In his famous essay of 1908, “Ornament and Crime,” the Austrian writer/architect Adolf Loos presented an argument for the minimalist industrial aesthetic that has shaped modernism and neo-modernism ever since. Surprisingly, he built this argument upon a foundation that is accepted today by almost no one; the cultural superiority of “modern man”, by which he meant Northern European males. Loos proclaimed that, in this new era of streamlined modern production, we had apparently become unable to produce “authentic ornamental detail.” But are we alone, he asked, unable to have our own style do what “any Negro”, or any other race and period before us, could do? Of course not, he argued. We are more advanced, more “modern.” Our style must be the very aesthetic paucity that comes with the streamlined goods of industrial production — a hallmark of advancement and superiority. In effect, our “ornament” would be the simple minimalist buildings and other artifacts themselves, celebrating the spirit of a great new age. Indeed, the continued use of ornament was, for Loos, a “crime.” The “Papuan,” he argued, had not evolved to the moral and civilized circumstances of modern man. As part of his primitive practices, the Papuan tattooed himself. Likewise, Loos went on, “the modern man who tattoos himself is either a criminal or a degenerate.” Therefore, he reasoned, those who still used ornament were on the same low level as criminals, and Papuans. - Salingaros & Mehaffy
|I Hurdals økolandsby er man definitivt ikke papuanere eller kriminelle! Nei, vi er en moderne økolandsby full av moderne mennesker. Alle med tatoveringer er uvelkomne her, kom heller i slips og dress.|
Her er heller ingen vekslende repetisjon, ingen brede vindusomramminger, ingen skalering. De 15 transformasjonene for helhet er nøysomt stylet vekk!
Legg merke til hvordan balkongene bryter med det 167ende alexandrinske mønster: Six-Foot Balcony. Balkongene her har intet overbygg, dvs. ingen gradvis overgang, hvor ei rett linje bryter mellom inne- og uteverdenen.
"And recesses seem to have a similar effect. On a cantilevered balcony people must sit outside the mass of the building; the balcony lacks privacy and tends to feel unsafe. In an English study ("Private Balconies in Flats and Maisonettes," Architect's Journal, March 1957, pp. 372-76), two-thirds of the people that never used their balconies gave lack of privacy as their reason, and said that they preferred recessed balconies, because, in contrast to cantilevered balconies, the recesses seemed more secure."
|I dette bauhauset er man i det minste ærlige om at ornament er kriminelt, reaksjonært og noe degenererte personer holder på med|
|Adolf Loos, det store idolet for Hurdals økolandsby?|
How Modern Architecture Got Square!
Er Hurdal økolandsby ikke annet enn et uttrykk for liberal fascisme?
Ornament is a necessary component of any architecture that aims to connect to human beings. The suppression of ornament, on the other hand, results in alien forms that generate physiological and psychological distress. Early twentieth-century architects proposed major stylistic changes -- now universally adopted -- without having any idea of how the human eye/brain system works. - Nikos A. Salingaros
Det smerter mitt hjerte at Norges første økolandsby står så milelangt unna verdens første ekte økolandsby, David Holmgrens Crystal Waters Ecovillage i Australia, i sitt ideologiske fundament. Mens denne bygger på Alexanders "A Pattern Language", er det klart at Le Corbusier, Adolf Loos og Bauhaus-skolen til Walter Gropius er forbildene til Hurdal økolandsby. Dessverre er ikke dette bærekraftig arkitektur!
I am convinced that humanity's salvation lies in the correct application of scientific theory to architecture. Furthermore, I argue that the so-called "theory" used up until now is just cult doctrine and ideology, which is what has destroyed our culture. - Nikos A. SalingarosLes mer om bærekraftig arkitektur:
- Frodig i Gamla stan (Biophilia and Healing Environments)
Derfor må en økolandsby være alexandrinsk!