"Contemporary to the whitewashed masterpieces of his last phase... this country house that is so vernacular, so anachronistically alpine, so rustic, raises a theoretical question. It has to be asked if, or to what extent, this manifest contradiction of languages reveals a poetic dissociation, a sort of architectural schizophrenia." "...Loos...rationally explores the possibilities of artisan skill within the limits of an unbiased logic that is founded on the potential of the material. This detachment is corroborated by the introduction of significant technical innovations into the rural building pattern, such as the opening of large windows onto the lower floor, the strong overhang of the roof and the use of sheet metal for the roofing itself."

— from Benedetto Gravagnuolo. Adolf Loos: Theory and Works. p204-205.

The Creator's Words

"As ornament is no longer organically linked with our culture, it is also no longer an expression of our culture. Ornament as created today has no connection with us, has no human connections at all, no connection with the world as it is constituted. It cannot be developed. ...The artist always used to stand at the forefront of humanity, full of health and vigour. But the modern ornamentalist is a straggler, or a pathological case. He rejects even his own products within three years. To cultivated people they are unbearable immediately, others are aware of their unbearableness only after some years....Modern ornament has no forbears and no descendants, no past and no future. It is joyfully welcomed by uncultivated people, to whom the true greatness of our time is a closed book, and after a short period is rejected."

— Adolf Loos. from Ludwig M�nz and Gustav K�nstler. Adolf Loos: Pioneer of Modern Architecture. p229.