Project Chicago Tribune

LO O S
Chicago Tribune
adolf loos
(1870-1933)
Proyecto / Project
Chicago, ee.uu., 1922
If we understand the first period of

modern architecture as one which, in
order to follow the spirit of the time had
to discard the use of references from
the past, Adolf Loos’ proposal for the
Chicago Tribune competition is hard to
Keywords decipher. But if we look at this project
Modern architecture and its explicit use of past references
References
from a different angle, we may begin
Tower
to question those historiographical
Doric
Column
categories that have classified (and
simplified) the complex ecosystem of
ideas that shaped what is known today as
modern architecture.
D espite being one of the most legendary architects

of the modern period and also one of the most
evoked by recent architecture, Adolf Loos is still hard
to classify. Contemporary readings of his projects, such
as those by Ines Weizman and Sam Jacob (presented on
previous pages) are part of this current interest.
Before his renowned practice, Loos entered the scene
as a cultural agitator and activist of modernity, through
columns for newspapers and the magazine Das Andere.
From that position, he managed to connect with the
most important personalities of the European avant-
gardes, securing his own place among them. Not by
chance Loos had contact with the Dadaist movement,
perhaps the most radical faction of the 1920s modern
avant-gardes. Based on this background, historiography
has presented Loos as a modern hero and one of its main
defenders; however, his proposal for the Chicago Tribune
competition in 1922 does not seem to fit this profile.
The competition received 263 proposals from 23
countries, and was won by the American architects
Raymond Hood and John Mead Howells. Loos’
submission (number 196) was sent from the city of
Nice, shortly after the Viennese architect settled
in France following his departure from the Austrian
Government housing program. Without being awarded,
Loos’ proposal would still get attention for being both
46 radical and seemingly inconsistent with his writings and
A R Q 95 — U C C H I L E
Adolf Loos.
The Chicago
Tribune Column.
Vista / View.
Chicago, 1922
© Albertina, Viena.
47
LO O S previous work, to the point that several architectural
historians have left this project out of modern
accounts. For example, Frampton (1981) does not
mention the proposal, although he does refer to
Gropius and Meyer’s entry in two different occasions,
also not awarded. More recently, Jean-Louis Cohen
(2012) does not dedicate a single line to it, although
he writes about the competition and publishes
photographs of Hood and Meads building (the wining
proposal, finally built), along with an image of Eliel
Saarinen’s project (Eero Saarinen father), who was
granted the second place.
Here, we present three drawings prepared by
Loos for that competition. The first, and also the best
known, is a perspective of the proposal as if seen from
a pedestrian viewpoint, showing a base – possibly
citing the Austro-Czech art historian Max Dvořák’s
mausoleum, designed by Loos himself – on top of
which a Doric column ending in a square abacus is
placed; that is, an image combining two very clear
references: the tomb and the column. Thus, it is not
by chance that the legend does not read “The Chicago
Tribune tower” but instead “The Chicago Tribune
column.” The second drawing, shows two of the
building’s floor plans: the access level and a typical
plan, onto which a circular structure – ostensibly the
column’s shaft – is superimposed; on both drawings
a regular 60 × 60 cm pillar structure can be noted,
located right on the center (where the shank’s weight
would be), although the shank’s structure or its
interiors are hard to infer from these drawings. Finally,
the third drawing – the most intriguing one – offers
four handmade sketches: the drawing of a tower as
an extruded square; the drawing of a tower made
out of volumes and displaced planes (rather similar to
the Gropius and Meyer’s design for the competition);
a tower with a square-shaped plan, standing on a
podium analogous to his design for Max Dvořák’s
mausoleum and which was crowned by a square-
shaped capital; and lastly, the drawing of a Doric
column, from half its shank up to the top, ending in a
circular Doric capital under a square-shaped abacus:
Loos would finally submit to the competition the
combination of these last two schemes.
This design – seemingly the first time a modern
architect’s use of a reportedly non-modern reference
is self-evident – defuses most discourses on the
epoch, even the one of its own author. It does not fit
the schematic image that has been fabricated on Loos
- as the main adversary of ornament - nor the
following normative readings on modern architecture
(which might explain why some historians have
overlooked the project). Just as the Baker house
analyzed in previous pages – with black and white
stripes, that is to say, ornamented – Loos’ project
for the Chicago Tribune is an assemblage of a Doric
column and a ziggurat, two references to Antiquity.
Thus, the proposal questions not only the relationship
48 between technology and architectural expression,
Adolf Loos.
The Chicago Tribune
Column. Plantas acceso y
nivel tipo / Ground floor
plan & typical floor plan.
Chicago, 1922
49
LO O S but also technology itself as a formal reference for
architecture. References to Antiquity are closer to
the Dadaists irony than to the demureness of other
vanguards of the time. However, the fact that Loos
himself did not write about this project opens an arena
of ambiguities well noted by Tafuri:
What joins together the entire Modern Movement is,

however, the concept of architecture as ambiguous
object. The Doric column planned by Loos for the
Chicago Tribune competition, as a first and violent
experiment in extracting a linguistic element from
its context and transferring it to an abnormally sized
second context, is the anticipation of a caustic and
ambiguous Pop Architecture. It offers – apparently
tied down to an established code, but in reality
available to a maximum degree – an almost excessively
open reading to the observer, or, rather, to the
absent-minded user of the city (Tafuri, 1980:84).
This way of using a reference – removing an object

from its context and placing it elsewhere, de-scaling
it – is one of Loos’ most interesting operations, and
can still be productive at both theoretical and design
level. As indicated by Massimo Cacciari (2002: 5),
the Austrian architect “does not teach in vain … he
continuous to teach.” ARQ
Adolf Loos
Austrian architect born in 1870 in Brno (currently Czech Republic, back

then part of the Austro-Hungarian Empire). After travelling to the u.s.
he settled in Vienna in 1896 and started his architectural practice. He
became known in the city’s intellectual circuits from his debates with the
Vienna Secession. His most famous writings are “Ornament and Crime”
and “Architecture”, both from 1910. His most renowned projects are the
store for Goldman & Salatsch (Vienna, 1910), the Tzara House (Paris,
1925), the Möller House (Vienna, 1926), and the Müller House (Prague,
1928). In 1922 he moved to France to only return to Austria in 1929, where
he lived until his death in 1933.
Bibliografía / Bibliography
F r a mp ton, Kenneth. Modern Architecture: A Critical History. New York

cacci a r i, Massimo. Adolf Loos e il suo angelo.
and Toronto: Oxford University Press, 1980.
Milán: Electa, 2002.
ta f ur i, Manfredo. Theories and History of Architecture. New York:
cohen, Jean-Louis. The Future of Architecture. Since 1889.
Harper & Row Publishers, 1980.
50 New York: Phaidon Press, 2012.
Adolf Loos.
The Chicago
Tribune Column.
Esquemas / Sketches
Chicago, 1922
51

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LO O S

If we understand the first period of

D espite being one of the most legendary architects

What joins together the entire Modern Movement is,

This way of using a reference – removing an object

Austrian architect born in 1870 in Brno (currently Czech Republic, back

F r a mp ton, Kenneth. Modern Architecture: A Critical History. New York

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