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.

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.

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.

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The reputation given to Adolf Loos and Gustav Klimt as opposites, as well as the understanding of Loos's writings as supporting this reputation, correspond less to the works as such than to the general dichotomic mode of understanding that we inherited from the so-called platonic dichotomy of being and appearance. / Indeed, common to their respective work are the relationships in which stand the elements forever understood as antagonistic. Neither opposition nor transparency, their work bring forth an intermediary state, the state of coexistence of difference. / By questioning the relationships between elements taken as opposites, Loos and Klimt are challenging the secular dichotomy of being and appearance, and with it the whole understanding of artistic creation and of the work of art as such.

vii, 82 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Adolf Loos is most widely known for his essay Ornament and Crime (Ornament und Verbrechen), in which he sarcastically compares architectural ornament to the tattoos of "savages." Loos sought to modernize Vienna through the introduction of American and British culture and was known as one of Austria's most notorious cultural critics. Celebrated for breaking with the historicist culture of the late nineteenth century, Loos is often heralded as the father of the Modem Movement, but many of his writings and designs contradict such a classification. This thesis will explore the origins and motives behind Loos' s conception of modernism to suggest a better understanding of his role as cultural critic and architect in Vienna as well as his relationship to the architects and architecture of the subsequent generation. / Committee in Charge: Dr. Leland M. Roth, Chair; Dr. William Sherwin Simmons; Dr. Marilyn S. Linton;

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