Month: January 2022

Adolf Loos was an Austrian architect who was best known for the modern architectural style created by his theory of ornaments. He explains briefly his thoughts on his essay “Ornament and Crime” (1908) where he stated the cons of ornamentation not only in architecture but also in different aspects of life.

Initially, he uses metaphors to explain the ages of humans to emphasize the process of modernization as he believes that as time passes, human beings become more modernized each and every minute. Objects ornamented with carvings or luxurious materials were commonly used in the past. Adolf’s view is that the ornamentation might seem to be right ‘in the past’, but ‘in modern times’, it is much more problematic as if it were criminal and unnecessary, and it serves no function for people. In addition, Adolf stated that: “The turnover of ornaments leads to a premature devaluation of the product of labour. The worker’s time, the material used, are wasted capital.” [P. 91] Ornaments are referred to as a waste of money and resources, since ornaments are designed according to fashion, and fashion is a temporary trend that can be replaced at any time. Moreover, he believes ornament is responsible for dividing classes into hierarchy levels. A difference in value between the ornamented object and the plain object means that the ornamented one would be nothing more than a waste of time and resources. Loos also claims that cheap workmanship is sold in the market and will eventually cause the ornamentation to fade.

As a conclusion, he stated that: “the evolution of culture comes to the same thing as the removal of ornament from functional objects” [P. 88]. Modernity is a fundamental aspect of the present and the future while ornament is unnecessary. Adolf believed that living a simpler and less ornamented life will eventually bring more time, money and evolution towards a better taste of fashion and art. “Let the form of an object last for as long, that is, let it be bearable to us, for as long as the object lasts.” [P. 91]

Research Project 1 – Architectural Buildings – Angus Tung

Philip Webb was commissioned to design the Red House by William Morris, the founder of the Arts and Crafts movement in 1859. For Webb, it was his first independent architectural project and for Morris, it was his only commission. In the following year, the house was completed. They incorporated the vernacular building details of Sussex and Kentish Weald into their design and chose red brick fabric for their building and red tiling for their roof. As soon as they moved into Red House in June 1860, William and Jane Morris began to furnish and decorate it. In a style reminiscent of medieval art and literature, the walls of Red House were covered in embroidered panels and pictures.7

Research Project 1 – Architectural Buildings – Angus Tung

As Morris was having difficulty finding furniture to his liking in local shops at the time, he asked Phillip Webb to design dressers, settles, beds and table glass in a classic, Gothic style that complemented the romantic interior of the house. Both William Morris and Philip Webb incorporated Arts and Crafts principles into their designs for the Red House. By harmonizing interiors and architecture, the pair has created a work of art that breaks some of the rules of Victorian architecture and interprets rustic style in a new way. The Red House is made to look grand yet simple and comfortable by using natural materials and invoking the British vernacular as a reference. Webb avoided contemporary fashion and lavish historical styles of decoration.

A conscious effort was made by Webb to simplify the rooms in the Red House. In comparison to the rigid, hierarchical Victorian architecture, he urged the use of a more informal and substantial architecture that was more suitable to domestic life. Since then, this philosophy has been embraced by many, including many American arts and crafts activists. In the following years, Philip Webb’s ideas about simplicity and interconnectedness were highly influential internationally.

This oak and blood-red lacquered canopied dresser was designed by Philip Webb between 1860-65. A Medieval ceremonial chair was thought to be his inspiration. The three projecting arched cupboards very well echo the exterior look of the house. There is an interesting feature in the centre arched compartment, where a handblown glass lamp shade protrudes. In place of a partitioned compartment, the side panels feature two cut-out arched windows and a spiral grab bar which makes the unit look lighter and more attractive. Sideboard drawers and cabinets are very functional, as a sideboard should be, and they’re made of iron with brown patina hinges.8

Research Project 1 – Architectural Buildings – Angus Tung

7Red House. National Trust. (n.d.). Retrieved November 8, 2021, from https://www.nationaltrust.org.uk/red-house.

8 Trust, N. (n.d.). The Dresser, designed by Philip Webb 60101. National Trust. Retrieved November 8, 2021, from https://www.nationaltrustcollections.org.uk/object/60101.

Research Project 1 – Architectural Buildings – Angus Tung

Lawn Road Flats (Isokon) by Wells Coates

Upon its opening in 1934, Lawn Road Flats (aka The Isokon) was at the forefront of modern architecture in Britain. The initiative started after Jack and Rosemary (Molly) Pritchard, the owners, met with Canadian architect Wells Coates. At first, they were considering building two detached houses on the lot, however, their fascination with the progressive developments in European architecture led them to settle on an entirely different program based on the Existenzminimum experiment.4

The architect Wells Coates was inspired by Le Corbusier, who believed that a building should be a machine for living. As a result, his 32 flats were designed to create as much utility and comfort as possible on a limited site. The building consisted of 22 single apartments, four double apartments, three studio apartments, staff quarters, kitchens, and a large garage. The penthouses on top were home to the Prichard family. A comparison has been made between the Isokon Building and an ocean liner due to its curved form and white appearance as it reflects Wells Coates’ parallel interests in boat building and product design. The interior fittings, designed especially for young professionals who have few possessions and a mobile lifestyle, the Studio apartments include a kitchen, a dressing room, a bathroom, a living/sleeping area, and a bathroom in total 25 square meters.5

As a reflection of Jack Pritchard’s interaction with his own company, Isokon, the studio flats were furnished with plywood furniture. Bauhaus’ founder, Walter Gropius used to be the head designer of the company and he assigned his colleague, Marcel Bruer, as his successor before he left for America. Marcel Bruer designed quite a few iconic furniture pieces during his stay at the company as well as the Lawn Road Flat itself.

There is no doubt the Isokon Long Chair is one of the most iconic pieces of furniture associated with Lawn Road Flats and the Isokon Company. The Long Chair was based on an aluminum chair that Bruer had designed in 1932-1933. The use of plywood to replace metal structures echoed the built-in cabinetry in the flats, as well as its proportion to the size of the room, which could be considered a perfect fit for a one-bed studio. People could relate the curved lines of the chair to the curved detailing of the building, giving them a sense of modernism and simplicity. Currently, this Long Chair is still available for purchase, and you can add upholstered seats to make it more comfortable. 6

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4 Isokon Gallery. (n.d.). Retrieved November 7, 2021, from https://isokongallery.org/.

5 Isokon Building Lawn Road, london NW3. The Modern House. (n.d.). Retrieved November 7, 2021, from https://www.themodernhouse.com/past-sales/isokon-building/.

6 Long Chair, 1936. twentytwentyone. (n.d.). Retrieved November 7, 2021, from https://www.twentytwentyone.com/products/isokon-plus-marcel-breuer-long-chair.