The Loos drawing of a Lancia is an advanced concept of a "streamlined" car with wedge-shaped body and although he may have contemplated the contemporary Lambda chassis, he certainly did not want the tall radiator. Why does the 3D drawing have the radiator and pillars from a standard Lambda? The 3D sketches show a Lambda with a raised rear section, but the Loos-mobil drawings imply a different edge-shaped design. Sorry to criticise the interpretation of Loos' design but a Lambda with a "caravan" rear body would not represent Loos' concept.
Can anyone translate "Cinrnu 20"?
Leo
Loos-mobil
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Josef
Re: Loos-mobil
Leo,
thanks for your comments. Your statement very much reflects the discussions we had when looking at Loos' drawings. We decided to go for a typical solution by carrozziere: take the prinicpal ideas and transform them on a contemporary chassis, in this case the Lambda chassis since the Trikappa chassis simply seemed to big to consider. (unfortunately, we could not find out why Loos specified the marque Lancia for his design - maybe a personal affection?)
Loos' idea of the "Raumplan" originated from housing needs and contemporary groundplans: he claimed that the "modern man" lives on two floors, in fact an open space with a gallery. Although it might look like a caravan at the rear, the concept of "raumplan" was included in the Loosmobil. Additionally, you will also find Loos' concepts for terrace building (as opposed to the superblock of his times; see his terrace building for Mexico City): three terraces in the Loosmobil's "groundplan".
You can read more on this on our special webpage (see link "more on the Loosmobil....")
We had long discussions on whether the front axle of the Lambda theoretically could be altered with Lambda guru Bill Jamieson. Finally, we decided to follow the routes of, say, Touring. Take the "Flying Star" design by Touring which was adopted to various marques, such as Alfa Romeo, Lancia, Isotta etc. Or take the "Lumineuse" body on various Avions Voisin chassis (Le Corbusiers' favorite!).
I would also like to point to Paul Jaray's ideas of streamlining which he put on his own automobiles, the Adler, Merecedes and Maybach. In the end it was the Tatra 77 and the breathtaking 87a which combined his ideas with the practicality of a perfect automobile concept.
So there is an open field for thoughts and discussions!
Regards,
Josef
thanks for your comments. Your statement very much reflects the discussions we had when looking at Loos' drawings. We decided to go for a typical solution by carrozziere: take the prinicpal ideas and transform them on a contemporary chassis, in this case the Lambda chassis since the Trikappa chassis simply seemed to big to consider. (unfortunately, we could not find out why Loos specified the marque Lancia for his design - maybe a personal affection?)
Loos' idea of the "Raumplan" originated from housing needs and contemporary groundplans: he claimed that the "modern man" lives on two floors, in fact an open space with a gallery. Although it might look like a caravan at the rear, the concept of "raumplan" was included in the Loosmobil. Additionally, you will also find Loos' concepts for terrace building (as opposed to the superblock of his times; see his terrace building for Mexico City): three terraces in the Loosmobil's "groundplan".
You can read more on this on our special webpage (see link "more on the Loosmobil....")
We had long discussions on whether the front axle of the Lambda theoretically could be altered with Lambda guru Bill Jamieson. Finally, we decided to follow the routes of, say, Touring. Take the "Flying Star" design by Touring which was adopted to various marques, such as Alfa Romeo, Lancia, Isotta etc. Or take the "Lumineuse" body on various Avions Voisin chassis (Le Corbusiers' favorite!).
I would also like to point to Paul Jaray's ideas of streamlining which he put on his own automobiles, the Adler, Merecedes and Maybach. In the end it was the Tatra 77 and the breathtaking 87a which combined his ideas with the practicality of a perfect automobile concept.
So there is an open field for thoughts and discussions!
Regards,
Josef
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Leo Capaldi
Re: Loos-mobil
Hello Josef,
Some of the early Lancia buses had three levels - the third being like the Loos-mobil top level. However the other two levels were full length. Perhaps Adolf Loos had seen similar buses as an inspiration although his aristocratic aspirations may have influenced his desire to have a raised seating area, like a "first class" compartment, above the proletariat. It seems clear that Loos liked the stepped style to buildings as well as automobiles. The real issue is "why Lancia?" - I guess that will remain a mystery. Did Loos own any cars of any type?
Best regards, thanks for your efforts with the web-site, Leo
Some of the early Lancia buses had three levels - the third being like the Loos-mobil top level. However the other two levels were full length. Perhaps Adolf Loos had seen similar buses as an inspiration although his aristocratic aspirations may have influenced his desire to have a raised seating area, like a "first class" compartment, above the proletariat. It seems clear that Loos liked the stepped style to buildings as well as automobiles. The real issue is "why Lancia?" - I guess that will remain a mystery. Did Loos own any cars of any type?
Best regards, thanks for your efforts with the web-site, Leo
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Josef
Re: Loos-mobil
Hello Leo,
I would also add the Lancia Zeta, the military version of the Theta. This had a very similar "groundplan" compared to Loos' car and also featured raised levels (in order to fire a gun).
I guess you are right when thinking of raised levels as an "aristocratic" position. In nearly all of Loos' buildings there was a seating area for the ladies which was raised a bit and overlooked the rest of the living room as well as parts of other rooms. Women strategically excerted control over the house from this point of view. Loos had a very "conservative" view on women's position in life (certainly would have been a "typical" patient for Sigmund Freud). This is why we presumed that the rear compartment of the Loosmobil was destined as the "ladies room" whereas the man would be the pilot.
Unfortunately, we did not find a lot on Loos' cars. There is a picture in front of the Villa Mueller in Prague showing a Tatra and I guess he had a Steyr as well. Lancia was well presented in Vienna at that time and there was a big article in "Allgemeine Automobilzeitung" on the new "frameless" Lancia Lambda in 1923. Additionally, there were some Dikappas as well as Trikappas around.
Loos was always very much into "criticism" of applied arts and he commented on that subject in "Die Presse" (the major daily press) for a long period of time. If you think of Jugendstil (Art Nouveau) he was a sharp opponent to, e.g., Josef Hoffmann. Loos thought that the ornament was a sign for "primitive" cultures (he called it "the position of the indians"). Loos was looking for clear strategies, the separation of arts and crafts, highly developed qualtity levels of manufacturing, somehow an early "functionalist".
I think this is why he chose Lancia for his thoughts which he drew on a reminder envelope of his Parisian landlord.
The link between automobiles and architecture certainly was a topic for architects of the 1920's.
I did some research, there is not a lot of material around, so I am always interested in hearing anything related to this topic as well as discussing things!
Ciao
Josef
I would also add the Lancia Zeta, the military version of the Theta. This had a very similar "groundplan" compared to Loos' car and also featured raised levels (in order to fire a gun).
I guess you are right when thinking of raised levels as an "aristocratic" position. In nearly all of Loos' buildings there was a seating area for the ladies which was raised a bit and overlooked the rest of the living room as well as parts of other rooms. Women strategically excerted control over the house from this point of view. Loos had a very "conservative" view on women's position in life (certainly would have been a "typical" patient for Sigmund Freud). This is why we presumed that the rear compartment of the Loosmobil was destined as the "ladies room" whereas the man would be the pilot.
Unfortunately, we did not find a lot on Loos' cars. There is a picture in front of the Villa Mueller in Prague showing a Tatra and I guess he had a Steyr as well. Lancia was well presented in Vienna at that time and there was a big article in "Allgemeine Automobilzeitung" on the new "frameless" Lancia Lambda in 1923. Additionally, there were some Dikappas as well as Trikappas around.
Loos was always very much into "criticism" of applied arts and he commented on that subject in "Die Presse" (the major daily press) for a long period of time. If you think of Jugendstil (Art Nouveau) he was a sharp opponent to, e.g., Josef Hoffmann. Loos thought that the ornament was a sign for "primitive" cultures (he called it "the position of the indians"). Loos was looking for clear strategies, the separation of arts and crafts, highly developed qualtity levels of manufacturing, somehow an early "functionalist".
I think this is why he chose Lancia for his thoughts which he drew on a reminder envelope of his Parisian landlord.
The link between automobiles and architecture certainly was a topic for architects of the 1920's.
I did some research, there is not a lot of material around, so I am always interested in hearing anything related to this topic as well as discussing things!
Ciao
Josef