Biologiska Museet - en vikingnasjon verdig!

Kommentar til artikkelen:

- Biologiska museet stänger

Så vidunderlig kunne Norges nye nasjonalmuseum vært var det ikke for Adolf Loos!

Biologiska museet på Djurgården i Stockholm er en vikingnasjon verdig!

Museet blir liggende bak gamle Vestbanen stasjon, tidligere endestasjon for Sørlandsbanen. En aldeles uttrykksløs koloss uten spor av ornamentering skal altså representere vikingnasjonen Norge. Vikingene som var som besatte av ornamentering. De ornamenterte ALT, inklusive seg selv, og bar tatoveringer fra topp til tå.

Adolf Loos avskydde primitive villmenn og alle som bar tatoveringer. Han inkluderte nok vikingene her.

Vikingene ville ikke hatt annet enn forakt til overs for sine etterkommere og hva det har blitt av oss, og de ville vært hoderystende over våre bygninger. Med et unntak av Biologiska museet!

"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.

Built on an essentially racist worldview, Loos’ seminal essay codified a fateful series of four tenets that have seeped into design culture and remain largely unquestioned, even today." - Salingaros og Mehaffy

- Toward Resilient Architectures 3: How Modernism Got Square

- Why Do We Create Ornament to Mimic Nature?