Editing Adolf Loos (section)

===Architectural theory===
[[File:Haus Rufer, Adolf Loos 2.jpg|thumb|[[Rufer House]], Vienna, 1922]]
Loos authored several polemical works. In ''Spoken into the Void'', published in 1900, he attacked the [[Vienna Secession]], at a time when the movement was at its peak.<ref name="Royal Institute of British Architects">{{cite web|url=http://www.architecture.com/LibraryDrawingsAndPhotographs/Exhibitionsandloans/AdolfLoos/Lifeandinfluence/Writings.aspx |title=Adolf Loos: Writings |access-date=20 June 2012 |publisher=Royal Institute of British Architects |archive-url=https://web.archive.org/web/20121118180625/http://www.architecture.com/LibraryDrawingsAndPhotographs/Exhibitionsandloans/AdolfLoos/Lifeandinfluence/Writings.aspx |archive-date=18 November 2012 }}</ref>

In his essays, Loos used provocative catchphrases and is noted for the essay/manifesto entitled ''[[Ornament and Crime]]'', given in a lecture in 1910 and first published in 1913.<ref>Janet Stewart, ''Fashioning Vienna: Adolf Loos's Cultural Criticism'', London: Routledge, 2000, p. 173</ref> He explored the idea that the progress of culture is associated with the elimination of [[Ornament (architecture)|ornament]] from everyday objects, asserting, "''the evolution of culture is synonymous with the removal of ornamentation from objects of everyday use.''"{{sfn |Loos|Opel|1997|p=167}} It was therefore a crime to force craftsmen or builders to waste their time on ornamentation that served to hasten the time when an object would become obsolete ([[design theory]]). Loos's stripped-down buildings influenced the minimal massing of modern architecture, and stirred controversy. Although noted for the lack of ornamentation on their exteriors, the interiors of many of Loos's buildings are finished with rich and expensive materials, notably stone, marble and wood, displaying natural patterns and textures in flat planes, executed in first rate craftsmanship. The distinction is not between complicated and simple, but between purposeful, "organic" decoration, such as that created by indigenous cultures (Loos mentions African textiles and Persian rugs), and superfluous decoration.{{sfn |Loos|Opel|1997|pp=173-174}}

Loos collected sterling silver and high quality leather goods, which he noted for their plain yet luxurious appeal. The objects displayed opulence through their material alone, without adding unnecessary ornamentation. His glassware, produced by Lobmeyer, is still in production today.{{sfn |Loos|Opel |1997|p=9}} He also enjoyed fashion and men's clothing, designing the interior of the famed [[Kniže & Comp.|Kníže of Vienna]], a [[haberdashery]]. His admiration for the fashion and culture of England and America can be seen in his short-lived publication ''Das Andere'', which ran for just two issues in 1903 and included advertisements for 'English' clothing.<ref name="Royal Institute of British Architects"/> In 1920, he had a brief collaboration with [[Frederick John Kiesler]], an architect, theater and art-exhibition designer.