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The Significance of Dressing in Architecture : the Theories of Semper and Loos

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THE SIGNIFICANCE OF DRESSING IN ARCHITECTURE : THE THEORIES OF SEMPER AND LOOS By RINA SUDERMAN THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Architecture Theory and History The University of New South Wales March, 1995 CERTIFICATION "I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of a university or other institute of higher learning, except where due acknowledgement is made in the text." (Rina Suherman) ACKNOWLEDGEMENTS I thank God for making the completion of this thesis possible. I would like to express my sincere gratitude to Dr. Peter Kohane for his continuous assistance and supervision on this thesis, and also to John Gamble for his recommendation regarding additional reading materials. Thanks to the librarians of the UNSW Kensington Library for their assistance during my research and thanks also to Christine Brunt and Susan lv!c. CaJrnont for editing the thesis. I am truly indebted to my parents for their continuous financial and moral support, which has made me believe in the importance of the higher education. And my special thanks go to Wahjono for his patience and encouragement during my time away from home. "As architecture is the art and science of building, so dress is the art and science of clothing. To construct and decorate a covering for the human body that shall be beautiful and healthy is as important as to build a shelter for it when so covered that shall be beautiful and healthy." E.W. Godwin. 1884. V ABSTRACT This thesis investigates the meaning and significance of dressing and adornment in architecture through an analysis of the theories of Gottfried Semper and Adolf Loos. Dressing in architecture correlates to dressing the human body. A building can be compared approximately to a human body in that its structure compares to the skeleton, the internal rooms and levels and their functions and machinery compare to the organs and muscles and the electrical services compare to the nervous system. A building, like a body, must be dressed and adorned to camouflage the structural material, the skeleton, muscles etc. A building, like a body, is a social entity. It has a social role and the way it is dressed and adorned creates meaning and character within society. Dressing is a controversial concept within architecture that draws into focus the debates about art and structure. The two main theorists discussed in the thesis are Gottfried Semper and Adof Loos who both believe that architecture is an art as it conveys an expression and a sense of beauty not simply utility. Loos, however, dissociates architecture from aesthetics which is purely for display. In his view, architecture is to be lived in as well as ertjoyed. This thesis also discusses some of the ideas of Karl Botticher, James Fergusson and Otto Wagner about dressing and structural representation. Their views, in contrast to Semper's and Loos' views, emphasise the importance and precedence of structure, with dressing and ornament as methods of expressing or supplementing the structure. A comparison between Semper and Loos reveals that they differ about the social contexts in which architecture is practised, i.e. as aesthetic and public or functionally vi aesthetic and private. This thesis examines the complexities of architecture's historical, aesthetic, functional and ethical roles. vu TABLE OF CONTENTS List of Figures IX Glossary Xl11 Introduction 1 1. DRESSING AND ADORN}.ffiNT 1.1 Building and the Human Body 3 1.2 Semper's Concept of Body Dressing 5 1.3 Loos' Concept of Body Dressing 11 2. THE IvlEANING OF DRESSING IN ARCHITECTURE 2.1 Semper's Four Elements of Architecture 13 2.2 The Transformation of the Wall Material and Motifs 16 2.3 Semper's Idea of Wall Dressing 22 2.4 Loos' Theory of Dressing 23 2. 5 Dressing Materials 26 3. THE CONCEPTS OF DRESSING AND STRUCTIJRAL REPRESENTATION 3.1 Karl Botticher 32 3.2 James Fergusson 34 3.3 Otto Wagner 35 3.4 Comparison Mth Semper and Loos 37 4. ARCHITECTIJRAL DRESSING AND ADORN1v1ENT 4.1 Semper's Concept of Architectural Dressing 38 4.2 Loos' Concept of Architectural Dressing 43 4.3 Interior versus Exterior Adornment 51 4.4 Private Pleasure and Urban Decorum 57 v1ll 5. DRESSING AS A SIGNIFICANT ELE!vfENT IN ARCHITECTIJRE 5 .1 The Application of Dressing 62 5. 2 Dressing in the l\fodem Architecture 63 5.3 Proper Dressing in Architecture 71 Conclusion 73 Bibliography 82 ix LIST OF FIGURES Gottfried Semper, portrait. (Semper, 1989). Adolf Loos, portrait. (Van Duzer, 5). Fig. 1. Kouros and Kore. (Rykwert, 1992, 105). 2. Body painting of the native from the Nuku Hiva Islands. From Adam Johann vonKrusenstern (1770-1846) Reise Um die welt in denJahren 1803-1806. Frontispiece vol.2.2. Berlin 1811/12. (Rykwert, 1992, 101). 3. Knots and braids. (Semper, 1989, 218-21). 4. Egyptian Plaiting. (Semper, 1989, 225). 5. Egyptian hair ornament. From G. Semper, Der Stil vol. 1, p. 198. (Rykwert, 1982, 125). 6. Assyrian costume. From G. Semper, Der Stil, vol. 1, p. 23. (Res 6, 1983, 17). 7. Egyptian head-dresses using knots. From G. Semper, Der Stil, vol. 1, p. 82. (Res 6, 1983, 30). 8. Celtic Filigree and ornamented chain. From G. Semper, Der Stil, vol. II, p. 494. (Res 11, 1986, 38). 9. The Caribbean Hut displayed at the Great Exhibition, 1851. From G. Semper, Der Stil, vol. 11, p. 276. (Semper, 1989. 29). 10. Egyptian Tapestry. (Semper, 1989, 230). 11. Tyrolean Feather Embroidery. (Semper, 1989, 229). 12. Egyptian Temple ofEdfu (237-57 B.C.) From J. Gardner Wilkinson, The Manners and Customs ofthe Ancient Egyptians, 1837. (Semper, 1989, 114). 13. Tomb of!vlidas. From G. Semper, Der Stil, 1878. (Leatherbarrow, 1993, 203). 14. Egyptian wall ornament. From G. Semper, Der Stil, vol. 1, colour plate X. (Rykwert, 1982, 125). 15. Assyrian bas-relief. From P.E. Botta. Monument de Ninive, Atlas, pl. 12, 1849. (Res 9, 1986, 78). X 16. Nimrod's wall ornament. From A.H. Layard, The lvfonuments ofNineveh, vol. 3, 1849. (Semper, 1989, 25). 17. Chinese wooden wall partition. Engraved by Beft Hands. From W. Chambers, Design a/Chinese Buildings, Furniture, Dresses, Machine and Utensils, 1968, p. X, fig. I. 18. Imperial Audience Hall, Peking. From M.G. Pauthier and M. Bazin, Chine Moderne; ou, description historique, geographique et litteraire, 1853. (Semper, 1989, 108). 19. Mosaic floor pattern in Temple of Zeus at Olympia, carrying tapestry motifs. From G. Semper, Der Stil, vol. 1, p. 60. (Res 6, 1989, 11). 20. Bas-relief in Temple of Theseus (Hephaesteum). From Stuart and Revett, The Antiquities ofAthens, vol. l, 1762. (Semper, 1989, 58). 21. L. Kahn, "Exeter Library" stairway, 1965-72. (Leatherbarrow, 1993, 154). 22. The Caribbean Hut compared with the Crystal Palace. (Hemnann, 1984, xiii). 23. Glass window with curtain. 24. J. Fergusson, Drawing, 1855. From Fergusson, The Illustrated Handbook of Architecture: Being a Concise and Popular Account ofthe Different Styles of Architecture Prevailing in All Ages and Countries, 1855. (Kohane, 1993, fig. 30). 25. Otto Wagner. Post Office Savings Bank, Vienna, 1904-1912. (Geretsegger, 1979, 151). 26. H. Labrouste, 'Agrigentum 1828'. (Van Zanten, 1984, fig. Il). 27. G. Semper. Museum of Natural History, Vienna, 1872-1879. (Bletter, 1982, 29). 28. G. Semper. Burgtheater, Vienna, 1873. (Bletter, 1982, 32). 29. G. Semper. Dresden Royal Theater, 1838-41. (Semper, 1989, 17). 30. G. Semper. Polytechnikum, Zurich, 1858-64. (Bletter, 1982, 28). 31. G. Semper. Picture Gallery, Dresden, 1847-54. (Bletter, 1982, 26). 32. Victor Horta. 6 rue Paul-Emile Janson, Brussels, 1893. (Pevsner, 1960, pl. 44). 33. A. Loos. Moller House, Vienna, 1928. (Colomina, 1992(2), fig. 4). xi 34. Loos' flat. Lina Loos' bedroom. (Colomina, 1992(2), fig. 17). 35. A. Loos. Villa Muller, Prague, 1930. Raumplan. (Leatherbarrow, 1993, 137). 36. Villa Miiller, Prague. Main hall. (Van Duzer, 1994, fig. 90). 37. Boudoir. (Van Duzer, 1994, fig. 44). 38. Boudoir. (Van Duzer, 1994, fig. 31). 39. Main hall. (Leatherbarrow, 1993, 137). 40. Library. (Van Duzer, 1994, fig. 30). 41. Master bedroom. (Van Duzer, 1994, fig. 96). 42. Summer breakfast room. (Van Duzer, 1994, 29). 43. A. Loos. Goldman and Salatsch Shop, Vienna, 1910. (Rykwert, 1982, 72). 44. A. Loos. The Rufer House, Vienna, 1922. (Risselada, 1988, 85). 45. A. Loos. Villa Millier, Prague, 1930. (Leatherbarrow, 1993, 136). 46. A. Loos. Moller House, Vienna, 1928. (Colomina, 1992(2), fig. 6). 47. A. Loos. Steiner House, Vienna, 1910. From Benedetto Gravagnuolo, Adolf Loos, "Teoria e opere", Milan, 1982. (Hartoonian, 1994, fig. 11). 48. A. Loos. Josephine Baker's house, Paris, 1928. (Colomina, 1992(2), fig. 14). 49. Mies van der Rohe. 860 Lake Shore Drive, Chicago, 1848-51. (Frampton, 1980, fig. 230). 50. F.L. Wright. Price Tower, Bartlesville, Oklahoma, 1953. (Kaufmann, 1982, 441). 51. L. Sullivan (~ith Adler). Guaranty Building, Buffalo, New York, 1894-96. (Sprague, 1982, 158). 52. L. Sullivan (with Adler). Wainwright Building, Chicago, 1890-91. (Sprague, 1982, 161). 53. L. Sullivan. Golden Domway of the Transportation Building, Columbian Exposition, 1893. (Bloomer, 1992, fig. 2). 54. F.L Wright. Winslow House, River Forest, Illinois, 1893. (Hartoonian, 1994, fig. 18). XU 55. Otto Wagner. Majolica House, Linke Wienzeile 40, 1898. FromAllgemeine Bauzeitung, 1900. (Wagner, 1988, fig. 9). 56. L. Sullivan (facade). Holabird and Roche. Gage Bulding, Chicago, 1898-99. (Bloomer, 1992, fig. 4 ). 57. Mario Bellini. Industrial and Office Complex on the via Kuliscioff, ~ Italy, 1982-88.
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