02. Adolf Loos
01. Müller House, Prague.
Czech Republic. Architect: Adolf Loos. 1928—30
grid
system
to demonstrate the dynamic grid system in action, I’ve chosen one of the most influential essays written in the twentieth century and designed it with the dynamic grid approach in mind.
in his outrageous 1908 essay “Ornament and Crime”, Austrian-Czechoslovakian architect Adolf Loos declares ornament to be a drag on the economy, wasting human labour, money, and material while serving no function. later on, these ideas became antecedent to the entire modernist movement; hence I picked the images of modernist products and used them in the layout alongside with the text.
Stas Aki
the project you are about to see is an experiment with the grid-based layout. the core idea is that we, designers, can make the web layout richer and more engaging without adding any extra elements to the material itself. I did that through creating two different layouts for the same material and, then, designed the way that the two blend as the page is scrolled. since the grid plays a guiding role in this process of transformation, I shall call this approach the dynamic grid system—in honour of the grid system developed by the Swiss graphic designers in 1950s.
dynamic
03. Stuffed tattooed pig. Artist: Wim Delvoye. 2006
I thought I was giving the world a new source of pleasure with this; it did not thank me for it. People were sad and despondent. What oppressed them was the realization that no new ornament could be created. What every Negro can do, what all nations and ages have been able to do, why should that be denied to us, men of the nineteenth century? What humanity had achieved in earlier millennia without decoration has been carelessly tossed aside and consigned to destruction. We no longer possess carpenters' benches from the Carolingian period, but any trash that exhibited the merest trace of decoration was collected and
All right, then, the plague of ornament is recognized by the State and subsidized by State finds. But I look on this as retrogression. I do not allow the objection that ornament heightens a cultivated man's joy in life; I do not allow the objection: ”but what if the ornament is beautiful...” As far as I am concerned, and this goes for all cultivated people, ornament does not give zest to life. If I want to eat some gingerbread, I choose a piece that is quite plain, and not in the shape of a heart or a baby or a horseman, and gilded all over. The man from the fifteenth century will not understand me. But all modem people will. The advocate of ornament believes that my urge for simplicity is equivalent to a mortification of the flesh. No, my dear art school professor, I'm not mortifying myself. I prefer it that way. The spectacular menus of past centuries, which all include decorations to make peacocks, pheasants and lobsters appear even tastier, produce the opposite effect on me. I walk though a culinary
and a smooth piece of furniture more beautiful than all the inlaid and carved museum pieces.
And I said: look, Goethe's death chamber is more magnificent than all the Renaissance grandeur
08
he human embryo goes through all the phases of animal life while still inside the womb.
When man is born, his instincts are those of a newborn dog. His childhood runs through all the changes corresponding to the history of mankind. At the age of two he looks like a Papuan, at four like one of an ancient Germanic tribe, at six like Socrates, at eight like Voltaire. When he is eight years old, he becomes conscious of violet, the colour discovered by the eighteenth century, for until then violets were blue and purple-fish were red. The physicist today points out colours in the spectrum of the sun that have already been named, but whose comprehension has been reserved for future generations.
The child is amoral. So is the Papuan, to us. The Papuan kills his enemies and eats them. He is no criminal but if a modern man kills someone and eats him, he is a criminal or a degenerate.
The Papuan tattoos his skin, his boat, his rudder, his oars; in short, everything he can get his hands on. He is no criminal. The modern man who tattoos himself is a criminal or a degenerate. There are prisons in which eighty per cent of the prisoners are tattooed. Tattooed men who are not behind bars are either latent criminals or degenerate aristocrats.
The first ornament invented, the cross, was of erotic origin. The first work of art, the first artistic act, which the first artist scrawled on the wall to give his exuberance vent. A horizontal line: the woman. A vertical line: the man penetrating her. The man who created this felt the same creative urge as Beethoven, he was in the same state of exultation in which Beethoven created the Ninth.
But the man of our own times who covers the walls with erotic images from an inner compulsion is a criminal or a degenerate. Of course, this urge affects people with such symptoms of degeneracy most strongly in the lavatory. It is possible to estimate a country's culture by the amount of scrawling on lavatory walls. In children this is a natural phenomenon: their first artistic expression is scribbling erotic symbols on walls. But what is natural for, a Papuan and a child, is degenerate for modern man. I have discovered the following truth and present it to the world:
04. Peter Behrens. Coffee Pot. Early 1900s
cultural evolution
is equivalent to the removal
of ornament from articles in daily use.
05. Marianne Brandt. Desk Lamp. 1930s
cleaned up, and splendid palaces built to house it. People walked sadly around the showcases, ashamed of their own impotence. Shall every age have a style of its own and our age alone be denied one? By style they meant decoration. But I said: Don't weep! Don't you see that the greatness of our age lies in its inability to produce a new form of decoration? We have conquered ornament, we have won through to lack of ornamentation.
Look, the time is nigh, fulfilment awaits us. Soon the streets of the town will glisten like white walls. Like Zion, the holy city, the metropolis of heaven. Then we shall have fulfillment.
But there are some pessimists who will not permit this. Humanity must be kept down in the slavery of decoration. People progressed far enough for ornament to give them pleasure no longer, indeed so far that a tattooed face no longer heightened their aesthetic sensibility, as it did with the Papuans, but diminished it. They were sophisticated enough to feel pleasure at the sight of a smooth cigarette case while they passed over a decorated one, even at the same price. They were happy with their clothes and glad that they did not have to walk about in red velvet pants with gold' braid like monkeys at a fair.
Goethe's language is finer than all the florid similes of the Pegnitz Shepherds. The pessimist heard this with displeasure and the State, whose task it is to retard the cultural progress of the people, took up the fight for the development and revival of ornament. Woe to the State whose revolutions are made by Privy Councillors! A sideboard was soon on show in the Vienna Museum of Arts and Crafts called The Rich Haul of Fish, soon there were cupboards called The Enchanted Princess or something similar, relating to the ornament that covered these unfortunate pieces. The Austrian government takes its task so seriously that it makes sure that puttees do not disappear from the borders of the Austro-Hungarian Monarchy. It forces every civilized twenty-year-old man to wear puttees instead of knitted hose for three years. For every government still labours under the supposition that a nation on a low standard is easier to govern.
06. Eileen Gray.
Roquebrune. 1927
Ludwig Mies van der Rohe.
Villa Tugendhat. 1928—30
07
display with revulsion at the thought that I am supposed to eat these stuffed animal corpses. I eat roast beef.
The immense damage and devastation wrought on aesthetic development by the revival of decoration could easily be overcome, for no one, not even governments, can arrest the evolution of mankind. It can only be retarded We can wait. But it is a crime against the national economy that human labour, money and material should thereby be ruined. This kind of damage cannot be put right by time.
09. Wilhelm Wagenfeld, Carl Jakob Jucker.
Table Lamp. 1923—24
The tempo of cultural progress suffers through stragglers. I may be living in 1908, yet my neighbour still lives in 1900 and that one over there in 1880. It is a misfortune for a country if the cultural development of its people is spread over such a long period. The peasant from Kals lives in the twelfth century.
10. Josef Hartwig. Chess Set.
1924
11. Piet Mondrian. Composition with Red, Yellow and Blue. 1927.