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page033from Building IdeasFree will and determinism and reveals its origin in the notion that culture has reached a climax in its historical development. The idea that style had been superseded by functionality and that individual expression no longer had a role in contemporary cultural activity was perhaps most powerfully expressed by Adolf Loos in his 1908 essay entitled Ornament and Crime. After a discussion of the relationship between decoration and degeneracy – claiming tattoos and graffiti were both signs of criminality – he went on to suggest how the true indication of cultural advancement and sophistication was the enjoyment of plain, undecorated surfaces. Objects should be free from the trappings of historical style and the encumbrance of irrelevant ornament and he presented this as the conclusion of a potted cultural history:
A country’s culture can be assessed by the extent to which its lavatory walls are smeared. In the child this is a natural phenomenon: his first artistic expression is to scribble erotic symbols on the walls. But what is natural to the Papuan and the child is a symptom of degeneracy in the modern adult. I have made the following discovery and I pass it on to the world: The evolution of culture is synonymous with the removal of ornament from utilitarian objects.14 While Loos’ own architecture indulges in the traditional qualities of marble and stone, it would be the next generation of architects working in concrete, glass and steel who would eventually attempt to generate a truly universal language of functional and utilitarian forms. The reason these ideas took such firm root in an architectural context in subsequent years has much to do with the philosophical revolution that was underway even before the rise of industrial technology. Even in the sixteenth and seventeenth centuries in Europe the idea of the universe operating as a mechanical device was gaining acceptance in philosophical circles and this in turn stimulated a huge interest in the practice of experimental science. It is this rich heritage of “scientific” philosophy and speculation, together with the idea that history 14 Adolf Loos, “Ornament and Crime”, in Ulrich Conrads, (ed.) Programmes and Manifestoes on 20th Century Architecture, Lund Humphries, London, 1970, p 19-20.
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