Thanks to his theory (“Ornament and Crime”) and the philosophy of life “built” in five countries, Adolf Loos became the foremost personality in European architecture. The radical defence of his theories and his article “Die Potemkinsche Stadt” in a very polemic manner led to the final break with the leading architects of the Wiener Secession: Josef Hoffmann and Josef Maria Olbrich. This can be regarded in contrast to the leveling of art and craft by Josef Hoffmann and the Wiener Werkstatte. As the maindifference between Adolf Loos and Josef Hoffmann can be regarded the strict distinction between art and craft of Loos. ![]() Throughout his life, this so - called modernist was in opposition to Josef Hoffmann, whose formal variety of the later years he never ceased to castigate. To him architecture was an important means of providing people with the possibility of an up - to - date, that is to say a truly modern life style, rather than being an isolated form of art. 1896 he returned to Europe and settled down in Vienna. After this time he spent three years in the United States. Loos attended the Staatsgewerbeschule in Reichenberg before he began his studies at the Technical College in Dresden. Unwanted reflections and flickering are not an issue with Zumtobel luminaires, and this accentuates the work all the more.ADOLF LOOS has a special place in Viennese and, hence, also in international architecture. The mixture of diffuse lighting and clear highlights creates a three-dimensional effect for Gustav Klimt’s series of pictures. “Tecton slim tunableWhite” LED luminaires by Zumtobel gently illuminate the ceiling of the high room, while “ Supersystem II” LED spotlights immerse the “Beethoven Frieze” in direct light. In the case of Klimt all the more so, because even if the immense frieze has a dramatic effect in itself, it is only through the incidence of light that the fine details, shining gold and silver sections, glass buttons, and small mirrored panels fully come into their own. Anyone who has ever been to an exhibition space knows how crucial the right lighting is for the impact a work makes. The museum’s gem is in the basement, Gustav Klimt’s “Beethoven Frieze,” a 34-meter mural dating from 1902 that is devoted to the composer Ludwig van Beethoven’s last completed symphony. It is as if the main exhibition space, a textbook white cube, has a skylight. In terms of its color temperature, the ceiling can be adapted such that the impression is of natural daylight. “ Tecton slim tunableWhite” is the name of the new lighting solution, which delivers even brightness by means of LED luminaires in the form of an illuminated ceiling. As part of the general refurbishment of the Secession Building, Vienna-based architect Adolf Krischanitz and Zumtobel developed a new lighting concept. In order for visitors to the building to be able to experience the pleasant feeling of immersing themselves in a gentle lighting ambience, a modern approach was needed for the artificial lighting in the evening and on dark winter days. Olbrich gave light a decisive role in the architecture and created spaces in which people and the works are happy to linger. The atmosphere in the Secession Building is calm and bright, with natural daylight pouring into the white exhibition space through long wall openings. And the building is also something special for those who have the good fortune to actually live in the Austrian capital. ![]() Located in a prominent position on Wienzeile and directly next to Naschmarkt, the exhibition venue is even today one of the first attractions tourists to Vienna like to visit. ![]() ![]() In the late 19th century Joseph Maria Olbrich designed the snow-white structure as an exhibition building for the Vienna Secession group of artists, whose founding president he was. “The frothy golden ball” is how the Viennese lovingly refer to the gilt laurel leaf dome which crowns one of the best-known Art Nouveau buildings there is.
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