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In the previous volume of this series Lahuerta exploded cliches with his penetrating analysis of Loos's relationship with photography, and here he examines in fine detail the architect's written work, and in particular the texts that engage with architectural and artistic theory and continue the classical tradition of Schinkel, Semper and Riegl an allegiance readily apparent in Loos's architecture.
Lahuerta also discusses other articles in which Loos confronted his fellow architects over issuesfar removed from their shared profession, and shows us with tellingly insightful examples how 'Ornament and Crime', the founding essay of modernity that established "disornamentation" as the signal feature of twentieth-century architecture and culture, belongs to this second category. The "ornament" that Loos criminalizes, in language charged with the vocabulary of criminal anthropology and bioevolutionism of Max Nordau and Cesare Lombroso, has less to do with the decoration of buildings than with the tattoos, beads and feathers of 'primitives' and "degenerates" women, Papuans, artists and criminals.
Lahuerta traces Loos's adoption of pseudo-scientific beliefs that shaped the culture of the early twentieth century, and in so doing dismantles the historical value accorded to his famous text, which in this reading takes on a deeply disturbing significance.
Born in , he was an early opponent of the decorative trends of Art Nouveau, believing instead that architecture devoid of ornament represented pure and lucid thought. Surprisingly, there is no other monograph on Loos in English currently available. Adolf Loos joins Adalberto Libera and Albert Kahn in Princeton Architectural Press's historical monographs series and presents this great modernist's complete works through numerous illustrations. Using type ornaments in your book design can add a pleasing pictorial element to your typographic pages.
Probably the best known of these is Zapf Dingbats. One of the reasons type ornaments make a perfect complement to the rest of the typesetting in your book is because they are vector art , just like all the other characters in the font. This means they can be scaled to any size, and that they will fit perfectly on a page of regular, alphanumeric typesetting. Well, there are literally thousands of these kinds or ornaments. All together, these ornaments in a handy chart format makes it easy for an author to quickly find one that will work in her book.
The two charts in this download show the ornaments and identify which font each comes from. Download your copy of Sample Type Ornaments for Use in Books by clicking this link: type ornaments , or just click the image below:. Zapf Dingbats You probably already own this font. Attention : I have been unable to track down the Bugg font, even though I have it on my system.
If you know where to find a downloadable version of this font, please let me know in the comments. Thank you! Finding this article is so timely. How do you choose one and use and download only one? User icon An illustration of a person's head and chest. Sign up Log in. Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book. Books Video icon An illustration of two cells of a film strip.
Video Audio icon An illustration of an audio speaker. Audio Software icon An illustration of a 3.
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