MARC Record from marc_columbia

LEADER: 02143cam a2200313 4500
001 10294256
005 20130722152542.0
008 120907s2013 enka b 001 0 eng d
020 $a9781780764221 (hardback)
020 $a1780764227 (hardback)
020 $a9781780764238 (pbk.)
020 $a1780764235 (pbk.)
024 $a40022322074
035 $a(OCoLC)809977213
035 $a(OCoLC)ocn809977213
035 $a(NNC)10294256
040 $aERASA$cERASA$dUKMGB$dBTCTA$dYDXCP$dNhCcYBP$dNNC
050 4 $aNA1011.5.L6$bM37 2013
082 04 $a720.92$223
100 1 $aMasheck, Joseph.
245 10 $aAdolf Loos :$bthe art of architecture /$cJoseph Masheck.
260 $aLondon ;$aNew York :$bI.B. Tauris ;$aNew York :$bDistributed in the U.S. and Canada exclusively by Palgrave Macmillan,$c2013.
300 $axxviii, 290 p. :$bill. ;$c25 cm.
504 $aIncludes bibliographical references and index.
520 8 $aWidely regarded as one of the most significant prophets of modern architecture, Adolf Loos was a celebrity in his own day. His work was emblematic of the turn-of-the-century generation that was torn between the traditional culture of the nineteenth century and the innovative modernism of the twentieth. His essay 'Ornament and Crime' equated superfluous ornament and 'decorative arts' with tattooing in an attempt to tell modern Europeans that they should know better. But the negation of ornament was supposed to reveal, not negate, good style; and an incorrigible ironist has been taken too literally in denying architecture as a fine art. Without normalizing his edgy radicality, Masheck argues that Loos' masterful "astylistic architecture" was an appreciation of tradition and utility and not, as most architectural historians have argued, a mere repudiation of the florid style of the Vienna Secession. Masheck reads Loos as a witty, ironic rhetorician who has all too often been taken at face value.
600 10 $aLoos, Adolf,$d1870-1933$xCriticism and interpretation.
650 0 $aArchitecture$zAustria$xHistory$y20th century.
852 00 $bavelc$hNA1011.5.L6$iM37 2013g
852 00 $bbar$hNA1011.5.L6$iM37 2013g