Proto-Rationalism: Going Against Ornamentation

The facade of the Goldman & Salatsch Building designed by Austrian architect Adolf Loos, shows the simplicity and extreme reduction of design to its most basic. The architect wrote the essay, "Ornament is a Crime", reflecting radical rejection of ornament, which he says "causes severe damage to people in terms of health, natural treasures and cultural development".

Background. Jan Gympel wrote in his book, "The Story of Architecture" that the "formal language of the Art Nouveau style quickly degenerated to a level of mere trifle. Its popularity faded as quickly as that of any passing fashion."

This meant that the highly decorative form of Art Nouveau became outdated and irrelevant as time went by that it sometime earned mockery and disdain. So, from reducing art to technology during the Industrial Age, when iron started to make its way to construction, Art Nouveau tried to "bend" the products to the artist's imagination. Then, there is "proto-rationalism" which reduced forms to simple geometric shapes, partly for reasons of economy and partly to satisfy the search for purity of forms.

Architects & Designers with their Works. Most of the architects associated with this period and style had a common goal of emphasizing functionality and purity over ornamentation. For example, Otto Wagner, an Austrian architect who was also a professor in the University of Vienna, once said that: “The starting point for artistic creation is found in modern life”. He believed that new principles in construction and materials are not isolated facts but must lead to new forms to bring harmony with current human needs. This means that the designer should consider contemporary issues and needs. His Vienna Postal Savings Bank (1904-1906) used uses classical articulation for exterior since it was to pay respect to the historical context of its location BUT instead of traditional stone and masonry, a granite base with thin marble cladding above pinned to the core of the building using conspicuous aluminum bolts forming a pattern making clear that marble is a ceremonial dress and not a structural material. Most of the building materials used were easy to maintain, including the linolium used in stairways and other areas. 

The glass roofed interior court of the Vienna Postal Savings Bank blends into the whole architectonic expression. The main hall has exposed steel frame covered by two layers of glass with the floor partly glazed to allow sunlight to penetrate the spaces beneath it. The tapered vertical support of steel increase the floating effect of glass ceiling.

Another architect, cultural critic and journalist, Czech-born Adolf Loos, aired his opposition to too much ornaments in architecture through his manifesto, "Ornament is a Crime" published in 1908. He called for common art of building employing sound but not over-refined craftsmanship and insisted on flat, rich surfaces instead of “meaningless” ornamentation as fittest setting for an efficient modern lifestyle. His work, the Steiner House (1910) in Vienna, became a highly influential example of modern architecture and obligatory reference for architects of the 1920’s. It has a sweeping curved roof on the street facade and four-storeys at the back part exploiting the sloping terrain which resulted into an orderly composition.

 The Steiner House had to creatively comply with planning regulations of the suburbs wherein the street facade had to employ a one-storey design. Loos concealed the attic level of the house with the curved roof.

The first architect who succeeded in developing a characteristic form for reinforced concrete was August Perret, elevating the importance of this new architectural material. He uses decoration in such a manner that it is only subordinate to the clarity of his designs, as demonstrated in his eight-storey Rue Franklin Apartment project (1903) in Paris. 

Built between two existing buildings, the Rue Franklin apartment design had balconies inserted at flat angles resulting to a free floor plan with different views. It used ceramic tiles (for easy cleaning) with floral patterns for exterior articulation but not obscuring the building form and lines.

Although an engineer, Peter Behrens became a mentor to would-be famous modern architects like Le Corbsier. He started as a painter, studied at various art schools. He worked as design consultant of the industrial enterprise, AEG, where he would later on design its iconic AEG Turbine Factory (1909)  in Berlin, Germany. Here he developed simple forms according to materials used and mass-production methods while taking note of the established status of the company that must be reflected in this building, strategically located on a corner lot.

AEG Turbine Factory has long facade made up of glass wall from floor to ceiling, inserted between vertical steel supports, which taper towards the bottom into three-hinged base plates fixed on foundation walls. It maintains the formality in massing, inspired from a dignified classical Greek temple.

Having worked in the office of Peter Behrens from 1907-1910, Walter Gropius became interested in the social side of architecture and pre-fabrication as means of cost-cutting and getting quality output. His most notable work during his early practice, probably inspired from his former boss, is the Fagus Factory (1911) in Germany. This was a factory for shoe lasts production and it achieved further clarity of form and transparency through the idea of a glass “curtain wall”, which was first expressed in a consistent manner.

The client’s wish for an attractive facade of the Fagus Factory was solved by means of a projected steel skeleton, which pulled the function of support inside, making possible for a broad dissolution of the exterior envelope into glass walls. Compare what Gropius did with that of his boss, Peter Behrens, in the AEG Factory. 

Here are some oral questions based on the note about the Goldman & Salatsch Building and modern architecture:

1. What were the main ideas presented by Adolf Loos in his essay "Ornament is a Crime"?

2. How did Jan Gympel describe the evolution of Art Nouveau in his book "The Story of Architecture"?

3. What role did Otto Wagner play in the development of modern architecture, and what did he believe should influence artistic creation?

4. Describe the design and materials used in the Vienna Postal Savings Bank by Otto Wagner.

5. What unique architectural features does the Steiner House by Adolf Loos exhibit?

6. How did August Perret alter the perception of reinforced concrete in his designs?

7. What innovative elements can be found in the Rue Franklin Apartment designed by August Perret?

8. Explain the significance of Peter Behrens' role in industrial design and the architecture of the AEG Turbine Factory.

9. How did Walter Gropius incorporate social ideals into his work, specifically in the Fagus Factory?

10. In what ways did the architectural approaches of Gropius differ from those of his mentor Behrens?

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1. In "Ornament is a Crime", Adolf Loos argued that ornamentation in architecture was unnecessary and harmful, suggesting that it detracts from health, cultural development, and the efficiency of designs.

2. Jan Gympel suggested that the Art Nouveau style quickly became trivial and outdated, losing its popularity as it transformed into a mere passing fashion, leading to mockery.

3. Otto Wagner emphasized that modern principles of construction and materials must lead to new forms of architecture that address contemporary human needs, integrating functionality over decoration.

4. The Vienna Postal Savings Bank features classical articulation on the exterior, using granite with thin marble cladding and aluminum bolts rather than traditional masonry, emphasizing functionality and easy maintenance.

5. The Steiner House presents a sweeping curved roof, a concealed attic level, and a façade that creatively complies with planning regulations while maintaining a modern aesthetic.

6. August Perret was significant for developing a characteristic form for reinforced concrete, using decoration in a way that supported the clarity of his designs rather than overshadowed it.

7. The Rue Franklin Apartment showcases balconies at flat angles and a free floor plan, employing ceramic tiles with floral patterns that enhance its exterior while preserving the form.

8. Peter Behrens was a pivotal figure in industrial design, merging architecture with manufacturing norms at the AEG Turbine Factory, which features a glass wall design that evokes the formality of classical architecture.

9. Walter Gropius addressed social advancements through architecture, focusing on cost-effective prefabrication methods in the Fagus Factory while achieving a transparent design through a glass curtain wall.

10. Gropius differed from Behrens by emphasizing a more noticeable incorporation of aesthetics and social function in his designs, moving toward a clearer separation of structural forms and decorative elements.