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SERIEN STUDENTENARBEIT • STUDENT WORK
Hochschule für Technik Stuttgart
www.hft-stuttgart.de
1832 als Winterschule für Bauhandwerk gegründet wichtiger Punkt ist die Beleuchtung der Materialität durch das natürliche Licht, um das
rund 3.900 Studierende
Interieur im Haus Liebstein-Brummel in Pilsen • Interior in Liebstein-Brummel House in Pilsen ences were among the people he knew. Thus the painter Oskar Kokoschka was Loos’s
Haus Liebstein-Brummel in Pilsen: Grundriss ... • Brummel-Liebstein House in Pilsen: layout ... lished comprehensive plan material. During the trip, I was also able to meet and inter-
... und Arbeitszimmer-Wandabwicklung • ... and developed view of study walls
056 • AIT 4.2017
durch natürliches und künstliches Licht geschaffen. Das natürliche Licht tritt über das
Architekturelement Fenster in den Raum ein. Die Lichtführung kann durch die Position
und Größe der Fenster bestimmt werden. Bei Adolf Loos erhält das natürliche Licht meist
als Filter einen Vorhang vorgesetzt, da er den Innenraum privat hielt. Ein weiterer
Spiel der Reflexion der auf Hochglanz polierten Materialien zu intensivieren. Alle fünf
Punkte sind für das Gelingen eines Loos´schen Raumes zu bedenken und schaffen im
Zusammenspiel einen gelungenen Innenraum. Ich bin überzeugt, mit meiner Arbeit eine
neue Sichtweise auf das Werk von Adolf Loos zu geben. Die Auseinandersetzung mit den
Werken von Adolf Loos hat mich zu einer besseren Innenarchitektin gemacht und ich
sehe ihn als Vorbild für meine Arbeit. Die Masterthesis ist Teil einer Publikation zu Loos,
die 2017 von Professor Wolfgang Grillitsch und Dr.-Ing. Hans-Jürgen Breuning, beide
lehren an der Hochschule für Technik in Stuttgart, herausgegeben werden soll.
A dolf Loos – Vordenker, Vorreiter, Vorbild [A.L. – thought leader, pioneer, model] is
the title of my master thesis in the programme International Master of Interior
Architectural Design (IMIAD) at the Hochschule für Technik in Stuttgart. Adolf Loos is
usually first mentioned in connection with his lecture “Ornament und Verbrechen”
[Ornament and crime] of 1908. Many also know the Loos House in Vienna and the Villa
Müller in Prague but Loos should not be limited to just this. His architectural as well as
his literary work is far more comprehensive and visionary. For some time already, as
part of the IMIAD studies and under the direction of Professor Wolfgang Grillitsch, work
and research is being done on Adolf Loos. My objective was to investigate to which
extent students – particularly those of interior design – can today learn from the work
by Adolf Loos and whether he continues to have a relevant position for contemporary
interior design. As a first step, I intensely concentrated on Adolf Loos (1870–1933) as a
person. It is remarkable that personalities from music, art, literature, politics and sci-
foster son and among his closest friends were the composer Arnold Schönberg as well
as the writers Karl Kraus and Peter Altenberg. Richard Neutra was a student at his
Bauschule. Loos lived and worked at the time of the Viennese Modern Age around1900
when Vienna had a high appeal for a wide variety of cultures. To get to know the most
important domains and works of Adolf Loos the architect, I went on a study trip. In
Vienna, Brno and Prague, perceiving and experiencing Loos’s work was paramount.
Already prior to the trip, the decision was reached to put the focus of the thesis on
analysing the interiors in Pilsen and the residential spaces as Loos designed them. The
interiors in Pilsen are hardly published and were restored and made accessible to the
public until 2015 when the city was awarded the title of European Capital of Culture.
That is why I recorded the interiors of the houses Brummel-Liebstein, Kraus, Semmler
and Vogl Houses in every detail as to dimensions, materials and atmosphere and estab-
view various experts on Loos such as Dr Markus Kristan, art historian and curator of the
architectural collection of the Albertina in Vienna and Karel Zoch, an architect in Pilsen.
Adolf Loos was not only an architectural pioneer but also a thought leader as to the the-
ory of architecture. His work thus not only includes a multitude of writings in which he
commented on architecture as well as on what was going on in the world and on con-
cerns of daily life. With his articles and lectures, Adolf Loos again and again reached the
general public since they were published in newspapers and not only in specialist jour-
nals. Based on this knowledge about Adolf Loos and the investigation of his architectur-
al elements in the interiors in Pilsen, I established five points regarding Loos which I
assigned to our five digits. These five points can for us be a model of successful interior
design and we are thus learning from Loos. To list just three: The index finger stands for
value. The concept of value is here seen in connection with materials and workman-
ship. The materials which play an important role for Loos, are significant for the room
atmosphere. What is essential is not only the feel, structure and the natural colour but
also the surface treatment. His canon of materials includes veneers of noble woods, fab-
rics, mirror glass, printed wallpaper and marble. He used precious veneers for his wall
coverings and built-in furniture. Many of the materials are high-gloss polished and
reflect the light. Loos also produces the reflection of the room with mirror surfaces. Loos
designed with genuine materials according to his “Prinzip der Bekleidung” [Principle of
clothing] from 1898. The middle finger as the centre of the hand stands for
“Raumdramaturgie”. Adolf Loos was able to establish dramaturgy in the room by creat-
ing zones, connections, volumes and geometries. The room dramaturgy also includes
his famous “Raumplan” according to which rooms should be structured in their heights
and assigned a specific height depending on their functions.