i67 In revolt against what he considered the prettiness of fashionable Viennese architecture, Adolf Loos banished every suggestion of ornament and almost of charm. His Steiner House, Vienna, (1910) shows him at his
most uncompromising
and figures are exquisitely flattened, and their perfect suitability to Hoffmann's ensemble shows once more the part Art Nouveau could play in the creation of the twentiethtrees
century
///.
166
///.
167
style.
Adolf Loos hated Hoffmann and the Wiener Werkstatte of which Hoffmann was one of the founders and which succeeded in combining the new, post-Art Nouveau style with an inimitably Viennese daintiness and prettiness. For the
initial
patron of the Werkstatte, the man who had put the necessary money atxhe disposal of the founder, Mackintosh had designed
music room. Loos was the purist of the emerging movement. atid Critnc is the title of his most often quoted essay. This was published in 1908. The purest of his purist houses and therefore the most often illustrated is the Steiner House m Vienna of 1910. Here for the first time the layman would find It hard to decide whether this mii;ht not be of 1930. a
Ortmmctit
166
Kiss, by Ciustav Klimt, water-coKnir and gouache design dining-room of Hoffmann's Palais Stoclet (///. 164)
'['he
for the
tor a
mosaic