprofundar a discussão a respeito da permanência do ornamento enquanto um dos elementos constitutivos da arquitetura e de contribuir para o aprofundamento e a ampliação das abordagens para a sua investigação. Através da discussão desenvolvida a partir de articulações de uma seleção de conceitos propostos, a pesquisa busca identificar como acontece o comparecimento do ornamento de arquitetura em diferentes circunstâncias de espaços e culturas. Assume como premissa que o significado associado ao objeto ornamental ultrapassa o âmbito da estética e impõe o conhecimento de outras abordagens, em articulação. Após o percurso pela cidade, outros percursos, agora conceituais, são desenvolvidos, no quais o objeto ornamental comparece de modos diferentes na história, no tempo, na sociedade e nos projetos de arquitetura. Este percurso não tem um ponto de chegada: visa a trazer elementos para subsidiar novas pesquisas. / Starting from a journey through the city of São Paulo, the research identifies the architectural ornament. It aims at deepening the ongoing academic debate on the continuance of ornament as a constituent element of architecture and at helping intensify and broaden the approaches to its examination. Throughout the discussion, held out of the articulation of selected propounded concepts, the research tries to identify manners of presentation of the architectural ornament under different circumstances in space and culture. It is assumed that the meaning associated to the ornamental object exceeds the sole scope of aesthetics, and it demands knowledge from other subject areas in an articulated way. After that city journey, other ones - this time conceptual journeys - are taken, in which the ornamental object arises differently in history, time, society and the architectural designing. This path leads to no point of arrival: this inquiry intends to supply additional supportive elements for further research.

Este trabalho tem como objetivo situar a obra cinematográfica de Heinz Emigholz dentro do campo de sobreposições entre o cinema e a arquitetura, tomando como objeto de análise o filme Loos Ornamental (2008). Para isso, traça-se um panorama dos pontos de contato entre as disciplinas, com início na análise do historiador Auguste Choisy sobre o movimento do observador na Acrópole de Atenas para chegar aos conceitos de montagem, de Sergei Eisenstein, e de promenade architecturale, de Le Corbusier. A partir da ideia de movimento proporcionada tanto pelo cinema como pela arquitetura, o trabalho aborda os aspectos hápticos dos dois campos; Walter Benjamin e Juhani Pallasmaa oferecem aporte à discussão, lançando luz sobre a habilidade do cinema de deslocar o observador para dentro do filme, fazendo-o experienciar o espaço fílmico não apenas com seus olhos, mas também com seu corpo. O trabalho segue com uma apresentação da série de filmes de Emigholz dedicada à arquitetura, intitulada Arquitetura como autobiografia, e passa, então, à análise do filme Loos Ornamental a partir das bases teóricas enunciadas no primeiro capítulo e da decupagem de três sequências inteiras do filme através da reconstituição em planta dos posicionamentos de câmera e possíveis percursos nas obras filmadas. Observa-se que a abordagem técnica e estética do cineasta em relação aos edifícios de Adolf Loos foge de um resultado documental e oferece uma transposição poética da arquitetura à linguagem cinematográfica, incorporando duas ideias fundamentais da obra construída e escrita de Loos: o Raumplan e a renúncia ao ornamento e subsequente atenção aos materiais e superfícies. / This research aims to locate Heinz Emigholz\'s film work within a common field for cinema and architecture through the analysis of one of his movies: Loos Ornamental (2008). Firstly, we depict an overview of the contact points between both disciplines, starting from Auguste Choisy\'s investigation into the movement of the observer in Acropolis of Athens to Sergei Eisenstein\'s montage and Le Corbusier\'s promenade architecturale. From the idea of movement provided by both cinema and architecture, this work approaches the haptic aspects of both fields; Walter Benjamin and Juhani Pallasmaa contribute to the discussion, throwing light on cinema\'s ability to bring the observer into the film making him/her experience the filmic space not only with his/her eyes but with his/ hers whole body. We then introduce Emigholz\'s film series dedicated to architecture - titled Architecture as autobiography - and, in the sequence, we analyze Loos Ornamental through the same theoretical basis introduced in the first chapter and through the decoupage of three sequences of the film, taking the cameras\' positioning and the possible paths inside and around each building. We can observe that the director\'s technical and aesthetical approach regarding Adolf Loos\' buildings does not result from a documental film but rather offer a poetic transposition from architecture to the cinematic language embodying two essential ideas from Loos\' built and written work: the Raumplan and the departure from ornament and subsequent attention to material and surface.

Este trabalho tem como objetivo situar a obra cinematográfica de Heinz Emigholz dentro do campo de sobreposições entre o cinema e a arquitetura, tomando como objeto de análise o filme Loos Ornamental (2008). Para isso, traça-se um panorama dos pontos de contato entre as disciplinas, com início na análise do historiador Auguste Choisy sobre o movimento do observador na Acrópole de Atenas para chegar aos conceitos de montagem, de Sergei Eisenstein, e de promenade architecturale, de Le Corbusier. A partir da ideia de movimento proporcionada tanto pelo cinema como pela arquitetura, o trabalho aborda os aspectos hápticos dos dois campos; Walter Benjamin e Juhani Pallasmaa oferecem aporte à discussão, lançando luz sobre a habilidade do cinema de deslocar o observador para dentro do filme, fazendo-o experienciar o espaço fílmico não apenas com seus olhos, mas também com seu corpo. O trabalho segue com uma apresentação da série de filmes de Emigholz dedicada à arquitetura, intitulada Arquitetura como autobiografia, e passa, então, à análise do filme Loos Ornamental a partir das bases teóricas enunciadas no primeiro capítulo e da decupagem de três sequências inteiras do filme através da reconstituição em planta dos posicionamentos de câmera e possíveis percursos nas obras filmadas. Observa-se que a abordagem técnica e estética do cineasta em relação aos edifícios de Adolf Loos foge de um resultado documental e oferece uma transposição poética da arquitetura à linguagem cinematográfica, incorporando duas ideias fundamentais da obra construída e escrita de Loos: o Raumplan e a renúncia ao ornamento e subsequente atenção aos materiais e superfícies. / This research aims to locate Heinz Emigholz\'s film work within a common field for cinema and architecture through the analysis of one of his movies: Loos Ornamental (2008). Firstly, we depict an overview of the contact points between both disciplines, starting from Auguste Choisy\'s investigation into the movement of the observer in Acropolis of Athens to Sergei Eisenstein\'s montage and Le Corbusier\'s promenade architecturale. From the idea of movement provided by both cinema and architecture, this work approaches the haptic aspects of both fields; Walter Benjamin and Juhani Pallasmaa contribute to the discussion, throwing light on cinema\'s ability to bring the observer into the film making him/her experience the filmic space not only with his/her eyes but with his/ hers whole body. We then introduce Emigholz\'s film series dedicated to architecture - titled Architecture as autobiography - and, in the sequence, we analyze Loos Ornamental through the same theoretical basis introduced in the first chapter and through the decoupage of three sequences of the film, taking the cameras\' positioning and the possible paths inside and around each building. We can observe that the director\'s technical and aesthetical approach regarding Adolf Loos\' buildings does not result from a documental film but rather offer a poetic transposition from architecture to the cinematic language embodying two essential ideas from Loos\' built and written work: the Raumplan and the departure from ornament and subsequent attention to material and surface.

O presente trabalho propõe a leitura da obra de Adolf Loos (1870-1933) através das transformações históricas que marcaram a Europa na passagem da segunda metade do século XIX à primeira do século XX. A complexidade de sua obra é uma expressão privilegiada para o entendimento das contradições instauradas no período. Por um lado, o fôlego de suas ideias é dado pela persistência de problemáticas que surgiram no século XIX; por outro, parte de sua obsolescência também se explica pela resistência que Loos apresentou a tais mudanças. Transformações que ele identificou como perdas. O tema da perda permeia toda sua produção: nos edifícios, por vezes ele figura na justaposição de elementos contraditórios (tradição ou modernidade), por outras na cisão irreparável entre interior e exterior (público ou privado) e, em alguns casos, o uso de espelhos e aberturas simetricamente dispostas cria uma tensão de ambiguidade entre espaço e imagem (realidade e representação). O eixo de leitura proposto nesta dissertação se estabelece a partir das reações do arquiteto às perdas impostas por sua época. A obra estudada é interpretada como um trabalho de luto. Textos e edifícios representativos do pensamento de Adolf Loos são investigados à luz de algumas reflexões de importantes pensadores da cultura europeia do período, como Walter Benjamin, Camilo Sitte, Georg Simmel e Sigmund Freud. A abordagem se dá através de três temas centrais: a morte da tradição, a perda de vitalidade no espaço público das metrópoles e a decadência da experiência subjetiva. / It has been over a century since Adolf Loos\'s (1870-1933) most famous works, such as Ornament and Crime (1908) and Goldman & Salatsch building (1911), came to fruition. And, in spite of that, the contradictory nature of his legacy as an architect and writer still fuels and replenishes the debates and investigations of scholars to this day. This dissertation proposes a look at Adolf Loos\'s works through the historical transformations that characterized the transition of the second half of the nineteenth century to the twentieth century. The complexity of his production is a powerful expression of the contradictions that established this period. On one hand, the perseverance of his ideas comes from the persistence of issues that were originated on the nineteenth century, on the other; his obsolescence can also be explained by his opposition to the changes that came along with the new century. Loos identifies these changes as losses. Loss is a theme that impregnates all his production. In his architecture it often surfaces as contradictory elements (tradition and modernity) overlapping one another, or, at times, as an irreparable rupture between interior and exterior (public and private), and in some cases he creates a tension of ambiguity between space and image (reality and representation) by the use of mirrors and symmetrically opposed openings. It is this demeanor, and his reactions to the losses imposed by his time, that will be the axis that guides this dissertation. We can interpret many signs in his work as symbols of mourning. We investigate writings and buildings that represent his thought through the light of important contemporary thinkers of occidental culture, such as Walter Benjamin, Georg Simmel, Camilo Sitte e Sigmund Freud. We will approach his production by three lines: the death of tradition, the loss of vitality of public spaces in the metropolis and the decadence of subjective experience.