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Sammelrez: Adolf Loos Christopher Long. Der Fall Loos. Wien: Amalthea Signum, 2015. 188 S., 30 Abb. gebunden, ISBN 978-3-85002-908-7. Christopher Long. The Looshouse. New Haven: Yale University Press, 2012. 256 S. $60.00, cloth, ISBN 978-0-300-17453-3. Reviewed by Larry Wolff Published on H-Soz-u-Kult (November, 2015) In September 2015 Carl Schorske died at the Loos does fnd a place, however, in Schorske’s age of 100; when he was born in New York in fascinating article on „The Explosion in the Gar‐ 1915, Emperor Franz Joseph still reigned in Vien‐ den,” which addressed particularly Kokoschka na. For many of us in the Anglo-American world and Schoenberg, but also noted the radically ex‐ of Habsburg studies, Schorske provided our frst plosive criticism of Karl Kraus and Adolf Loos: „As thrilling glimpse of the cultural complications of Kraus sought to restore the purity of the linguistic fin-de-siècle Vienna, and his arguments and expli‐ environment of man by removing all aesthetic cations have inspired much of the work in this pretensions from expository prose, so Loos tried field over the course of the last ffty years. Re‐ to purify the visual environment – city, housing, viewing new work about Adolf Loos, by architec‐ dress, furniture – by abolishing all embellish‐ tural historian Christopher Long, one naturally ment.” Carl E. Schorske, Fin-de-siècle Vienna. Poli‐ turns to Schorske – only to discover that Loos re‐ tics and Culture, New Xork 1980, p. 339. This puri‐ ceives no mention in the famous article on archi‐ fying analogy between Kraus and Loos – which al‐ tectural reaction to Ringstrasse historicism, as luded to Loos’s provocative juxtaposition of „Or‐ Schorske focused on Camillo Sitte and, above all, nament and Crime” („Ornament und Ver‐ Otto Wagner. brechen”) – was also addressed by Allan Janik and H-Net Reviews Stephen Toulmin in „Wittgenstein’s Vienna” Allan the public, so their detailed narratives remain un‐ Janik / Stephen Toulmin, Wittgenstein’s Vienna, known. Loos received a suspended sentence, New York 1973. Schorske himself returned to the though Long feels that he paid a heavy price, subject of Loos in an essay on „Architecture as emerging from the trial „visibly older and physi‐ Culture Criticism” which frst appeared under the cally and spiritually broken” (Der Fall Loos, p. title „Revolt in Vienna” in the New York Review of 149). Loos rushed into a disastrous new marriage Books in 1986 Carl E. Schorske, Revolt in Vienna, (with a much younger woman), followed by physi‐ in: New York Review of Books 93,9 (1986), pp. 24– cal collapse and early death in 1933 at the age of 28. , the year that fn-de-siècle Vienna became a 63. public sensation in New York with the Museum of Long’s ingenious Schorskean strategy is to Modern Art’s exhibit „Vienna 1900: Art, Architec‐ show how the charges against Loos played out in ture, and Design” – itself, to a considerable extent, the context of deeply rooted cultural connections inspired by Schorske’s historical writings. and antagonisms dating all the way back to fn-de- The denunciation of ornament as crime has siècle Vienna. Schorske famously made the been sufficient in itself to make Loos appear as a „Gefühlskultur” of artistic aestheticism into a prophet and ideologist of architectural mod‐ principal interpretive key to intellectual life in Vi‐ ernism. Yet, Long’s new book, „Der Fall Loos” enna, and in 1928 the „Neue Freie Presse” – still (The Loos Case), published in 2015, concerns an the liberal „grande dame” of the Viennese press, entirely different kind of criminality, as it ex‐ ever celebrated for its sensibility-infused feuil‐ plores the not very well known episode of Loos letons – summed up the arrest of Loos as „The facing criminal charges for the alleged sexual Tragedy of an Aesthete.” Indeed, Loos insisted abuse of young girls in Vienna in 1928. There was that his sketching of the girls was an innocently a complaint that he was sketching young girls, aesthetic exercise, but more than half a century with rumors that he wanted them to go to France had passed since Charles Dodgson photographed with him, that he had touched them indecently, little Alice Liddell at Oxford, and the 1920s was that he had posed them in immoral positions. It not a decade of innocence. was further recounted that he made his sketches Long traces the Viennese artistic cult of young while wearing his pajamas – or even, according to girls in the sketches of Klimt and Schiele (who one report published in the „Neue Freie Presse” – spent time in prison in 1912); in the pornographic while completely naked. A medical examination fiction of 1906 about a very young prostitute, established that the girls had not been sexually vi‐ „Josephine Mutzenbacher” (probably authored by olated, but the police discovered in Loos’s apart‐ Felix Salten, also the creator of young Bambi); and ment a cache of pornographic photos of young in the exclamations of Loos’s friend, the writer Pe‐ girls, and the famous architect was arrested. ter Altenberg, who declared: „A woman is always In charges concerning three girls – ages eight, too old, never to young.” Loos himself, in an essay nine, and ten – Loos was acquitted of having „sex‐ from the 1890s on women’s fashion, was on ually abused [the girls] to satisfy his lusts” („zur record as an admirer of „das Weibkind” („the Befriedigung seiner Lüste geschlechtlich miss‐ woman child”), observing that „one thirsted for brauchte”) but convicted of „seduction to indecen‐ the unripe” („nach Unreife”; Der Fall Loos, pp. 85– cy” („Verführung zur Unzucht”) for having posed 86). He was, of course, an apostle of artistic purity, the girls indecently in his sketches (Der Fall Loos, but this was the sort of aestheticism of the 1890s S. 123). The testimony of the girls was considered that might have seemed more suspect after the unreliable, though the courtroom was closed to criminal charges of the 1920s. 2 H-Net Reviews The legal and judicial personnel were all im‐ designs of Fischer von Erlach. Following contro‐ plicated in Viennese culture, with both of Loos’s versy in the press and menacing interventions by attorneys (perhaps predictably) men who had the municipal authorities (who imposed a large commissioned modernist houses from Loos him‐ deposit on the tailoring company, to be forfeited if self. The judge was the son of the sculptor who the architectural outcome did not give satisfac‐ created the gilt commemorative statue of Johann tion), Loos eventually won approval by adorning Strauss in the Vienna Stadtpark. The communist some of the bare windows with boxes of fowers. journal „Die Rote Fahne” claimed that Loos was The controversy, however, was such that, accord‐ only being prosecuted in 1928 because of his long‐ ing to Long, Loos ended up suffering from terrible standing friendship with Karl Kraus, who had stomach ulcers that destroyed his health – parallel fiercely offended the director of police (and some‐ to the aging and embittering effect of the criminal time chancellor of Austria) Johann Schober for fr‐ trial in 1928. ing on leftist protesters in 1927. Loos himself saw Karl Kraus believed that Loos had outraged the case against him in 1928, not as a matter of the Viennese, because „he had built them an idea” pedophilia, or even police harassment, but rather – the idea of a „tabula rasa,” a building without – as he suggested in an interview with the press – ornament – and Long cites another Viennese ar‐ a continuation of the attacks and controversies chitect who called the Looshaus a „built idea,” the that had attended him ever since the construction pure expression of Loos’s „architectural princi‐ of the house on the Michaelerplatz in 1910 and ples” (The Looshaus, pp. 2, 115). Yet, Long’s re‐ 1911 (Der Fall Loos, p. 48). search on the planning of the house suggests that It is in this regard that Long’s new book on the process was not particularly principled, as the criminal case of 1928 may be read with great one early design showed some of the windows interest alongside his 2011 (centennial) study of with ornamental pediments, and another showed the Looshaus on the Michaelerplatz – though the the upper facade elaborated by horizontal bands. former has been published only in German and Even when the windows of the upper façade were the latter only in English. Both books, with their presented bare and unornamented, the lower ostensibly very different subjects – a modernist façade was always intended to make a lavish aes‐ building with an unornamented facade and a thetic impression with green Cipollino marble. court case concerning sexual indecency with (Loos toured the Mediterranean looking for mar‐ young girls – are, in fact, studies of Viennese pub‐ ble, fnding the particular style he wanted on the lic controversy which Long elucidates with great Greek island of Evia.) Not altogether unornamen‐ subtlety and a particular skill for observing the tal, the building furthermore concealed its own Schorskean network of connections between art concrete structure, violating a basic principle of and politics, culture and society. modernism, while presenting a lower façade of Commissioned as the business establishment marble „columns” that did not actually support of a Viennese gentlemen’s tailoring company, anything. In fact, Long suggests that the most Goldman & Salatsch, the Looshaus presented up‐ modern aspect of the Looshaus was not its famous per stories with a lime plaster façade of un‐ façade, but its less well appreciated organization adorned windows – which seemed particularly of interior space – the Raumplan – for the multi‐ shocking on a square that included the neo-classi‐ ple aspects of the tailoring business.
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