Adolf Loos was an Austrian architect and architectural theorist. He is considered one of the pioneers of modern Central European architecture . Loos’s most famous product is the pamphlet Ornament and Crime (1908). It argues that functionality and the absence of ornaments in the sense of human power savings is a sign of high cultural development, and that modern human real art could be created alone in the sense of the visual arts. Ornamental decorations or other special artistic design experiments in a commodity are just as inappropriate as redundant work. He stated that, “Verily, the cultured products of our time have no connection with art” . He also stated that, “the barbarous times in which works of art were intertwined with everyday objects are finally over”.
Loos argues for the use of noble materials, not the appearance of sensuality and wealth that is aimed is to be achieved, such as in the interiors of his villas. He considered this a senseless waste of human energy. Loos also evaluated the contemporary decorative arts and architectural reform movements and commented on the foundation of the German Werkbund in 1908 in two satirical essays under the titles ‘The superfluous’ and ‘cultural degeneration’ . In addition to the standards of modernity, Loos felt that the comfort of its facilities is particularly important. Here, the architect should think of the customer and should not integrate different forms or integrate new force in the entire facility set.
阿道夫·洛斯是奥地利建筑师和建筑理论家。他被认为是现代中欧建筑的先驱之一。洛斯最有名的产品是小册子饰品和犯罪问题（1908年）。认为功能和饰品在这个意义上，节省人力的情况下是一个高文化发展的标志，是现代人类真正的艺术可以单独创建的视觉艺术感。在商品的观赏装饰或其他特殊艺术设计实验是不合适的，因为多余的工作。他说，“诚然，我们这个时代的养殖产品有没有连接与艺术”。他还指出，“野蛮时代艺术作品的交织与日常物体终于结束了”。
洛斯认为高贵的材料的使用，而不是感性的外观和财富的目的是可以达到的，比如在他的别墅的内部。他认为这是一个毫无意义的人类能源的浪费。洛斯还评价了当代装饰艺术和建筑的改革运动，并于1908年的德国制造联盟的基础上两下的讽刺散文的标题’多余’和’文化变性评论。洛斯认为，除了现代的标准，其设施的舒适性就显得尤为重要。在这里，建筑师应该想到顾客，不应该整合不同的形式或整合新的力量在整个工厂集。
