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Index
Alina Payne
Description: From Ornament to Object: Genealogies of Architectural Modernism
From Ornament to Object: Genealogies of Architectural Modernism
Index
Author
Alina Payne
PublisherYale University Press
Copyright© 2012 by Alina Payne
Stable URL: https://aaeportal.com/?id=-20978
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Index
abstraction, 1, 14, 175, 247, 268, 296n3
architecture/object relationship and, 267
domesticated aesthetic of, 8, 263
in painting, 116
philosophy of aesthetics and, 31
Abstraction and Empathy (Worringer), 139, 247
Academy of Fine Arts (London), 272n11
acroteria, 58, 118
“Actualités” (Léger), 242–43
Adam, Robert, 25, 66, 196
Adamy, R., 160, 168–69
Adler, Friedrich, 107
Adolf Loos Wohnkonzepte und Möbelenwürfe (Ottillinger), 225, 226, 229
AEG, 14, 216, 229, 258
aesthetics, 18, 19, 64, 133, 268
architecture and, 168
art history and, 23, 113
domestic, 70, 161
economics and, 71
empathy theory and, 156
“engineer’s aesthetic,” 173
habit and, 195
history of, 97
machine aesthetic, 16, 216–17
nihilist object aesthetics, 217–29
philosophical, 31
psychology and, 150
reception theory of, 118
of repetition, 210
Semper’s influence and, 33, 110. See also Kunstwollen
Africa, 93, 215, 245, 286n93
agency, 11, 12, 231, 234
Albert, Prince, 34, 271n3, 274n39
Alberti, Leon Battista, 17, 23, 24, 30, 31
on column as ornament, 30
on ornament and beauty, 85, 273n30
ranking of media and genres by, 35
Allgemeine Bauzeitung (journal), 121, 127, 132, 141, 161, 168
“Das Kunstschöne und die Kunstgewerbeschulen,” 200
Heuser’s Gelenkstyl in, 163, 164
Renaissance architecture articles, 159–60
Streiter and, 187
Allgemeine Cultur-Geschichte der Menschheit (Klemm), 73, 75
Almanach d’architecture moderne (Le Corbusier), 239, 239, 245, 251, 256, 259
altars, 117, 147, 191. See also Pergamon altar
Altorientalische Teppiche (Riegl), 78, 130, 247
Ammann, A., 73
Analysis of Ornament (Wornum), 66
anatomy, 99, 125, 164, 195
Andere, Das (Loos), 219, 219, 221, 224, 239–40
Anderson, Stanford, 217
“Anfangsgründe jeder Ornamentik” (Schmarsow), 143, 144, 209
Angst, Heinrich, 78, 94
anonymity/anonymous culture, 128–36, 223, 261, 270n25
art history and, 131
craftsmanship and, 89
modernity and, 131
objects, 99–100, 130, 133, 217
anthropology, 11, 12, 18, 21, 63, 158
anthropological atlases, 198
archaeology and, 105–7
art history and, 112, 115
criminal, 218
cultural, 75
detail and, 113
expansion of, 65
folk art and, 211
German-language discourse in, 264
history of, 97, 99
nationalism debates and, 98, 99, 133–34
Semper’s influence and, 33, 35, 48–56, 275n42
anthropomorphism, 82, 125, 139, 165, 172, 244
apperception theory. See empathy (Einfühlung) theory
applied arts, 123, 139, 171, 189, 203, 215
Après le cubisme (Le Corbusier), 260
arabesques, 31, 100
archaeology, 12, 21, 38, 63, 158, 287n127
anthropology and, 105–7
art history and, 112
detail and, 113
expansion of, 65
German-language discourse in, 264
as Grosswissenschaft (large-scale science), 102–3, 105
history of, 97
nationalism debates and, 99
Semper’s interest in, 49
style and, 18
archetypes (Urmotifs), 39, 46, 50, 56
Architectural Review (magazine), 7, 235
architecture, 1, 8, 65, 262
anthropology and, 50, 52, 102
archaeology and, 50
art history and, 113
Bauhaus and, 231
buildings compared to human bodies, 59
as clothing, 112
of domestic sphere, 74
folk art (Volkskunst) and, 204
Gothic, 166
Greek, 38, 45, 46, 168
history of, 25, 49, 60, 63, 113
human body and, 16, 80, 83, 120–21
as Kunstindustrie, 33–38, 56
materials and prehistory of, 39
meaning and self-definition of, 23
miniature, 14, 271n41
modernist, 138
monumental, 64, 149
in the museum, 60–63
new materials and, 182
painting and, 309n77
polychromy and, 44–46
pure form and, 174
ranking of arts and, 35, 135
relevance of objects for, 6
scholarship on, 14
schools, 169–70
as spatial art, 139, 168–69
“strong” modernist theory of, 201
style and, 183
style in, 114
“subconscious” of, 10, 270n23
Tektonik as essence of, 66
vocabulary of, 42, 207
Wohnungskultur (culture of the house) and, 79
“Architecture” (Loos), 223
architecture, objects and, 6, 11, 95, 164, 204, 262
collapse of scale between, 14
Le Corbusier’s “apparent disorder,” 256
nonrepresentational communication and, 267
objects as communicating arm of architecture, 218
objects as infrastructure to architecture, 163
objects as replacement for architecture, 7
Architektonische Zeitfragen (Streiter), 176, 181–87, 206
Architektur der Renaissance in Toscana, Die (Geymüller/Stegmann), 119, 120, 135, 146
Kleinarchitektur in, 147, 148
lanterns of Palazzo Strozzi in, 191
Arkadenprojekt (Benjamin), 152
armor, 76, 80, 81–82, 81, 82, 141, 268
armor joints, 165, 166, 173
Gurlitt’s dissertation on, 188
arms (weapons), 36, 105, 130, 165
art and artists, 21, 79, 261
art as thing, 17–18
boundaries between arts, 139–40, 149
of Die Brücke, 188
classical Greek art, 205, 220
exaltation of the artist, 192
high art, 12, 32, 61, 77, 97, 100
internationalism of modernity and, 186
medieval art, 129–30
“minor arts,” 12, 32, 77, 135, 213
mobile art, 148, 155
origins of art, 59
primitive art, 210
ranking of arts, 35
reception of art, 158
Art de la parure, L’ (Blanc), 76
Art Deco, 261, 262
Art décoratif d’aujourd’hui, L’ [The Decorative Art of Today] (Le Corbusier), 230, 237, 239, 241, 244, 257
illustrations from, 253, 260
language and images used in, 249
as manifesto, 1–2
art history, 12, 16, 17, 18, 21, 32, 63
aesthetics and, 19, 23
anonymous culture and, 131
art historians as reformers, 71
articulation style and, 183
cultural studies and, 77
culture and, 100
empathy theory and, 149
expansion of, 65
German-language discourse in, 23, 263
Gurlitt and, 187, 188, 191
history of, 97
Kleinarchitektur and, 146
Morellian connoisseurship method, 105, 125
nationalism debates and, 99
style and, 46
at turn of twentieth century, 112–16
Art in Industry (Read), 236
Art Nouveau, 16, 21, 180, 204, 209, 302n24
Bauhaus in contrast to, 233
Bing’s Art Nouveau store, 240
crisis in decorative arts and, 213–15
extremes of fantasy in, 211
Gesamtkunstwerk concept and, 259
interiors, 253
Le Corbusier and, 262
Loos and, 229
artisans, 12, 13, 49, 192
Arts and Crafts movement, 196, 199, 214, 215, 270n25
Le Corbusier and, 239
persistence in Britain, 14
Arts au Moyen Âge et de la Renaissance, Les (Du Sommerard), 66, 68
Asia, wares of, 245
assemblage, 10, 17, 44, 58
Assyria, 40, 43, 50, 53, 54
Ästhetik (Vischer), 60
Ästhetische Betrachtung, Die (Lipps), 141, 142, 142, 169
Atlas der Culturgeschichte (Eye), 75, 75, 124, 151, 170, 171
Atlas Trojanische Alterthümer (Schliemann), 134
Ausgewählte Schriften (Streiter), 157
Austria, 28, 29, 64, 69, 193
arts and crafts museums in, 62
as conglomerate of cultures, 93, 98, 99, 133–34
industrialization in, 305n99
Le Corbusier in, 240
newspapers, 137
publications in, 72
Semper in, 33
Austrian Journal of Anthropology, 132
authenticity, 138, 199, 204, 223
authorship, 127, 231
automobiles (cars), 209, 224, 227, 236, 260
architecture linked to, 256
Delage, 220, 224
Voisin, 258
avant-garde, artistic, 231, 236, 262
Avenarius, Ferdinand, 210
Balfour, Henry, 100
Ballet mécanique (film), 243
balusters, 87, 87, 118, 142
Balustre, Le (Léger), 4, 5
Banham, Rayner, 1
Bann, Stephen, 111
baptismal fonts, 147
Barman, Christian, 236
Barock- und Rococo-Ornament Deutschlands, Das (Gurlitt), 88
Baroque art, 11, 19, 115, 128, 158
Gurlitt and, 187–93
Pergamon altar and rereading of, 150–51
Schmarsow and, 139
Wölfflin’s theory of style and, 127
Bastian, Adolf, 151
Bauen in Frankreich, Bauen in Eisen, Bauen in Eisenbeton (Giedion), 14
Bauernhaus, Das, 109–10
Bauhaus, 7, 10, 21, 138, 195, 271n33
bare walls of interiors, 250
as endgame in ornament-to-object transition, 230–36
everyday objects and, 6, 6, 185
Le Corbusier and, 237, 258
Loos and, 228
modernist Pantheon and, 20
workshops, 232, 306n6
Baukunst der Neuesten Zeit, Die (Platz), 184
Baum, Julius, 127
Bayerisches Nationalmuseum (Munich), 94, 95, 98, 98
Beaumont, A. de, 88
beauty, 23, 115, 133, 273n30
architectural, 24, 30
“free” and “dependent,” 31
“Bedeutung des architektonischen Formgefühls, Die” (Muthesius), 207
Behne, Adolf, 16, 213
Behrendt, Walter Kurt, 188
Behrens, Peter, 14, 16, 22, 216–17, 229, 260
AEG-Arc Lamp, 215, 217
Allgemeine Elektricitäts Gesellschaft shop window, 228
Bauhaus and, 258
Behrens House (Darmstadt), 181, 214, 216, 233
dinner plate, 214
“Gesellschaftskleid,” 222
kettles, 227
Le Corbusier and, 20, 236, 240
Beilage zur Allgemeinen Zeitung (journal), 176
Beiträge zur Ästhetik (Lipps and Werner, eds.), 175
Benedetto da Maiano, 147
Benedite, Léonce, 69
Benjamin, Walter, 10, 110, 137, 211, 291n63
Arkadenprojekt, 152
critique of mechanical reproduction, 213
mollusk metaphor and, 197–98, 251
Berlage, Hendrik, 303n56
Berlin, city of, 70, 236
art history academy, 198
museums, 76–77
Pergamon altar in, 117, 190
Wertheim stores, 245
Berlin Gewerbe Institut, 37
Berliner Akademie der Künste, 31
Bing, Gertrude, 151–52
Bing, Sigfried, 240, 307n24
biology, 49
Blanc, Charles, 28, 33, 69, 70
Blätter für Architektur und Kunsthandwerk (journal), 176
Blätter für Kunstgewerbe (museum journal), 72
Boas, Franz, 100, 101, 145, 151, 152, 275n42
Böcklin, Arnold, 116
Bode, Wilhelm von, 19, 76–77, 90, 124, 284n46
on American decorative arts, 78–79
“clue mentality” and, 129
Le Corbusier and, 247
Streiter and, 177
body, human, 4, 11, 21, 22, 158, 197
body painting, 51, 59, 100 (see also tattooing)
clothes and tools as outer layers of, 177
continuity with cultural instruments, 80–82, 81, 83, 141
as core of experience, 151
detail and, 60
displaced by machine, 16, 80
house and, 197–98, 204
Industrial Revolution and, 16, 19
as instrument of aesthetic experience, 117, 118, 140
in movement, 152
ornaments on, 38
physical aspects of culture and, 127–28
physical familiarity with forms and, 185
as soft core of architecture, 10
style and, 124
technology blended with, 268
body sense (Körpergefühl), 112, 124, 140, 162, 183
Borelli, Giovanni, 82
Borghini, Vincenzo, 31, 32
Botta, Paul-Émile, 50
Bötticher, Carl, 36–38, 40, 166, 275n51, 276n54
archaeology and, 107
empathy theory and, 60, 79, 172
Junktur term, 168, 175
Lipps and, 142
Riegl and, 132
Streiter and, 175–76, 182, 187
bourgeoisie, 10, 27
Bourgoin, Jules, 69, 282n20
braiding, 53, 56, 141, 143
and Gottfried Semper, 53, 56–57
Bramante, Donato, 86, 147
brass, 223, 267
Brazza, Pierre Savorgnan de, 253
Brecht, Bertolt, 10
Breuer, Marcel, 234, 259
bridges, 80, 193, 209
Brinckmann, Justus, 78
Britain, 23, 27, 69, 264
Arts and Crafts movement, 14, 196, 199, 270n25
arts journals, 29
decorative arts movement, 74
industrialization of manufacture in, 32, 177
poor performance of wares on international market, 66
publications in, 72
reformers in, 71
Semper in, 33
Brongniart, Alexandre, 50
Brücke, Die, 188
Brummel residence, 224
Brunn, Heinrich von, 116, 117, 118–19
Bucher, Bruno, 90, 108
buckles, 130, 144
Bulletino di palentologia italiana, 107
Buontalenti, Bernardo, 153
Burckhardt, Jacob, 22, 63, 74, 119, 284n46
Kleinarchitektur and, 146–47, 148
Pergamon altar and, 190
Streiter and, 186
Wölfflin and, 117
Bürgerhause, Im (Gurlitt), 188
calendars, 152
candelabra, 32, 44, 123, 214
Caparra, 147
capitalism, 12, 90, 186, 196
Carlyle, Thomas, 154
carpentry/carpenters, 39, 45, 49, 225, 227, 261
carpets, 41, 59, 78, 142, 196, 300n2
as anonymous objects, 133
as folk art, 130, 246
human body in continuity with, 80
mobility and, 216
Wohnungskultur (culture of the house) and, 79
catalogues, manufacturers’, 84
Centennial Exposition (Philadelphia, 1876), 92
Centralblatt der Bauverwaltung (journal), 176
ceramics, 6, 39, 174, 208, 232
Certosa di Pavia, 87
chairs, 44, 197, 216, 226, 250, 265
Café Capua, 224
Café Museum, 224, 224
Chippendale, 222–23, 225
Egyptian stool, 223, 224, 229, 229
Grand Confort armchairs, 254, 255
ladder-back, 224
“Pivotant,” 255
as sculpture, 268
Stossler dining chair, 224
Windsor, 224. See also Thonet chairs
chancels/chancel screens, 147, 191
Chicago World Exhibition (1893), 78, 92
China/Chinese forms, 54
Chippendale chairs, 222–23, 225
ciboria, 117, 147, 191
Cicero, 30
cinema, 243
city: “city machine,” 4
city planning, 30
“vom Sofakissen zum Städtebau” (Muthesius), 239
civilization, 70, 76, 82, 112, 220
Claims of Decorative Arts, The (Crane), 177
classicism, 16, 190, 217
clay, 43, 49, 56, 96
clothes, 1, 9, 21, 82, 143, 171
as architecture, 32, 41, 123–24, 201, 205–6, 301nn20–21
“dressing” of buildings, 59
feeling for form in, 123
as focus of Streiter, 176–77
Golden Section in, 81
human body in continuity with, 80
medieval and Renaissance vocabulary of, 76
modern style and, 195, 226–27
ornament and, 30, 31, 198
“parvenu taste” and, 187
period style and, 125
Sachlichkeit (simplicity) and reform of men’s clothing, 204–5, 302n30
tragedy of objects and, 112, 154–55
underclothes, 218, 220, 223. See also costume; dressing (Bekleidung)
“clue mentality,” 129, 288n6
Cochin, 25
Cole, Henry, 27, 33, 92–93, 271–72n3, 272–73n15
Colley-March, H., 100, 101, 132, 134, 145, 218, 275n42
Collinot, E., 88
Colonial and Indian Exhibition (London, 1886), 92
colonialism, 96, 190
columns, 40, 58, 119
base details, 38
capitals, 87, 89, 136, 146
columnar orders of style, 54–55
empathy theory and, 142, 169
privileging of, 41
commodities, 12
concrete, 265–67
connoisseurship, 105, 106, 113, 125, 129, 193
Constructivism, 17
consumption/consumerism, 22, 26, 32, 187, 267
Conze, Alexander, 105, 134
Coop Zimmer (Meyer), 7, 8, 234
Corinthian order, 43, 54–55
corporeality (Körperlichkeit), 121, 141
Cosmati work, 191, 285n80
Cossio, Manuel, 246
Coste, Pascal, 50
costume, 30, 65, 72, 152, 218
absorption into decorative arts, 79
ecclesiastical (fifteenth century), 74
histories of, 71, 122. See also clothes
Costume historique, Le (Racinet), 76
craft schools (Gewerbeschulen), 93, 115, 170, 231
crafts, 30, 56, 131, 160, 199, 229
architecture linked to, 35, 36
body and, 127
Dresden museum/school and, 189
ennobling of, 218
Industrial Revolution and, 130
Renaissance and, 192. See also Arts and Crafts movement
craftsman/craftsmanship, 37, 66, 192, 228, 261, 305n99
arts journals and, 27, 28
in France, 29
machine production and, 213
ornament and artistic expression of, 89
“peasant artist”and, 192
Crane, Walter, 71, 78, 175, 282n20
English/German dialogue and, 200
Streiter and, 176, 186
critics, 2, 22, 79
Critique of Judgement (Kant), 25
Cubism, 17, 230, 241, 248, 249, 262
cultural studies, 97, 157
Culturatlas tradition, 151
culture, 19, 72, 75, 81, 90, 113
anonymous, 128–38
anthropology and, 100
architecture and, 157–58
body and, 127–28, 171
crisis of, 157–58
form and, 208
harmonious, 76, 221
“parvenu taste” and, 187
philosophy of, 63
theory of, 127
cups and saucers, 3, 11, 249, 259, 268
curiosity cabinets, 78
curtains, 181. See also draperies
Curtius, Ernst, 107, 134, 276n54
Cuvier, Georges, 50, 125
Dada, 17, 217, 230, 241, 306n1
dance, 152, 177
Darwin, Charles, 50, 99, 163, 183
aesthetics and, 18, 151
Streiter and, 187
“Darwinistiche Studien” (Heuser), 132
Day, Lewis F., 28
De l’union des arts et de l’industrie (Laborde), 69
De motu animalium (Borelli), 83
De re aedificatoria (Alberti), 30
decoration (Schmuck), 208
Decorative Art of Today, The (Le Corbusier). See Art décoratif d’aujourd’hui, L’
“Decorative Arts and Architecture in the System of the Arts” (Adamy), 160, 168–69
decorative arts (Kunstgewerbe), 4, 21, 85, 157, 249, 285n83
archaeology and, 105
architectural ornament absorbed by, 86
architecture linked to, 35, 44
crisis of, 176, 213–17
debates over, 90, 161, 188, 192, 260
decline in quality, 78
as deep structure, 128, 137
English/German dialogue and, 200–201
every-day life and, 176
folk art and, 212–13
French supremacy in, 69
in German-speaking countries, 29–30
joining of materials in, 58
journals, 27, 29, 160, 272n6
machine style and, 178–79
as miniature sculptures, 136
philosophy of aesthetics and, 31
pure form and, 174
rise in consumption of, 78
Dehio, Georg, 146
Deimenhorster Anker-Linoleum (Dresden), 189
Deneken, Friedrich, 78, 109
Denkmalpflege (Riegl), 137
Derrida, Jacques, 25
Desgodetz, Antoine, 86
detail, 113–14, 151, 152
Deutsche Bauzeitung (journal), 72, 73, 121, 127, 174
“Briefe aus Florenz,” 159
“Decorative Arts and Architecture in the System of the Arts” (Adamy), 160, 168–69
Gurlitt and, 188
Streiter and, 187
Deutsche Kunst des XIX Jahrhunderts, Die (Gurlitt), 189
Deutsche Kunst und Dekoration (journal), 72, 222, 300n104
“Deutsche Kunstgewerbe und die englisch-amerikanische Bewegung, Das”(Streiter), 176
Deutsche Monatsschrift für das gesamte Leben der Gegenwarte (journal), 239
Deutsche Werkstätte (Hellerau), 14, 189, 258, 306n109
Deutsches Archaeologisches Institut, 103
Deutsches Werkbund. See Werkbund
Dictionnaire raisonné du mobilier français (Viollet-le-Duc), 70, 76, 77, 82
armor joints in, 165, 166, 173
costume in, 122
“house” entry, 110
Didi-Huberman, Georges, 150, 152, 295n159
Dilthey, Wilhelm, 97, 117, 198
Dohme, Richard, 175, 187, 188, 301n15
Dolmetsch, Heinrich, 88
Donatello, 119, 146, 148
door handle, mock-up for (Yarinksi), 270
Doric order, 42, 43, 54–55, 277n81, 309n77
monumental form and, 44
triglyphs and, 257
Dorn, Wolf, 240
Dörpfeld, Wilhelm, 107, 166
draperies, 41, 123, 125. See also curtains
Dresden arts and crafts school, 33, 81, 171, 188, 189
Dresser, Christopher, 50, 185
dressing (Bekleidung), 41–42, 44, 51, 64, 168, 277n81
core and surface, 42–43
Loos and, 219
as “portable habitation,” 80
theory of layers and, 45. See also clothes
Du Sommerard, Alexandre, 66, 69, 281n5
Duchamp, Marcel, 241
Dyce, William, 29
earrings, 87, 87, 144
economics, 22, 33, 71, 112
economy, global, 18, 29, 196
education, arts, 18, 27–28, 29, 65, 263
art history and, 115
illustrated magazines and, 160
Eggeling, Viking, 306n1
Egypt, 42, 43, 50, 133
Egyptian ornament, 91
Egyptian stool, 223, 224, 229, 229
polychromy in, 277n91
Eiffel Tower, 95
Einfamilienhaus Beim Gräbehen (Muthesius), 200
Eitelberger, Rudolf von, 62, 69–70, 71, 77, 282n20
debates over decorative arts and, 90
folk art/studies and, 108, 292n73
folk industries and, 93
on industrialization and the primitive, 130
quality issue and, 199
Riegl as student of, 128
Streiter and, 177
El Greco, 246, 247, 308n48
electricity, 187, 215
Élément biologique, L’ (Perriand and Le Corbusier), 6
Elgin marbles, 278n91
embroidery, 108, 130, 133
empathy (Einfühlung) theory, 16, 60, 79, 112, 262, 271n33
art history and, 113, 156, 296n3
body and aesthetic experience, 117, 118
boundaries between arts and, 139–40
Expressionism and, 197
Kleinarchitektur and, 149
machine’s resemblance to human body and, 80
movement and, 141
Muthesius and, 201
Pergamon altar and, 150–51
physical familiarity with forms and, 185
pure form and, 174
reception of art and, 158
theoreticians of, 117
Encyclopedia of Ornament (Shaw), 66, 87, 88, 89
Endell, August, 215
Englische Haus, Das (Dohme), 301n15
English Reform Movement, 199, 214
Entretiens (Viollet-le-Duc), 40, 276n63
Entstehung der Barockkunst in Rom, Die (Riegl), 149
“Entwicklungerscheinungen in der Ornamentik der Naturvölker” (Stolpe), 134
epistyles, 41
Eplattenier, Charles L’, 239, 240, 245, 248, 307n28
Esposizione Industriale (Turin, 1884), 92
Esprit Nouveau, L’ (magazine), 221, 238, 238, 240
Esprit Nouveau, Pavillon de l’ (Le Corbusier and Pierre Jeanneret), 6, 21, 239, 247, 253, 255
exterior view, 2
Great Exhibitions and, 95
interior views, 3, 10
interiors as museum settings, 256
lofted library in grande salle, 254
modernity and, 2–3
painter’s atelier, 257
view under loft (dining room), 252
“Esszimmer” (Van de Velde), 190
ethnography, 18, 21, 54, 110, 199
art history and, 112
museums and, 97
philosophy of culture and, 63
ethnology, 97, 98, 130, 133–34
Étude sur le mouvement d’art décoratif en Allemagne (Le Corbusier), 241
Every-Day Art (Day), 28
everyday life, 6, 54, 175, 220
“anonymous” equipment of, 270n25
architect’s vision and, 222
architecture as environmental container of, 11, 201
continuity of form in, 214
origins of art in crafts of, 275n42. See also objects of daily use
Evolution in Art (Haddon), 101, 102, 103, 104
Evolution ornamentale, L’ (Recy), 89
evolution theory, 163
Expressionism, 16, 139, 188, 197, 246, 296n3
Eye, August von, 75, 81, 124, 145, 171, 189
Culturatlas tradition and, 151
as lesser-known academic, 170
Loos and, 218, 219
Muthesius and, 205
travels and publications of, 170–71
Fabian, Johannes, 292n85
fabrication, 60, 158
crisis of, 19, 25, 54, 115
development of form and, 43
style and, 46, 47
tools involved in, 39
fabrics, 39, 41, 58, 90, 118
Falke, Jakob von, 28, 71, 74, 123, 145, 287n137
crisis of decorative arts and, 214
culture theme and, 75
folk studies and, 108
on harmonious culture, 76
history of ornamental forms and, 114
“International Village” and, 93, 109
quality issue and, 70, 199
Riegl and, 128
Streiter and, 176
“Fall Scala, Der” (Loos), 218
fashion, 22, 48, 205, 206
fatigue, sensory, 121, 171, 172, 206
Fechner, Theodor, 80, 117, 123
Feuille d’avis, La (journal), 245
Fichte, Johann Gottlieb, 97
Fiedler, Konrad, 125, 171, 174–75, 290n50
Filarete, 36
Fischer, Theodor, 211, 224
Fischer, Thomas, 240
floral/vegetal forms, 16, 83, 215
Floriated Ornament (Pugin), 66
folk art (Volkskunst), 19, 55, 56, 108, 126–27, 292n73
craftsmanship and, 192
Gothic revival and, 130
“International Village” and, 93
Kleinarchitektur and, 146
Loos and, 223
modernity and, 210, 212–13, 304n65
nationalism debates and, 133–34
folk studies, 63, 130, 158, 204
art history and, 112
history of, 97
nationalism and, 107–10
primitive cultures and, 106–7
Folkwang Museum (Hagen), 93
food, 1, 217, 220
form: content and, 106
continuity of, 214
evolution of, 162
Formkraft (force to form), 118
function and, 39
Grundform (basic form), 178, 184, 207, 303n42
Kunstform (artistic form), 42–43
monumental, 54
of “primitive”peoples, 54
psychology and, 171
pure form, 172, 173, 174, 178, 189
repetition of, 121
Sachform (practical form), 194, 198, 207
spiritualized, 208
Form ohne Ornament, Die (exhibition, Stuttgart, 1924), 2, 24, 226, 232, 235
formalism, 116, 208
Formgefühl (feeling for form), 121, 123, 125, 135, 185–86, 291n62
crisis in decorative arts and, 215
“emotion type” and, 198
familiarity with objects and, 183
fatigue of, 171, 172
Kunstform and, 184
metalwork and, 173
Muthesius and, 207
reformulation of architectural discourse and, 194
style and, 186
Forster, Kurt, 152, 295n167
fossils, 50, 51
fountains, 147
Four Elements of Architecture (Semper), 45
Frammenti di vaso di bronzo (Conze), 105
France, 23, 28, 32, 68, 200
Great London Exhibition (1851) and, 33
publications in, 69
state support for manufacturers, 29
supremacy in industrial arts, 69, 160, 282n12
Frank, Josef, 222, 258, 305n99
Freud, Sigmund, 57, 125
Fuchs, Georg, 94
furnishings/furniture, 3, 4, 11, 21, 142, 202
as architecture, 204
built-in, 179, 179, 180, 214, 253
collapsible and portable, 7, 8
as experimental site, 203
feeling for form in, 123
Garnitur (matched furniture sets), 222, 225, 258
Gothic, 81
human body in continuity with, 80, 141
as Kleinarchitektur, 147
Le Corbusier and, 250–51
materials and, 39
medieval and Renaissance vocabulary of, 76
mobility in etymological relation to, 228
modern style and, 226–27
spiritualized form and, 208. See also chairs
Furtwängler, Adolf, 107, 134
G (magazine), 230, 306n1
garlands, 15
Garnier, Charles, 73, 162
Garnitur (matched furniture sets), 222, 225, 258
Gau, Franz Christian, 45, 277n91
Gebrauchsgegenstände. See objects of daily use
Gefachstyl/Gelenkstyl (articulation style), 163, 165, 167, 168, 172, 183
Gegenwart, Die (journal), 188, 192, 299n83
“Gehört die Baukunst zu den freien Künsten” (Hartmann), 123
gender studies, 12, 17
Geographical Society, 89
geography, 18, 99
Geometric Style, 132
geometry, 14, 23, 244
George, Waldemar, 244
Germanisches Nationalmuseum (Nuremburg), 94
German-speaking world, 22–23, 193, 263–64, 300n104
Germany, 27, 29, 64, 68–69, 193
arts and crafts museums in, 62
exodus of intelligentsia from, 236–37
fascination with technology in, 196
industrialization of manufacture in, 32
as Kulturnation, 98, 103
Le Corbusier in, 240, 245, 308n49
national economic agenda, 93
newspapers, 137
publications in, 72
Semper in, 33
unification of, 108
Gesamte Möbelschreinerei, Die (Krauth and Meyer, eds.), 179, 180
Gesamtkunstwerk concept, 222, 229, 232, 234, 259
Geschichte Baukunst (Burckhardt), 148
Geschichte der Renaissance in Italien (Burckhardt), 117, 146
Gewerbe. See decorative arts
Gewerbeausstellung (Berlin, 1896), 92
Geymüller, Heinrich von, 19, 119, 135, 147
Gheltof, G. M. Urbani de, 114
Giedion, Sigfried, 14, 22, 139, 187, 198, 264, 270n25
as apologist of modernism, 194
Art Nouveau condemned by, 213
Great London Exhibition (1851) and, 25
on “subconscious” of architecture, 10, 128, 270n23
Wölfflin’s influence and, 127, 128, 187–88, 291n62
Ginzburg, Carlo, 57
“Glass and Clay” (Loos), 219–20
glassware, 260, 260
Glazier, Richard, 88
goblets, 32, 123
Goethe, Johann Wolfgang, 31, 60, 278n116, 308n49
Golden Section, 81, 160, 163
goldwork, 136
Göller, Adolf, 121, 143, 157, 160, 163
empathy theory and, 171–72
Gurlitt as apologist of, 192
Heuser and, 172–74
as lesser-known academic, 170
“pure form” and, 174–75, 189
Streiter and, 175, 178, 183, 187
Goodyear, W. G., 105, 134
Gothic style, 16, 29, 46, 66, 158
armor and, 165
Art Nouveau and, 215
carved foliage, 83, 84
in furniture, 81
Gothic versus Classical revival debate, 129
in shoes, 122, 122, 123, 166
Gottfried Semper in Paris (Kietz), 33
“Gottfried Semper und die Museen”(Leisching), 62
Grammaire des arts décoratifs (Blanc), 28, 70
Grammar of Ornament, The (Jones), 66, 67, 132
Grammar of the Lotus (Goodyear), 105
Grand-Ducal Saxon School of Arts and Crafts, 231
Grasset, Eugène, 89, 247
Graul, Richard, 69, 109, 215
Great Exhibitions, 18, 27, 92–95, 160, 195
art history and, 113
discourse on ornament and, 211
folk studies and, 108
industrial production and, 215
Le Corbusier and, 239
Loos and, 218
Great London Exhibition (1851), 25–27, 31, 68, 92, 271–72n3
architecture and, 61
Canadian Exhibition, 52–53, 52
crises precipitated by, 54
Crystal Palace interior, 26
French exhibit, 69
Kunstindustrie and, 135
Semper and, 33, 34, 47, 48, 54, 158, 278n103
Greece, 45, 51
Grimm, Hermann, 163
Gropius, Walter, 14, 20, 234, 237, 260, 263
confidence in industrial future and, 26
consumer modernity and, 231
Sommerfeld House and, 232
typewriter of, 236, 238
Gross, Karl, 208, 226
grotesques, 31
Grundbegriffe (Wölfflin), 125
Grundform (basic form), 178, 184, 207, 303n42
Grundlegnungen zur einer Geschichte der Ornamentik (Riegl), 131
Grundlinien einer Philosophie der Technik (Kapp), 65, 79–80, 80, 81
Gruner, Bau-Komissar, 168, 282n20
Guimard, Hector, 214, 282n13
Gurlitt, Cornelius, 20, 22, 88, 162, 274n39, 276n54
Baroque art and, 64, 187–93
Kleinarchitektur and, 146
as lesser-known academic, 170
Muthesius and, 198, 205, 301n4
object of daily use promoted by, 215
portrait of, 188
reviews by, 126, 160, 174
Streiter and, 175
on success of Der Stil, 72
Wallot and, 198, 201
Werkbund and, 210
Wundt and, 141
Haberlandt, Michael, 109–10, 179, 223
habit, 173, 194, 195
body sense (Körpergefühl) and, 183
empathy theory and, 185
formation of, 201, 209, 244, 268
Habitations modernes (Viollet-le-Duc), 74
Haddon, Alfred, 101–2, 105, 145, 218, 275n42
Halberlandt, Michael, 110, 204
Hamburg Kunsthalle, 78, 93–94
Hamlin, A., 88
Handbook of Ornament (Meyer), 86
Häring, Hugo, 188
Hartmann, Eduard von, 123, 140, 168–69, 222
Haus und Hof (Hellwald), 110
“Haus-am-Horn” (Bauhaus exhibition house, 1923), 232, 259
Hauser, Alois, 107
Hausindustrie/Hausfleiss, 108, 110, 138, 204, 223
Hegel, G.W.F., 35, 172, 198, 221, 222, 274n34
Hellwald, Friedrich von, 110, 162, 166
Helmholtz, Hermann von, 80
Herbart, Johann Friedrich, 97, 117
Herder, Johann Gottfried, 97, 108
Heuser, G., 132, 141, 163–66, 168, 172–74, 296n16
on “engineer’s aesthetic,” 173
Streiter and, 187
Wagner and, 182
Hildebrand, Adolf von, 116, 117, 126, 151, 174–75, 190
Histoire de l’habitation humaine (Garnier), 73, 162
Histoire naturelle des crustacés fossiles (Brongniart), 51
historicism, 176
history, 18, 97, 98, 110, 263, 268
art history and, 112
body and, 171
crisis of, 54
from metonymy to synecdoche, 111
History of Ornament (Hamlin), 88
Hitchcock, Henry-Russell, 22, 213
Hitler, Adolf, 237
Hittorff, Jakob Ignaz, 33, 45
Hodler, Ferdinand, 116
Hoeber, Fritz, 147
Hoffmann, Albert, 162–63
Hoffmann, Josef, 1, 22, 213
Höfische Wohnungskunst im Mittelalter (Schlosser), 78
Hohe Warte (journal), 188, 304n64
Holz, Hans Heinz, 19
Horta, Victor, 212
Horta House (Brussels), 212, 214, 216
house/housing, 65, 81, 171, 238, 264
ancient stilt-houses, 75
as clothes, 301n20
decorative arts movement and, 74
Esprit Nouveau pavilion and, 239
as Gesamtkunstwerk, 229
house as shell, 197, 204, 251
as machine, 4, 255
mass-production process and, 265–66
self and house, 223
Hübsch, Heinrich, 46, 175
Humann, Carl, 107
Humboldt, Alexander von, 97
Humboldt, Wilhelm von, 97, 107, 278n116
hybridity, intellectual, 65
iatromechanics, 82, 83
“Ideales Museum für Metallotechnik” (Semper), 34–35, 62, 95–96, 129, 274n41
identities, local, 93, 98
identity, national, 54, 56
anthropology and, 99
in Austrian empire, 134
folk objects and, 138
German, 98
Illustrated Archaeologist (journal), 105
Illustrierte Frauen-Zeitung, 108
Im Bürgerhause (Gurlitt), 222
“Im welchen Style sollen wir bauen?” (Hoffmann), 162
Impressionism, 17
In What Style Should We Build? (Hübsch), 46
incrustations, 42
Indians, North American, 52–53, 100, 152–53, 153
industrial design, 21, 32, 97
Industrial Revolution, 12, 16, 18, 82, 130, 159
industrialization, 32, 130, 215, 263
industry, 15, 18, 21, 76, 96, 261
art in collaboration with, 240
emergence of modern man and, 264
Grossindustrie (large-scale industry), 102
new materials made possible by, 25
Innen-Dekoration (journal), 27, 29, 72, 78
Innovation trunks, 252–53, 253, 309n70
Ins Leere gesprochen (Loos), 195, 226, 305n95
interior, domestic, 113, 222
as complete work of art, 76
costume in dissonance with, 176
interior/exterior relation, 201, 202
Le Corbusier and, 250–52, 252, 253–54, 254, 255–58, 259–61
as “style,” 21
Intermezzi (Buontalenti), 153, 155
Inuit people, 54
Ionic order, 43, 54–55
iron, 172, 174, 182, 268, 297n42
bridges, 80, 184, 193
metal body sheaths and, 165
style and, 184
Italienische Forschungen (Rumohr), 281n176
Italienischen Hausmöbel der Renaissance, Die (Bode), 79
Italy, 45, 88
Jackson, Andrew, 88
Janin, Jules, 66
Japan, 199
Jeanneret, Pierre, 2, 255
jewelry, 30, 58, 76, 82, 140, 143
as anonymous objects, 130
archaeology and, 105
human body in continuity with, 80
modern style and, 195
as technical art, 36
Wohnungskultur (culture of the house) and, 79
Jombert, Charles-Antoine, 66
Jones, Owen, 27, 33, 50, 89, 145, 282n20
Grammar of Ornament, 66, 67, 132
“Ornament of Savage Tribes,” 53
on tattooing and ornament, 131
Journal of Design and Manufacturers, 27–28
Jugendstil: artists’ dissociation from, 305n89
Loos and, 222
Muthesius’s antipathy toward, 199, 210, 214–15, 221, 301n17, 304n67
Justi, Carl, 139
Kaiser Wilhelm Museum (Krefeld), 78, 109
Kant, Immanuel, 25, 31, 32, 66, 97
Kapp, Ernst, 65, 79–83, 124, 141, 183, 198
Heuser and, 163, 164, 165
Le Corbusier and, 244
Loos and, 219
organ projection concept, 163, 171
Kekulé, 134
kettles, 227
Klassische Kunst [Classic Art] (Wölfflin), 112, 116, 121, 124
Kleinarchitektur (sculpture-like architecture), 21, 119, 146–49, 191, 268
Kleine Schriften von Gottfried Semper (Semper), 35, 177
Klemm, Gustav, 51, 75
Klencke, Hermann, 81
Klipstein, August, 246–47, 262, 308n49
knotting, 42, 49, 49
Kosmetik (Klencke), 81
Kostümkunde (Weiss), 122, 122
Krisis im Kunstgewerbe (Graul, ed.), 69, 109
Kritik der Urteilskraft (Kant), 31
Kronprinzwerk, 99, 110, 286n105
Kugler, Franz, 146, 168, 198
Kultur der Renaissance in Italien (Burckhardt), 74
Kultur und Kunst (Muthesius), 195, 204–5
Kulturgeschichte der Menschheit (Klemm), 51, 279n130
Kunst für Alle (journal), 27, 72
Kunst im Hause, Die (journal), 28
Kunst im Hause (Falke), 76
Kunst und Gewerbe (museum journal), 72, 90
Kunst und Handwerk (journal), 27, 72
Kunst und Leben der Vorzeit (Eye and Falke), 74, 75, 171
“Kunstarchitektur und Volksbauart” (Riehl), 109, 126
Kunstform (artistic form), 38, 42–43, 143, 168, 184
Kunstgewerbe. See decorative arts
“Kunstgewerbe der Neuzeit, Das” (Eye), 81
Kunstgewerbeblatt (museum journal), 72, 188
Kunsthistorisches Institut (Florence), 139
Kunstindustrie, 38–39, 64, 86, 146
architecture as, 33–38, 56
art history and, 114, 115
debates over, 62
as embryo of monumental art, 43–44
English and American approach to, 187
Loos and, 218
Riegl and, 128, 129, 131
style and, 46–47
Kunstkritische Studien (Morelli), 193
“Kunstschöne und die Kunstgewerbeschulen, Das” (Schatteburg), 200
Kunstwollen (aesthetic drive), 51, 130, 131, 134, 138
anonymous object and, 217
decorative arts and, 135, 136–37
minor arts and, 213
pure form and, 174
labor, 48, 54, 90
Laborde, Count Léon de, 33, 69, 199
lace, 90, 102, 108
Lamprecht, Karl, 150
lamps, 214, 215, 216, 217, 268
Landes- und Volkskunde des königreichs Bayern (Riehl, ed.), 126
Langbehn, Julius, 19, 108, 162, 175, 187
Gurlitt and, 188, 192–93, 210
object of daily use promoted by, 215
Langmaack, Gerhard, 152
Lassen, Christian, 50
Latour, Bruno, 18
Layard, Henry, 50, 134
layers, theory of, 45
Lazarus, Moritz, 97, 107
Le Corbusier (Charles-Edouard Jeanneret), 22, 160, 180, 187, 222–23, 263
Art Nouveau condemned by, 213
Bauhaus and, 232
body in theory and designs of, 244–45, 308n39, 310n89
chairs by, 254, 255, 267
confidence in industrial future and, 26
on decorative arts, 24, 230
“emotion type” term of, 198
empathy theory and, 262
folk culture and, 246, 308n45
German-speaking theory of objects and, 236–41, 258–62
interiors by, 252, 254, 259–61
on “limb-objects,” 9
Loos and, 227, 228, 258
machine aesthetic and, 216–17
Maison de la Roche, 253, 256, 309n77
modernism and, 20, 194
Modulor scale, 266, 267
object as synecdoche and, 249–58
object/architecture relationship and, 236–49
as proselytizer, 227
Purism and, 3, 4, 248–49, 248, 254, 260, 262
standardization and, 220
Villa Savoye, 256
Villa Stein, 250. See also Art décoratif d’aujourd’hui, L’ [The Decorative Art of Today]; Esprit Nouveau, Pavillon de l’
lectures, public, 149, 157, 159, 236
Léger, Fernand, 3, 241, 246, 254, 256
Le Siphon, 242
“Actualités,” 242–43
Ballet mécanique film, 243
Le Balustre, 3, 4, 5, 242, 243, 244
relevance of objects for, 1, 242, 243–44
Leisching, Julius, 62–63, 72, 95, 96
Lenoir, Alexandre, 68, 75–76, 281n7
Lessing, Julius, 108
Lessons on Decorative Design (Jackson), 88, 285n78
Levi-Strauss, Claude, 130
libraries, 69, 159, 253
Lichtwark, Alfred, 78, 93, 188, 215
Liebermann, Max, 116
“limb-objects,” 9
linguistics, 50, 97, 99
Lipps, Theodor, 20, 124–25, 140, 145, 169, 246
empathy theory and, 117, 141–43
Le Corbusier and, 247
Muthesius and, 207
Schmarsow and, 210
Streiter and, 175, 178, 184
style and, 157
on swelling and contraction, 174
Lipschitz, Jacques, 256
Lives of the Artists (Vasari), 54
Loos, Adolf, 1, 22, 51, 177, 180, 202
on absence of decoration, 2
Art Nouveau condemned by, 213
Bauhaus and, 232
Café Museum chair, 224
at Dresden Technische Hochschule, 189, 205, 219
interiors by, 225, 226
Le Corbusier and, 236, 238, 239–40, 245, 246, 252, 258, 260, 307n23
on modern style, 195
modernism and, 20, 194, 196
modernity and, 261
nihilist object aesthetics and, 217–29
on ornament and crime, 24
quality issue and, 70
Streiter and, 187
Lotze, Hermann, 60, 140, 146, 187
Lübke, Wilhelm, 162, 166, 168
Lucian, 30
luggage, 11, 195, 227, 228, 229, 249
Hermès, 252, 253
travel with objects, 252–53
Lutzow, 168
Lux, Joseph August, 22, 188, 195, 304n64
luxury items, 181, 190, 197, 216, 305n99
machine, 80, 197, 209, 234
aesthetic of, 266
anti-machine views, 71, 283n24
breakdown of distances and, 18
geometry and, 244
house as machine, 4, 255
human body displaced by, 16
machine à habiter, 3
machine aesthetic, 16, 216–17
serial repetition and, 213
typicality and, 210. See also industrialization; mass production
Maison de la Roche (Le Corbusier), 253, 256, 309n77
maison outil (house instrument), 4
makeup, 30, 32
malerisch (”painterly”) category, 139, 140, 149, 295n159
manifestos, 1, 7
Maoris, 51, 53, 59, 131, 132, 132
marble, 90, 223
Marchand, Suzanne, 105, 287n127
Marees, Hans von, 116, 126
Marxism, 7, 12, 218
masks, 15
Mason, Otis T., 101
mass culture, 21
mass production, 3, 8, 14, 177, 214, 261
anonymity and, 234, 245
crisis in decorative arts and, 216
domesticated aesthetic of, 263
Gesamtkunstwerk concept and, 234
Great London Exhibition (1851) and, 25
house and, 265–66
of ornamental forms, 16
“strong” discourse about, 139, 187
materialism, 154, 166, 206
materiality, 11, 136
materials, 39, 61, 70, 183, 203, 303n59
anthropology and, 48
core and surface, 42–43
crisis of, 54
meaning of, 223
style and, 46–48
transpositions of, 42
mathematics, 14
mechanization, 80, 139, 270n25
medicine, 125, 151, 164
Meeken, Israel van, 87
Meier-Graefe, Julius, 246
Melani, Alfredo, 88
Melische Thongefässe (Conze), 105, 106
memory, 172, 173, 268
Menninghaus, Winfried, 18
metal/metalwork, 39, 43, 87, 118, 208
Meyer, Franz Sales, 86, 88
Meyer, Hannes, 7, 231, 234, 237
Michaelis, Adolf, 107
Middle Ages, 53, 76, 129, 133
middle class, 70, 177, 192, 215, 234
Mies van der Rohe, Ludwig, 22, 56, 114, 223, 234, 237
confidence in industrial future and, 26
detail in work of, 14
mimesis, 58, 217
Mitteilungen des Mährischen Gewerbemuseums (Leisching), 62
Mnemosyne-Atlas (Warburg), 150, 151
mobility, 7, 180, 183, 216, 226, 264
concrete and appearance of, 267
etymological relation to furniture, 228
Le Corbusier’s furniture designs and, 255
travel and, 252
Moderne Architektur (Wagner), 181, 182, 205, 206
Moderne Baukunst (Scheffler), 195, 202, 203
“Moderne Kunst in den Vereinigten Staaten von Amerika” (Bode), 178
“Moderne Umbildung unserer ästhetischen Anschauungen, Die” (Muthesius), 209
modernism, 7, 12, 139, 237, 250, 263
apologists of, 194
empathy theory and, 187
erasure of connection to the past, 10
genealogy of, 268
history forsaken by, 110
nineteenth-century theory and, 21
ornament and objects in relation to, 17
orthodoxy of, 197
pantheon of, 20, 198
Paris as capital of avant-garde and, 262
Vienna as a center of, 1
modernity, 3, 22, 115, 158, 186, 209
anonymous culture and, 221
clothes and, 205
“essence” of, 234
folk art/culture and, 210, 246
material culture and, 227
mobility and, 180, 253
as status quo, 229
Volk (people) and art of, 186
Modulor, The (Le Corbusier), 266, 267
Moholy, Lucia, 236
“Mokomokai” (Klemm), 51
monument preservation, 32. See also Denkmalpflege
monumental art, 56, 57, 61, 62
Kunstindustrie and, 35–36, 45
weaving and braiding forms in, 48, 53
Morelli, Giovanni, 57, 160
connoisseurship technique, 105, 106, 125, 129, 193
Gurlitt and, 193
Warburg and, 151
Moritz, Karl Philip, 36, 37, 60, 144, 145, 273n30
Adamy and, 169
empathy theory and, 79
Kunstgewerbe promoted by, 31–32
Morris, William, 28, 71, 78, 89, 200, 282n20
mosaics, 42, 59, 133
Münchner Allgemeine Zeitung, 137
Munich, city of, 117
Musée des Arts Décoratifs, 69, 282n13
Musée des monuments français, 68, 281n7
Museum für Kunst und Handwerk (Hamburg), 78
Museum für Kunst und Industrie (Vienna), 28, 34, 62, 97, 193
craftsmen education program, 99
directors of, 69, 70, 71, 77–78, 218
folk objects at, 286n91
forces behind creation of, 93
interior view, 34
Muthesius and, 199
Riegl at, 72, 128, 160
Semper’s influence and, 129
Museum für Volkskunde (Vienna/Berlin), 109
museum studies, 18
museums, 11, 21, 64, 69, 195, 263
architecture in, 60–63
art-historian directors of, 112
in Britain, 70
of decorative and industrial arts, 93
in German-speaking countries, 71, 72
mercantile world and, 99
visual display and culture of, 90, 92–96
music, 35, 261
Muthesius, Hermann, 22, 70, 71, 109, 175
aesthetic of domestic sphere and, 161
Art Nouveau condemned by, 213, 304n67
“artistic house” of, 233
Bauhaus and, 258
on clothes as architecture, 201, 301nn20–21
as a founder of Werkbund, 74
Gurlitt and, 188, 193
on habit and aesthetics, 195
intervention theory and, 198–213
Kleinarchitektur and, 146
Le Corbusier and, 236, 238, 239, 240, 246, 258, 307n20
Loos and, 227, 229
modernism and, 20, 194, 196
preservation (Heimatschutz) movement and, 223
Streiter and, 187
Typisierung concept, 193, 209–10, 245
on Wohnungskultur, 76
Mycenae, 43
nationalism, 93, 98, 99, 288n143, 300n98
folk studies and, 107, 108, 110
preservation (Heimatschutz) and, 210
Natural History Museum (Vienna), 97, 99
natural sciences, 49, 50, 125, 288n2
nature, 36, 38, 50, 58, 60, 274n31
adornment and, 39
empathy theory and, 112, 154
“Natur-Nachbildung” concept, 164
Naumann, Friedrich, 211
Naumburg, 215
needlework, 87
Nervi, Pier Luigi, 265
Neue Freie Presse (newspaper), 137, 176, 218, 219
Neumann, 224
“Neuseeländische Ornamentik” (Riegl), 132
New Guinea, peoples of, 51
New Zealand, peoples of, 51, 53
newspapers, 137
Nietzsche, Friedrich, 192
Nordic Exhibition (Copenhagen, 1888), 96
Normalform (ordinary form), 211
Nouvel Opéra de Paris, Le (Durandelle), 15
objecthood, 17–18, 271n41
objects, 9, 176, 223, 230, 244
abstract form and, 175
aesthetics and proliferation of, 18
agency and, 11
as antithesis of architecture, 11
from archaeological excavations, 105, 110
art history and, 114
culture and, 12
familiarity with, 183
feeling for form in, 123
at Great London Exhibition (1851), 26
human body in continuity with, 124
mass production of, 4–5, 14, 207
meaning of “object,” 10–11
mediation function of, 24
mobile and portable, 11, 17, 21, 97, 198, 255
as prostheses, 196
public discourse associated with, 22
as replacement for architecture, 7
social role of consumer objects, 33
still lifes of, 3
as synecdoche, 249–58
tactical and optical stimuli from, 138
tragedy of, 153–55
travel with, 252–53
World Exhibitions and, 92. See also Sachkultur (culture of objects)
objects of daily use (Gebrauchsgegenstände), 116, 196, 223, 228, 229, 261
abstract shape of, 174
adornment and, 39
anonymous, 99–100, 130
architectural ornament and, 64, 89, 129, 133, 137
basic form in, 46
Bauhaus and, 6
body and, 84, 151
collective subconscious and, 19–20
culture and, 100, 110, 122, 213
empathy theory and, 142
ennobling of, 135, 208
Formgefühl (feeling for form) and, 121
industrial production of, 14
as Kunstindustrie, 36, 186
matter-of-factness and, 220
as miniature sculptures, 16, 190, 235, 268
modernism and, 250
modernity and, 227, 231, 246
monumental art and, 158, 204
national identity and, 54
ornament and, 217
style and, 125, 183, 226–27
Oeuvre complète (Le Corbusier), 250–51, 252, 254, 255–57, 257
Olbrich, Joseph Maria, 221
Olympia archaeological site, 103, 107
organ projection, 80, 81, 141, 163, 171
organicism, 60
Oriental Museum (Vienna), 199
Orientierende Vorstudien zur Systematik der Architekturproportionen (Hoeber), 147
Orme, Philibert de l’, 55
ornament, 12, 24, 60–61, 82–90
as adornment or decoration, 32
anatomy and, 195
anthropology and, 50–51, 99–101
architectural aesthetics and, 30–31
books and manuals on, 30
crisis of, 19, 115
as deep structure, 128
detail and, 56–60
elimination of, 1, 144, 205, 227
global marketplace and, 25–32
grammar of, 143
histories of, 71
human body in continuity with, 80
Loos’s attack on, 217
mass production of, 16
miniature, 130
move away from architecture, 89–90
painting and, 202
preservation of, 171
repetition and, 210
scale and, 14
as sculpture, 15–16
“signaling” function of, 144
traditional function of, 8
wall mass and, 191, 191
“Ornament, Das” (Gross), 208
Ornament and Crime (Loos), 1, 48, 51, 195, 217, 269n1
on body and built environment, 218
on Potemkintowns, 222
publishing history of, 304–5n81
Ornament auf ethnologische und prähistorischer Grundlage, Das (Wilson), 145
Ornamentale Formenlehre (Meyer), 86, 86–87
Ornement polychrome, L’ (Racinet), 91
Österreichisch-ungarische Monarchie in Wort und Bild, Die. See Kronprinzwerk
Osthaus, Karl, 93, 240, 286n93, 303n57, 303n59
Ozenfant, Amédée, 2, 3, 4, 239, 241–42
L’Esprit Nouveau magazine, 238
“ladder” staircase in studio of, 255, 256
Purist painting and, 248, 309n73
Paestum, 42, 277n81
painting, 11, 17, 139, 192, 309n77
Bauhaus and, 231
ornament and, 202
ranking of arts and, 35, 135
still lifes of objects, 3–4
as surface-bound art, 139
palaeontology, 106, 107
Palazetto dello sport (Rome), building of, 265
Palazzo Strozzi (Florence), 147, 191
paleography, 129, 291n66
Palladio, Andrea, 36
palmette design, 100
Panofsky, Erwin, 264
Parergon: The Truth in Painting (Derrida), 25
Paris, city of, 3, 20, 70, 236, 262
Paris Exposition of the Decorative Arts (1925), 2, 240, 241, 258
Paris World Exhibition (1855), 92
Paris World Exhibition (1889), 12, 12, 73, 92
Paris World Exhibition (1900), 92, 307n24
Parthenon, 217, 220, 224, 278n91
Pasteur, Louis, 18
patronage, 77, 127
Paul, Bruno, 226, 258
Pausanias, 43
Paxton, Joseph, 25–26
peasants, 108, 130, 179, 192
“Peasants at Work in Burgundian Tapestries” (Warburg), 152
Pergamon altar, 11, 105, 113, 119, 149
architectural form as sculpture in, 118–19
Baroque and, 190
debates over, 117
literature surrounding, 150–51
“pictorial relief” concept and, 140
Pergamon archaeological site, 103
Perret, Auguste, 239, 307n23
Perriand, Charlotte, 6, 228, 241, 251, 258
Perrot-Chipiez, 134
Persia, 50
Peter, L. J., 179, 180
Pevsner, Nikolaus, 22, 187, 237, 264, 270n25
Arts and Crafts sensibility and, 14
Great London Exhibition (1851) and, 25
Pfleiderer, Wolfgang, 2, 24, 226, 235
phenomenology, 64
philology, 105, 113
Philosophie der Technik (Kapp), 163, 164
philosophy, 11, 17, 18, 23, 63, 168
photography, 147, 231, 287n127, 297n42
physics, 80, 82
physiology, 198
Picabia, Francis, 241
Piranesi, Giambattista, 86
Pitt Rivers, Gen. Augustus, 100
“Plan for an Ideal Cultural History Museum” (Semper), 63
plastic arts, 123
Platz, Gustav Adolf, 184, 213
Pliny, 43
politics/politicians, 22, 33, 71, 94, 149
polychromy, 44–46, 53, 59, 277–78n91
“Poor Little Rich Man” (Loos), 222
positivism, 40, 50, 105, 106, 112, 159
pots/pottery, 44, 100, 102, 118, 219–20, 246
as anonymous objects, 130, 133
archaeology and, 105
architecture linked to, 44
form and function of, 39
skeuomorphs, 101
as technical art, 36
“Practical Art in Metal and Hard Materials and Its Technology and History” (Semper), 34–35, 62, 274n41
preservation (Heimatschutz) movement, 108, 188, 199, 210, 223, 302n26
primitive, the, 48, 52, 143, 210
folk studies and, 106–7, 110
industrialization as threat to, 130
Principles of Art History (Wölfflin), 116, 127
“Prinzip der Bekleidung, Das” (Loos), 219
Problem der Form, Das (Hildebrand), 117
Problems of Style (Riegl), 48
“Prolegomena zu einer Psychologie der Architektur” (Wölfflin), 60
Prolegomena zur einer Psychologie der Architecktur (Wölfflin), 116, 118, 127
proportion, 14
prototype (Urform), 213, 225
psychology, 21, 79, 133, 158
aesthetics and, 113
anthropology and, 99
art history and, 112, 115
detail and, 113
empathy theory and, 156
as new field, 16, 175
physiological, 171
publications, 111, 115, 149, 236
explosion of, 65–66, 68–72, 156
museum displays and, 90
professional press, 159–69
Puchstein, Otto, 134
Pugin, A.N.W., 28, 29, 46, 66
Purism, 3, 4, 248–49, 248, 254, 260, 262
Quatremère de Quincy, Antoine-Chrysostome, 277n69
race/racism, 102, 113, 300n98
Racinet, Auguste, 69, 76, 88, 282n20
Ranke, Leopold von, 97
Raphael, 86
Raumästhetik (Lipps), 124–25, 142
Raumgefühl (feeling for space), 140, 291n62
Read, Herbert, 14, 236
ready-mades, 17
realism, 166, 168, 182, 183
reception theories, 264, 268
Recy, G. de, 89
Redgrave, Richard, 27, 29, 33, 41, 50, 68
Redtenbacher, Rudolf, 159–60
Reichstag, 188
reliefs, ornamental, 15, 42
Rembrandt als Erzieher (Langbehn), 108, 162, 163, 188, 300n96
anonymous publication of, 192
nationalism of, 211
Renaissance, German, 117, 160, 162–63, 192
Renaissance, Italian, 19, 23, 30, 31, 43, 146
architectural styles and, 54–55
Baroque vilified in comparison with, 190
craft-based definition of, 192
formal vocabulary of decorative arts, 76
human body in art of, 115, 158
living habits in, 152
ornament as fragment, 85
Warburg’s visit with Hopi Indians and, 153
Wölfflin’s theory of style and, 127
Renaissance und Barock (Wölfflin), 116, 117, 119–21, 123, 127, 177
Gurlitt and, 189
on technique and style, 184
Repertoire d’artistes (Jombert), 66
repetition, 143, 210, 213
representation, 16, 119, 185, 217, 261
Reuleaux, Franz, 80
revivalism, 21, 176
Richards, J. M., 7, 14, 235
Richter, Hans, 306n1
Riegl, Alois, 9, 19, 55, 63, 145, 204
anonymous culture and, 128–38, 217
anthropology and, 105
Baroque and, 64, 189–90
empathy theory and, 139
folk studies and, 108, 109
haptic/optic categories of, 149
history of ornamental forms and, 114
importance as art historian, 115
influence of Semper and, 72
Kunstindustrie and, 62, 135, 292n92
Le Corbusier and, 246, 247, 262
Loos and, 218
malerisch debate and, 140
manuscript papers of, 22
at Museum für Kunst und Industrie, 34, 72, 78, 128, 160
pure form and, 174
on Semper and the Great London Exhibition, 48
Streiter and, 176, 186, 187
style and, 157
Warburg and, 152, 295n167. See also Hausindustrie/Hausfleiss; Kunstwollen
Riehl, Wilhelm H. von, 109, 117, 126
Riemerschmid, Richard, 215, 226
Rieth, Otto, 191
Rietveld, Gerrit, Schroeder House by, 6–7, 7
Robinson, John Charles, 68
Rococo forms, 17
Rokitansky, Carl, 99
Rome, ancient, 51, 53
rood screens, 147
Royal Porzellan-Manufaktur, 37
rubber, 47
Rumohr, Karl Friedrich, 49, 64, 198, 281n176
Ruskin, John, 28, 33, 83, 90, 272n10, 307n28
anti-machine views of, 283n24
as “apostle of modern English arts movement,” 71
Gothic style supported by, 129, 130
on ornament and artisan/craftsman, 89
Sachform (practical form), 194, 198, 207
Sachkultur (culture of objects), 11, 108, 110, 114, 190
art history and, 191
Art Nouveau and, 214
industrialization and, 263
Le Corbusier and, 240
Sachlichkeit (simplicity), 177, 183–84, 187, 204–5, 302n30
crisis in decorative arts and, 215
definition of, 207
mimesis and, 217
saddles, 195, 221, 223, 224, 227
sarcophagi, 32, 123, 147
Sartor Resartus (Carlyle), 154
Sauvageot, Charles, 68
Scala, Arthur von, 71, 77, 97, 160
Loos and, 218, 305n83
Oriental Museum founded by, 199
scale, 16, 56, 155, 196, 265
Scarpa, Carlo, 14
Schasler, Max, 168
Schatteburg, H., 160–61, 162, 200
Scheffler, Karl, 22, 195, 202–3, 213
Scheinarchitektur (architecture of appearances), 168
Schelling, F. W., 32, 66, 123, 169, 274n34
Schiller, Johann, 97
Schinkel, Karl Friedrich, 31, 36, 159, 196, 278n116
archaeology and, 107
classicism of, 190
organicism and, 60
Schlegel, 222
Schliemann, Heinrich, 134
Schlosser, Julius von, 78
Schmarsow, August, 19, 112, 138–45, 148, 175
on aesthetic of repetition, 209–10
Baroque and, 64, 190
on contained space, 169
importance as art historian, 115
Le Corbusier and, 247
Raumgefühl concept, 140, 291n62
Streiter and, 175, 187
Warburg as student of, 150, 154, 295nn158–159
Schmidt, Karl, 229, 306n109
Schnaase, Karl, 168, 198
Schools of Design, 27, 29, 272n11
Schopenhauer, Arthur, 66, 192
Schroeder House, Utrecht (Rietveld), 6–7, 7
Schuldenfrei, Robin, 234
Schumacher, Fritz, 71, 90, 109, 127, 189, 195
on architecture and Kunstgewerbe, 203–4
Art Nouveau condemned by, 213
crisis in decorative arts and, 215
on folk art, 212–13
on the typical, 211
Werkbund and, 152
Schweizer Landesmuseum (Zurich), 78, 94
sculpture, 15, 17, 76, 261
architecture as, 32, 118–20
Bauhaus and, 231, 235
monumental, 105
as plastic art, 139
ranking of arts and, 35, 135
as representation, 16
Section d’Or (Paris), 160
Sedlmayr, Hans, 137
Seemann monograph series, 78
Seidel, Max, 117, 192
Selection: Chronique de la vie artistique, 244
Semper, Gottfried, 18, 19, 66, 70, 264, 272n12
aesthetics and, 63–64, 110
anthropology and the primitive as interests, 48–56, 100–102, 107, 279n134
architecture as Kunstindustrie and, 33–38
architecture in the museum and, 60–63, 137
art history and, 112, 113
Bötticher and, 36–38, 275n51
detail/ornament connection and, 56–60, 64
empathy theory and, 172
enduring influence of, 72
Göller and, 172, 174
Kunstindustrie and, 221
Le Corbusier and, 247
Lipps and, 142, 143
Loos and, 219–20, 221
minor arts and, 213
Museum für Kunst und Industrie and, 129
Muthesius and, 200, 201, 210
on polychromy, 44–46, 278n91
portrait of, 33
on primacy of textiles, 131, 132, 133
psychology and, 125
quality issue and, 199, 200
as revolutionary, 65
Streiter and, 175, 185, 187
style and, 46–48, 54–55, 64, 114–15, 123, 157, 278n100
on symbols, ornaments, and objects, 38–46
unpublished versions of treatise, 22
Warburg and, 151, 152
Werkbund program and, 199
Wohnungskultur (culture of the house) and, 79. See also Stil, Der
Semper, Hans, 34
Semperians, 72, 166, 174
seriality, 143
Serlio, Sebastiano, 30
Seven Lamps of Architecture, The (Ruskin), 29, 84, 272n10
sewing, 56
Shaw, Henry, 66, 87
shells, 15, 196, 197, 204, 251
shoes, 76, 125, 221, 223, 249
modern style and, 226–27, 228
Wölfflin’s Gothic shoe idea, 122, 122, 123, 166, 217
Sicily, 45
Sickel, Theodor von, 128, 291n66
Siena Cathedral, ciborium in, 147
Simmel, Georg, 179–80
skeuomorphs, 101, 103, 104
social studies and sociology, 11, 12
Society of the Arts, 27, 271n3
Sombart, Werner, 90, 188, 281n9
Sommerfeld House, 232, 233
South Kensington Museum (London), 27, 29, 34, 62, 68
craftsmen education program, 99
French response to, 282n13
institutional mandate, 93. See also Victoria & Albert Museum
Soviet revolutionary art, 230
space, 11, 141, 169
Space, Time and Architecture (Giedion), 237
Spätrömische Kunstindustrie (Riegl), 130, 135–37, 136, 247
Speltz, Alexander, 216
Spengler, Oswald, 19, 55, 138
Sponsel, Jean Louis, 78
spoons, 44
Springer, Anton, 139
“Stabilrahmen, Die” (Heuser), 167
stained glass, 87, 231
Stallybrass, Peter, 11
standardization, 84, 220, 257, 266
steel, 10, 168, 172, 265–66, 267
Steinthal, Heymann, 107
stereotomy, 39
Stil, Der (Semper), 18, 34, 72, 219, 223, 275n42
artifacts of “primitive” peoples and, 53
as broad synthesis of methods/information, 65
empathy theory and, 118
Great London Exhibition and, 47, 278n103
Le Corbusier and, 237
lectures as basis of, 35
on materials in museum exhibits, 96
new era marked by, 35
Riegl and, 131
significance of title, 46
Stil, Der (Semper), illustrations from, 42, 44, 45
architectural detail, 57
Assyrian patterns, 40
body decoration and architecture, 59
knots, 49
Stilarchitektur und Baukunst (Muthesius), 196
Stilfragen [Problems of Style] (Riegl), 72, 100, 105, 130, 131, 183
illustrations from, 133
on origins of ornament in carpets, 134, 135
unity of ornament and decorative arts in, 136–37
Still Life (Jeanneret), 248
Stolpe, Hjalmar, 100, 101, 134, 145, 218, 275n42
stone, 43, 49, 96, 101, 266
Stossler dining chair, 224
Streiter, Richard, 20, 22, 141, 157, 193, 244
on familiarity with objects, 208–9
habitual form and, 175–87
Le Corbusier and, 244
Loos and, 223, 228–29
mobile life of urban nomad and, 216, 226, 251
Muthesius and, 198, 207
Stresser house, 224
stucco, 41, 42, 277n74
Studio, The (journal), 221, 228
style, 3, 18, 22, 57, 268, 287n127
architecture and, 157
art history and, 114–15, 121, 155, 156
artificial creation of, 205
Battle of Styles, 46
crisis of, 157–58
domestic interior and, 21
ethnic, 54–56
journal articles and, 162
Loos and, 225
“machine style,” 178
scholarship on, 19
Semper’s ideas about, 46–48, 54–56
Streiter and, 175, 176, 178, 180, 183
technique and, 184
Sullivan, Louis, 12
survival (Nachleben), 56, 58, 151, 295n161
Switzerland, 33, 64, 193, 237
symbols/symbolism, 41, 42, 43, 57, 175, 183
symmetry, 58, 160
Tableau des genres de végétaux fossiles (Brongniart), 50
tables, 180, 216, 268
tactility, 149
tapestries, 76, 151, 152
taste, 70, 71, 194, 206, 221–22
tattooing, 79, 131, 140, 152, 196, 217
as anonymous objects, 133
instinct for self-adornment and, 143
Loos’s condemnation of, 218
of Maoris, 51, 51, 53, 59, 132, 132
Motu, 102
Taut, Bruno, 213
technical arts, 36, 49, 50, 142, 143
Technische Hochschule (Dresden), 189, 212
Technische Hochschule (Munich), 175
technology, 16, 26, 90, 194
as biologically driven phenomenon, 164
body and, 165, 268
German fascination with, 196
philosophy of, 80, 159
tectonics, 45, 140, 201
Tektonik der Hellenen, Die (Bötticher), 36–38, 37, 38, 40, 167, 175–76
temples, ancient, 41, 44
terra-cotta, 84
Tessenow, Heinrich, 189, 240, 245
textiles, 35, 36, 39, 41, 43, 72
authenticity and, 223
decorative design and, 85
as folk art, 130
in museum exhibits, 96
origin of building and, 40
“primitive”artifacts and, 53
skeuomorphs, 101
as Ur-art, 56
Wohnungskultur (culture of the house) and, 79
thatching, 42, 57
Thausing, Moritz, 128, 290n56
theory, 11, 12, 17, 21, 30
Thiersch, August, 109, 146, 160, 287n143
things, 11, 143
Thonet chairs: Le Corbusier and, 3, 3, 249, 256, 309n74
Loos and, 222, 223, 225, 229
tools, 47, 80, 152, 171
anthropomorphic conception of, 244
body and, 210
domestic, 9
history of, 194
Le Corbusier’s theory of, 245, 308n61
as outer layers of body, 177
prehistoric, 144, 209
tragedy of, 112, 154–55
touch, sense of, 183, 185
“Towards a Rational Aesthetic” (Richards), 7, 9, 235, 236
triglyphs, 85, 217, 220, 256, 257–58
Trotzdem (Loos), 195, 226
Troy, Nancy, 240
True Principles of Pointed or Christian Architecture (Pugin), 28
Trzeschtik, L., 168
Turbine Factory aesthetic, 14
Tuscan order, 55
Tylor, Edward B., 151, 295n161
Typenmöbel, 226, 226, 258
types, 245
typewriters, 249, 250
in Architectural Review, 7, 9, 235
of Gropius, 236, 238
Typisierung concept, 193, 209–10, 245
Tzara, Tristan, 223
“Über antike und moderne Kunstfreunde” (Riegl), 137–38
“Über die formelle Gesetzmässigkeit des Schmuckes und dessen Bedeutung als Kunstsymbol” (Semper), 35, 60
umbrellas, 195, 220, 227
uniforms, 140–41
Union des Arts Décoratifs, 69
United States of America, 68, 79, 177
Unser Verhältnis zu den bildenden Künsten (Schmarsow), 112, 140
Untergang des Abendlandes (Spengler), 138
upholstery, 41, 79, 180–81
urns, 15, 32, 123
U.S. National Museum (New York), 101
Van de Velde, Henry, 22, 78, 191, 213, 302n24
Jugendstil and, 222
Muthesius and, 214
Weimar School of Arts and Crafts and, 231
Vasari, Giorgio, 48, 54–55, 114
vases, 31, 32, 142, 247, 274n31
applied arts and, 123
as architectural element, 249–50
details, 38
Greek, 220
as sculpture, 268
veiling, 41
Veillich, Josef, 225, 261
veneers, 41, 51
Vers une architecture (Le Corbusier), 220, 220, 224, 249, 256
German experience and, 261
triglyph as example of standardization, 257
Veshch/Objet/Gegenstand (magazine), 230, 306n1
Victoria & Albert Museum (London), 17, 27, 274n39. See also South Kensington Museum
Vienna, city of, 1, 20, 63, 70, 217
in German-speaking world, 193
University of Vienna, 71, 78
Vienna Secession Building, 221. See also Museum für Kunst und Industrie
Vienna Great Exhibition (1873), 70, 93
Das Internationale Dorf, 94, 108
Japanese ethnographic collection, 97, 199
Vienna School of art history, 78, 128, 290n56
Vienna Secession, 1, 16, 227
Vienna World Exhibition (1873), 92
Vier Elemente der Baukunst, Die (Semper), 34
Villa Savoye (Le Corbusier), 256
Viollet-le-Duc, Eugène Emmanuel, 40, 69, 76, 110, 123, 276n63
clothes and armor illustrations, 81, 165, 166, 173
crisis of decorative arts and, 214
as director of Ecole des arts décoratifs, 282n13
Kleinarchitektur and, 147–48
modern designs of, 74
Muthesius and, 204
natural sciences and, 50
Streiter and, 176
Virchow, Rudolf, 163
Vischer, 169
Vischer, Fr. Th., 60, 79, 117
Vischer, Robert, 60, 117, 150
visibility (Sichtbarkeit), 125, 174–75
Vitellozzi, Annibale, 265
Vitruvius, 36, 40, 41, 85, 277n86
Vogl residence, 224
Volk (people), 126, 186
anonymous craftsmanship and, 89
education of, 160, 200
personalization of, 99
psychology and, 107
style and, 157
Volkelt, Johannes, 60, 117
Völkerkunde Museum (Hamburg), 152–53
Völkerpsychologie (Wundt), 117
Volkskunst, Haussfleiss und Hausindustrie (Riegl), 109, 130, 186
“Vom Sofakissen zum Städtebau,” 239
Vorbegriffe zu einer Theorie der Ornamente (Moritz), 31
Vorschule der Ästhetik (Fechner), 123
Voyage d’Allemagne (Le Corbusier), 241
Voyage d’Orient (Le Corbusier), 247
Waentig, Heinrich, 90
Wagner, Otto, 1, 22, 63
on clothes and architecture, 205–6
debate with Streiter on style, 175, 181–84, 186, 206
Wallot, Paul, 188, 189, 191, 193, 198, 201
wallpaper, 41, 90, 118
walls, 101, 110, 180, 215
archetypal, 40, 41
dressing of, 42, 81
paintings on, 250
wall tombs, 147
Warburg, Aby, 100, 139, 170–71, 177, 229, 245
on empathy, 112
folk studies and, 108
“Gott ist Im Detail” quip, 56, 114
tragedy of objects and, 149–55
weaving, 42, 49, 53, 56
Weimar School of Arts and Crafts, 6, 231
Weiss, Emil Rudolf, 203
Weiss, Hermann, 122, 123
Weissenhof Siedlung (Mies van der Rohe), 1, 2
“Werden von Stylformen, Das” (Heuser), 132, 165
Werkbund, 20, 21, 74, 127, 198, 213, 237
Bauhaus and, 20, 195, 230
clothing and, 204
congress (1911), 200, 207, 208, 211, 302n27
Die Form ohne Ornament exhibition (Stuttgart, 1924), 2, 24, 226, 232, 235
Gurlitt and, 187, 193
Jahrbuch (1912), 199, 207, 211, 226
Le Corbusier and, 239, 261
Loos and, 226, 227
mass production and, 187, 234
nationalism and, 210–11, 303n60
preservation (Heimatschutz) in, 223
quality issue and, 199
Stuttgart exhibition (1927), 1, 2
Turbine Factory aesthetic, 14
Typisierung idea and, 210
Warburg and, 152
Werke italienischer Meister in den Galerien, Die (Morelli), 125
Werner, R. M., 175
wickerwork, 56, 59
Wickhoff, Franz, 78, 140
Wiener Abendpost (newspaper), 137
Wiener Werkstätte, 213
Wiener Zeitung (newspaper), 137
Willich, Hans, 127
Wilson, Elizabeth, 145
Winckelmann, Johan, 205, 281n176
Windsor chairs, 224
“Wissenschaft, Industrie und Kunst” [Science, Industry, and Art] (Semper), 34, 46, 62, 93, 157
Wittkower, Rudolf, 14
Wogenscky, André, 251
Wohnkultur (domestic culture), 138, 305n99
Wohnung in den Niederlanden und Frankreich im 15. Jahrhundert, Die (Wickhoff), 78
Wohnungskultur (culture of the house), 76, 79, 201, 222, 223
Wohnungskunst (household art), 78
Wölfflin, Heinrich, 19, 20, 63, 246, 270n25
architecture and, 116–21
on architecture as clothing, 112
Baroque and, 64, 189–90
Berlin art history academy and, 198
corporeal reading of architecture, 169
empathy theory and, 60, 116, 117, 118, 172
on furniture, 21
Gothic shoe idea, 122, 122, 123, 166, 217
importance as art historian, 115
manuscript papers of, 22
mobile art and, 148–49
Muthesius and, 205
Pergamon altar and, 190
psychology and, 133
reviews by, 160
Riegl and, 128, 129, 131
Schmarsow and, 138, 139–40
Streiter and, 175, 181, 183, 184, 185, 187
style as interest of, 116, 121–28, 157, 177. See also Formgefühl
women: “art in the home” literature and, 72
clothers and free movement of, 177
magazines directed at, 28, 108, 272n12
wood, 43, 87, 96, 223, 261
World War I (the Great War), 187, 231, 237
World War II, 264
World’s Fair, second (London, 1862), 70–71
Wornum, Ralph, 66, 88, 143
Worringer, Wilhelm, 139, 145, 246, 247, 262
Wright, Frank Lloyd, 14
Wunderkammer, 17
Wundt, Wilhelm, 80, 117, 140, 141, 145
physiological psychology of, 171
Warburg and, 150, 295n158
Wyatt, Matthew Digby, 27
Yarinksi, Adam, 268
Zeising, Adolf, 80, 163
Zeitgeist concept, 71, 114, 221
body and, 124, 164
folk art and, 186
“simultaneity of culture” and, 77
style and, 157, 162, 181, 183
as vague term, 184
Zeitschrift für Völkerpsychologie und Sprachwissenschaft (Steinthal), 107
Zerffi, Gustavus George, 144
Zimmermann, Robert, 117, 129
Zucker, Paul, 148, 295n153
Zur Ästhetik der Architektur (Göller), 171
Zur Befreiung der Baukunst (Gurlitt), 188
Zurich, city of, 63, 78, 94, 193