{"title":"现代主义的隐性装饰","authors":"William Egginton","doi":"10.1162/pajj_r_00687","DOIUrl":null,"url":null,"abstract":"The ultimate denigration of ornament has often been attributed to the famous modernist architect Adolph Loos, although he never said the famous words explicitly in his startlingly racist and misogynist 1908 manifesto “Ornament and Crime.” Nevertheless, his statement in that essay, that “the evolution of culture is synonymous with the removal of ornament from utilitarian objects,” captured a prejudice that adorns popular notions of modernist aesthetics to this day. Smooth, functional, opposed in every way to the useless, excessive aesthetics we call baroque.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"93 1","pages":"113-116"},"PeriodicalIF":0.1000,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Modernism’s Hidden Ornament\",\"authors\":\"William Egginton\",\"doi\":\"10.1162/pajj_r_00687\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The ultimate denigration of ornament has often been attributed to the famous modernist architect Adolph Loos, although he never said the famous words explicitly in his startlingly racist and misogynist 1908 manifesto “Ornament and Crime.” Nevertheless, his statement in that essay, that “the evolution of culture is synonymous with the removal of ornament from utilitarian objects,” captured a prejudice that adorns popular notions of modernist aesthetics to this day. Smooth, functional, opposed in every way to the useless, excessive aesthetics we call baroque.\",\"PeriodicalId\":42437,\"journal\":{\"name\":\"PAJ-A JOURNAL OF PERFORMANCE AND ART\",\"volume\":\"93 1\",\"pages\":\"113-116\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2023-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"PAJ-A JOURNAL OF PERFORMANCE AND ART\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1162/pajj_r_00687\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"THEATER\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"PAJ-A JOURNAL OF PERFORMANCE AND ART","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1162/pajj_r_00687","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
引用次数: 0
摘要
对装饰的终极诋毁通常被认为出自著名的现代主义建筑师阿道夫·卢斯(Adolph Loos)之口，尽管他在1908年发表的带有种族主义和厌女主义色彩的宣言《装饰与犯罪》(decoration and Crime)中从未明确说出这句名言。然而，他在那篇文章中所说的“文化的进化等同于从实用物品中去除装饰”抓住了一种偏见，这种偏见至今仍点缀着现代主义美学的流行观念。流畅，实用，在各个方面都反对无用的，我们称之为巴洛克的过度美学。
The ultimate denigration of ornament has often been attributed to the famous modernist architect Adolph Loos, although he never said the famous words explicitly in his startlingly racist and misogynist 1908 manifesto “Ornament and Crime.” Nevertheless, his statement in that essay, that “the evolution of culture is synonymous with the removal of ornament from utilitarian objects,” captured a prejudice that adorns popular notions of modernist aesthetics to this day. Smooth, functional, opposed in every way to the useless, excessive aesthetics we call baroque.
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