Relevant bibliographies by topics / Adolf Loos

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Adolf Loos'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Adolf Loos"

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Espuelas, Fernando. "Adolf Loos y el despertar / Adolf Loos and the awakening." rita_, no. 2 (October 2014): 100–105. http://dx.doi.org/10.24192/2386-7027(2014)(v2)(06).

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Rogers, Ernesto. "Actualidad de Adolf Loos." A&P Continuidad 4, no. 6 (March 20, 2018): 12–15. http://dx.doi.org/10.35305/23626097v4i6.49.

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Eckel, Susanne. "Adolf Loos — (k)ein Fall für die Germanistik Bericht aus der aktuellen Adolf-Loos-Forschung." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 69, no. 1 (March 1995): 71–91. http://dx.doi.org/10.1007/bf03374577.

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Carrenho, Dayane Tieme, Gabriel Pimenta, Jaqueline Naomi Haga, Lucas Blaia, Mayara Motta, Rogério Gabriel, and Korina Costa. "ADOLF LOOS E A NÃO ORNAMENTAÇÃO." Colloquium Humanarum 10, Especial (October 25, 2013): 232–38. http://dx.doi.org/10.5747/ch.2013.v10.nesp.000454.

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Cremasco, Matteo Santi. "Adolf Loos: uma alegoria da modernidade." Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP 19, no. 32 (December 25, 2012): 80. http://dx.doi.org/10.11606/issn.2317-2762.v19i32p80-89.

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Purdy, Daniel. "The Cosmopolitan Geography of Adolf Loos." New German Critique 33, no. 3 (2006): 41–62. http://dx.doi.org/10.1215/0094033x-2006-010.

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Grimshaw, Mike. "Notes toward a Loos-ian Theory of Religion in Modernity." Method & Theory in the Study of Religion 17, no. 4 (2005): 382–92. http://dx.doi.org/10.1163/157006805774550956.

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AbstractThis work is concerned with developing a theory of religion in modernity using the work of the architect and critic Adolf Loos. It is an inter-textual re-reading of Loos and critical readings of Loos, seeking to posit a developing Loosian theory as a possible new methodology for re-reading the tensions toward religion evidenced in modernity.
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Pedrosa, Aziz José de Oliveira. "ADOLF LOOS E A CRISE DO ORNAMENTO." Cadernos de Arquitetura e Urbanismo 22, no. 31 (December 20, 2016): 26. http://dx.doi.org/10.5752/p.2316-1752.2015v22n31p26.

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A partir de meados do século XIX, discussões diversas atuaram como somatório para articulação do<br />pensamento moderno diante de questões relativas à cultura, à arte e à Arquitetura. Na diversidade<br />das propostas encabeçadas por tal mentalidade, entra em crise o ornamento e começam a surgir<br />importantes reflexões acerca da ruptura com o passado, em nome das transformações culturais e do<br />estabelecimento do Modernismo. Nesse âmbito, destaca-se Adolf Loos, que teve na luta contra o<br />ornamento algumas das sementes que desenvolveram as ideias reformadoras em voga.
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Fernández García, Ana María. "Loos, Gropius y Le Corbusier: teorías del mueble moderno." Res Mobilis 10, no. 12 (February 15, 2021): 154–55. http://dx.doi.org/10.17811/rm.10.12.2021.154-155.

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Neuhaus-Buzaglo, Carolina. "Villa Müller. El paseo arquitectónico de Adolf Loos." Limaq, no. 001 (June 11, 2015): 143. http://dx.doi.org/10.26439/limaq2015.n001.362.

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Dissertations / Theses on the topic "Adolf Loos"

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Amanshauser, Hildegund. "Untersuchungen zu den Schriften von Adolf Loos /." Wien : VWGÖ, 1985. http://catalogue.bnf.fr/ark:/12148/cb34833913g.

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Joelsons, Denis. "Arquitetura e luto na obra de Adolf Loos." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-13122017-142730/.

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O presente trabalho propõe a leitura da obra de Adolf Loos (1870-1933) através das transformações históricas que marcaram a Europa na passagem da segunda metade do século XIX à primeira do século XX. A complexidade de sua obra é uma expressão privilegiada para o entendimento das contradições instauradas no período. Por um lado, o fôlego de suas ideias é dado pela persistência de problemáticas que surgiram no século XIX; por outro, parte de sua obsolescência também se explica pela resistência que Loos apresentou a tais mudanças. Transformações que ele identificou como perdas. O tema da perda permeia toda sua produção: nos edifícios, por vezes ele figura na justaposição de elementos contraditórios (tradição ou modernidade), por outras na cisão irreparável entre interior e exterior (público ou privado) e, em alguns casos, o uso de espelhos e aberturas simetricamente dispostas cria uma tensão de ambiguidade entre espaço e imagem (realidade e representação). O eixo de leitura proposto nesta dissertação se estabelece a partir das reações do arquiteto às perdas impostas por sua época. A obra estudada é interpretada como um trabalho de luto. Textos e edifícios representativos do pensamento de Adolf Loos são investigados à luz de algumas reflexões de importantes pensadores da cultura europeia do período, como Walter Benjamin, Camilo Sitte, Georg Simmel e Sigmund Freud. A abordagem se dá através de três temas centrais: a morte da tradição, a perda de vitalidade no espaço público das metrópoles e a decadência da experiência subjetiva.
It has been over a century since Adolf Loos\'s (1870-1933) most famous works, such as Ornament and Crime (1908) and Goldman & Salatsch building (1911), came to fruition. And, in spite of that, the contradictory nature of his legacy as an architect and writer still fuels and replenishes the debates and investigations of scholars to this day. This dissertation proposes a look at Adolf Loos\'s works through the historical transformations that characterized the transition of the second half of the nineteenth century to the twentieth century. The complexity of his production is a powerful expression of the contradictions that established this period. On one hand, the perseverance of his ideas comes from the persistence of issues that were originated on the nineteenth century, on the other; his obsolescence can also be explained by his opposition to the changes that came along with the new century. Loos identifies these changes as losses. Loss is a theme that impregnates all his production. In his architecture it often surfaces as contradictory elements (tradition and modernity) overlapping one another, or, at times, as an irreparable rupture between interior and exterior (public and private), and in some cases he creates a tension of ambiguity between space and image (reality and representation) by the use of mirrors and symmetrically opposed openings. It is this demeanor, and his reactions to the losses imposed by his time, that will be the axis that guides this dissertation. We can interpret many signs in his work as symbols of mourning. We investigate writings and buildings that represent his thought through the light of important contemporary thinkers of occidental culture, such as Walter Benjamin, Georg Simmel, Camilo Sitte e Sigmund Freud. We will approach his production by three lines: the death of tradition, the loss of vitality of public spaces in the metropolis and the decadence of subjective experience.
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L'Heureux, Geneviève. "Adolf Loos et Gustav Klimt ou de la différence." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69776.

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The reputation given to Adolf Loos and Gustav Klimt as opposites, as well as the understanding of Loos's writings as supporting this reputation, correspond less to the works as such than to the general dichotomic mode of understanding that we inherited from the so-called platonic dichotomy of being and appearance.
Indeed, common to their respective work are the relationships in which stand the elements forever understood as antagonistic. Neither opposition nor transparency, their work bring forth an intermediary state, the state of coexistence of difference.
By questioning the relationships between elements taken as opposites, Loos and Klimt are challenging the secular dichotomy of being and appearance, and with it the whole understanding of artistic creation and of the work of art as such.
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Onaner, Süreyya Can. "Le suspens en architecture : Adolf Loos et Aldo Rossi." Paris 1, 2011. http://www.theses.fr/2011PA010508.

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Dans Autobiographie Scientifique, Aldo Rossi indique que Adolf Loos a « pénétré sa pensée » et en a « pris quasiment possession ». Cette étude se propose d' appréhender l'identification de Rossi à Loos sous le concept du suspens. Dans les oeuvres de ces deux architectes, le suspens ne se limite pas à un phénomène physique et temporel. II sert à questionner une vision progressiste de 1'histoire de 1'architecture en recherchant la nouveauté dans une « compulsion de répétition ». II acquiert d' autre part une dimension phénoménologique et esthétique quand l' énergie emmagasinée par la construction transparaît comme une force latente à travers les formes froides et idéales de l' architecture. Le suspens prend lieu au sein d'une dialectique entre deux formes de répétitions: d'une part, la permanence d'une architecture reproduisant des archétypes idéaux provenant de l'antiquité et, de l'autre, une répétition compulsive qui fait ressurgir le corps désirant et mortel recouvert par la tradition. Qu'il s'agisse de la cabine avec fronton de Rossi ou de la colonne dorique de Loos, le suspens fait vibrer en intensité la forme idéale par la présence du corps, et réciproquement, il retient l' expression de ce corps par la froideur de la forme idéale. Ce suspens esthétique devient existentiel quand le processus créateur de l' architecte prend une forme masochiste en faisant appel à des contrats de soumission qui redéfinissent les limites de la discipline architecturale et le statut social de l' architecte. Alors, le désir de création s' exprime de façon paradoxale à travers les contraintes de la réalité, de la raison et du langage qui étaient censées l' étouffer.
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Moss, Katie Nicole 1982. "Constructing a Modem Vienna: The Architecture and Cultural Criticism of Adolf Loos." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10690.

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vii, 82 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Adolf Loos is most widely known for his essay Ornament and Crime (Ornament und Verbrechen), in which he sarcastically compares architectural ornament to the tattoos of "savages." Loos sought to modernize Vienna through the introduction of American and British culture and was known as one of Austria's most notorious cultural critics. Celebrated for breaking with the historicist culture of the late nineteenth century, Loos is often heralded as the father of the Modem Movement, but many of his writings and designs contradict such a classification. This thesis will explore the origins and motives behind Loos' s conception of modernism to suggest a better understanding of his role as cultural critic and architect in Vienna as well as his relationship to the architects and architecture of the subsequent generation.
Committee in Charge: Dr. Leland M. Roth, Chair; Dr. William Sherwin Simmons; Dr. Marilyn S. Linton;
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Álvarez, González Mª Angeles. "ESTUDIO DE LA APLICACIÓN DEL COLOR EN SIETE VILLAS DE ADOLF LOOS." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/62175.

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[EN] Adolf Loos, controversial Viennese architect of the late nineteenth century and early twentieth century, revolutionized the architecture of its time, change and create a foundation for a new architecture. This research analyzes the color treatment that makes seven of their mansions: Villa Karma (1903-1906), Villa Steiner (1910), Villa Scheu (1912-1913), Villa Duschnitz (1915-1916), Villa Strasser (1919), Villa Moller (1927-1928), Villa Müller (1928-1930). The analysis was performed by extracting written and graphic documentation necessary to configure it in a chromatic of each of the villas, which were obtained the conclusions chips material. It was observed that the color is consistent with space and its function. Loos argued for an honest architecture without superfluous and useless ornamentation and the use of noble materials. Loos replaced and exceeded the ornament through the intrinsic nature of every noble material. By using the materials and get painting interiors where color is present. (...) The colors can be used together in a room exactly the same way, provided they are as pure as the colors of a flower meadow. (Loos, 1929)
[ES] Adolf Loos, controvertido arquitecto vienés de finales del siglo XIX y principios del siglo XX, revolucionó la arquitectura de su tiempo, crearía un cambio y las bases para una nueva arquitectura. En esta investigación se ha estudiado el tratamiento que hace del color en siete de sus mansiones: Villa Karma (1903-1906), Villa Steiner (1910), Villa Scheu (1912-1913), Villa Duschnitz (1915-1916), Villa Strasser (1919), Villa Moller (1927-1928), Villa Müller (1928-1930). El análisis se ha realizado extrayendo de documentación escrita y gráfica el material necesario para poder configurarlo en unas fichas cromáticas de cada una de las villas, de las cuales se han obtenido las conclusiones. Se observó que el color va en consonancia con el espacio y con su función. Loos abogaba por una arquitectura honesta sin ornamentación superflua e inútil y por el uso de materiales nobles. Loos sustituyó y superó el ornamento por medio de la naturaleza intrínseca de cada material noble. Mediante el empleo del material y pintura consigue unos interiores donde el color se hace presente. (...)Los colores se pueden utilizar juntos en una habitación exactamente de la misma manera, siempre y cuando sean tan puros como los colores de un prado de flores. (Loos, 1929)
[CAT] Adolf Loos, controvertit arquitecte vienés de finals del segle XIX i principis del segle XX, va revolucionar l'arquitectura del seu temps, crearia un canvi i les bases per a una nova arquitectura. En esta investigació s'ha estudiat el tractament que fa del color en set de les seues mansions: Vila Karma (1903-1906), Vila Steiner (1910), Vila Scheu (1912-1913), Vila Duschnitz (1915-1916), Vila Strasser (1919), Vila Moller (1927-1928), Vila Müller (1928-1930). L'anàlisi s'ha realitzat extraient de documentació escrita i gràfica el material necessari per a poder configurar-ho en unes fitxes cromàtiques de cada una de les viles, de les quals s'han obtingut les conclusions. Es va observar que el color va d'acord amb l'espai i amb la seua funció. Loos advocava per una arquitectura honesta sense ornamentació supèrflua i inútil i per l'ús de materials nobles. Loos va substituir i va superar l'ornament per mitjà de la naturalesa intrínseca de cada material noble. Per mitjà de l'ocupació del material i pintura aconseguix uns interiors on el color es fa present. (...) Els colors es poden utilitzar junts en una habitació exactament de la mateixa manera, sempre que siguen tan purs com els colors d'un prat de flors. (Loos, 1929)
Álvarez González, MA. (2016). ESTUDIO DE LA APLICACIÓN DEL COLOR EN SIETE VILLAS DE ADOLF LOOS [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62175
TESIS
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Schwarzer, Mitchell William. "Adolf Loos and theories of architecture and the practical arts in nineteenth century Austria and Germany." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/13470.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.
Includes bibliographical references.
This dissertation investigates changes that occurred in architectural culture in respect to conditions of modernity. Large-scale industrialization and urbanization caused dramatic ruptures with traditional social and economic hierarchies, forcing a reconceptualization of the theoretical constructs underlying architecture. During the course of the nineteenth century, writers on architecture took an active role in attempting to make sense of these changes. By the end of the century, the Viennese architect and theorist Adolf Loos set forth a critical project, often in confrontation with the views of others, to overcome the growing separation between the realms of reality and representation in design. The particular objective of this study is to situate Loos's texts within the intellectual context of Austrian and German writings on architecture and the practical arts. Such theories prefigure important expressions of modernism in the twentieth century. These writings also express a deep range of thoughts on the changing material and intellectual conditions affecting the visual arts. They exemplify a long series of attempts to create a unified identity for architecture in a world of new social relations and value systems. Despite amorphous conditions which favored social heterogeneity and difference, writers sought uniformity and an authoritative ground for architectural logic. The textual discourse in journals and books reveals the mental structures and preoccupations of writers in the grips of rapid transformation. On the practical level, new functional needs led to an expanded and diverse range of building types and plans. Further, industrial advances in construction technology and the use of new materials such as iron and glass challenged the applicability of traditional architectural forms for these new buildings. In turn, in a theoretical vein, debates on ethnic and historical genealogy and the epistemological or ontological foundations of all aspects of design turned architectural thought away from its former reliance on classicist paradigms of knowledge. It was also during the nineteenth century that historical consciousness structured architectural epistemology. As traditional guarantors of knowledge were questioned, the entirety of concepts defining architecture was transfigured. Laos and other writers sought to re-define the now hotly contested concepts of craft, art, architect, beauty, function, and truth. Conceptual production was frequently crafted through binary oppositions such as national/international or real/ideal. Loos's response to these developments was divided. On the one hand, he recognized cultural fragmentation and argued for the separate development of art and architecture. On the other hand, his vision of a design world dominated by the hand crafts and aristocratic values constitutes the Enlightenment vision of stability amidst progress.
[Mitchell Schwarzer].
Ph.D.
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Clever, Geoffrey Alan. "Adolf Loos, Franz Kafka and the Wall as an architectural element of modernism." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/23334.

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Gemmel, Mirko. "Die kritische Wiener Moderne : Ethik und Ästhetik ; Karl Kraus, Adolf Loos, Ludwig Wittgenstein /." Berlin : Parerga, 2005. http://www.loc.gov/catdir/toc/fy0701/2006436232.html.

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Tozer, W. R. E. "A theory of making : architecture and art in the practice of Adolf Loos." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1331912/.

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Adolf Loos repeatedly discusses the role of art in relation to architecture in his essays, but many of his statements appear either repetitive or inconsistent with one another, and are difficult to reconcile with his buildings. Considering Loos’s writing and built work together, rather than separately, suggests that instead of being fully formulated as a methodology and then implemented in practice, Loos’s argument emerges serially and in a piecemeal fashion with the progressive development of his buildings through practice—a theory of making. The line of enquiry into the historical and theoretical material is informed by the division of my own design work in practice into sculptural components and furnishings. The research proceeds on the hypothesis that Loos similarly divided each of his buildings into discrete elements that he either understood as art, or considered functional—and that he deployed ornament to signal the latter, rather than the former. This hypothesis is investigated by tracing the origin and development in his built projects of a number of particular components of the Müller House, in relation to the emergence and revision of specific aspects of Loos’s written argument on art and architecture in the essays contemporaneous with these buildings. The investigations are structured by reference to the distinct qualities of each component as identified through the design research, focusing on Composite House. While the research method is specific to my own design work in practice, the investigation is structured so as to produce autonomous outcomes in relation to Loos and modernism, which are meaningful when decoupled from this field data. Loos has to date been predominantly examined through conceptions of modernism as the expression of function, structure, technology or society; however, it is argued here that modern architecture could conversely be understood, through Loos, as a form of art practice.
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Books on the topic "Adolf Loos"

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Lustenberger, Kurt. Adolf Loos. Zurich: Artemis, 1994.

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Lustenberger, Kurt. Adolf Loos. Zurich: Artemis, 1994.

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Trevisiol, Robert. Adolf Loos. Roma: Laterza, 1995.

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Tournikiotis, Panayotis. Adolf Loos. New York, N.Y: Princeton Architectural Press, 1994.

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Loos, Adolf. Adolf Loos. [Buenos Aires]: Secretaría de Extensión Universitaria, Facultad de Arquitectura y Urbanismo de la Universidad de Buenos Aires, 1988.

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Albertina, Graphische Sammlung, and Historisches Museum der Stadt Wien., eds. Adolf Loos. Wien: Graphische Sammlung Albertina, 1989.

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Adolf, Opel, ed. Adolf Loos Privat. Wien: Böhlaus, 1985.

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1882-1950, Loos Lina, Loos Claire, and Opel Adolf 1935-, eds. Adolf Loos--der Mensch. Wien: Prachner, 2002.

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Loos, Adolf. Adolf Loos: Opera completa. Roma: Officina, 1997.

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Adolf Loos und Wien. Salzburg: Müry Salzmann, 2011.

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Book chapters on the topic "Adolf Loos"

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Sigel, Paul. "Loos, Adolf." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16031-1.

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Conrads, Ulrich. "Adolf Loos Ornament und Verbrechen." In Programme und Manifeste zur Architektur des 20. Jahrhunderts, 15–21. Wiesbaden: Vieweg+Teubner Verlag, 2001. http://dx.doi.org/10.1007/978-3-663-13972-0_5.

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Spalt, Johannes. "Reiseschreibtisch englisch, Besitzer Adolf Loos." In Klapptische / Folding Tables, 88–93. Basel: Birkhäuser Basel, 1987. http://dx.doi.org/10.1007/978-3-0348-6207-3_35.

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Sigel, Paul. "Loos, Adolf: Ornament und Verbrechen." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16032-1.

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Franz, Rainald. "Adolf Loos und die Folgen." In Muster im Transfer, 119–34. Köln: Böhlau Verlag, 2015. http://dx.doi.org/10.7788/9783412218829-008.

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Holmes, Deborah. "10 Eugenie Schwarzwald and Adolf Loos." In Design Dialogue: Jews, Culture and Viennese Modernism, 211–28. Köln: Böhlau Verlag, 2018. http://dx.doi.org/10.7788/9783205208501.211.

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Scherrer, Christian. "Der Stoff aus dem die Räume sind: Das Prinzip der Bekleidung in Adolf Loos’ Haus für Goldman & Salatsch." In Textile Moderne, 193–204. Köln: Böhlau Verlag, 2019. http://dx.doi.org/10.7788/9783412518066.193.

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Hinchman, Mark, and Elyssa Yoneda. "Loos, Adolf." In Interior Design Masters, 158–59. Routledge, 2018. http://dx.doi.org/10.4324/9781315168203-77.

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"Adolf Loos." In Lateness, 25–46. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctvrs8zsh.7.

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"Loos, Adolf." In The Visual Dictionary of Interior Architecture and Design, 151. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: Ingram Publisher Services Inc. English Language Support Office, 2009. http://dx.doi.org/10.5040/9781350088719.0138.

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Conference papers on the topic "Adolf Loos"

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Ramakrishnan, Mira. "Ornamentation and Crime – An Interpretation of the Design Philosophies of Adolf Loos." In Annual International Conference on Architecture and Civil Engineering (ACE 2014). Global Science and Technology Forum, 2014. http://dx.doi.org/10.5176/2301-394x_ace14.33.

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Rojas Cuevas, Rosa Maribel. "Cómo se redimensiona la construcción social de la memoria en el México actual, un caso de arte interactivo." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9607.

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La presente comunicación pretende analizar y reflexionar sobre el cómo se construye y se redimensiona el concepto de memoria colectiva a través del arte. La violencia que se ha suscitado en México a partir de la guerra contra el narcotráfico ha resultado en miles de desaparecidos y cientos de fosas clandestinas. Artistas como Rafael Lozano-Hemmer y su instalación interactiva “Nivel de confianza” (2015) han partido del uso de las tecnologías digitales para enunciar y pronunciar los problemas sociales violentos que se han suscitado en el país durante los últimos años. Más allá de utilizar el arte para representar los crímenes de lesa humanidad, lo que se pretende es promover una conciencia colectiva sobre el olvido, la amnesia y la aniquilación de la memoria ejercida por el Estado.En ese sentido, se reflexionará sobre los textos filosóficos de Tzvetan Todorov y Paul Ricoeur, a fin de señalar cómo se involucra una sociedad con los eventos violentos de su pasado, la forma en que la afectan y el modo de asimilarlos.El arte es manifestado, entonces, como una forma de significado que va más allá de la historia al representar el relato acontecido, pues nos lo presenta como parte de las identidades de los estudiantes desaparecidos de la Escuela Normal Rural “Isidro Burgos. Así pues, a través del proceso de interacción y el entrecruce de información, los usuarios de la instalación construyen su propio espacio de reflexión en el que convergen diferentes posturas políticas y sociales sobre este tipo de eventos violentos suscitados en México.Por último, para abordar el hecho estético de la pieza se partirá de la teoría planteada por Adolfo Sánchez Vázquez sobre la Estética de la Participación, ya que la relación que se da entre el arte y la tecnología permite de-construir técnica y socialmente la representación de la imagen a fin de crear nuevos lenguajes visuales como una forma de reflexionar sobre la construcción oficial de la historia.
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Reports on the topic "Adolf Loos"

1

Meisel-Roca, Adolfo, and Joaquín Viloria-de-la-Hoz. Los alemanes en el Caribe colombiano : el caso de Adolfo Held, 1880-1927. Bogotá, Colombia: Banco de la República, August 1999. http://dx.doi.org/10.32468/chee.1.

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2

Memorias Foro Internacional Neogranadino. ¿Gobernanza global o gobierno globalista? 2020. Universidad Militar Nueva Granada, April 2021. http://dx.doi.org/10.18359/docinst.5696.

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El 23 de julio del 2020, en el marco de la celebración del aniversario treinta y ocho de la Universidad Militar Nueva Granada y en medio de las vicisitudes propias que se despliegan al enfrentar una pandemia como la que ha aquejado al mundo durante más de un año, se desarrolló el Foro Internacional Neogranadino: ¿gobernanza global o gobierno globalista?, con la participación de panelistas de alto nivel tales como el TG (r) Frederick Rudesheim, director del Centro de Estudios Hemisféricos de Defensa William J. Perry; el Dr. Alexis Osvaldo López Tapia, investigador y director de radio y TV; el señor Rafael Nieto Loaiza, abogado, columnista y analista político; el Dr. Joseph Humire Cubides, director del Centro para una Socie- dad Libre Segura (SFS); el Dr. Jaime García Covarrubias, analista internacional; el Dr. Omar Bula Escobar, analista internacional; y la Dra. Celina B. Realuyo, profesora del Centro William J Perry. Además, contó con intervenciones magistrales por parte del Dr. Carlos Holmes Trujillo García (Q. E. P. D.), ministro de Defensa Nacional; el señor BG Adolfo Clavijo Ardila, exrector de la Universidad Militar Nueva Granada; y el señor BG Luis Fernando Puentes Torres, actual rector de este claustro universitario. Entre los temas más relevantes tratados durante el foro se encuentran la pandemia generada por el COVID-19, los desafíos de la gobernanza nacional frente a las amenazas externas, el debilitamiento integral de las Fuerzas Armadas, la política exterior de los Estados Unidos con respecto a elementos de seguridad nacional y cooperación internacional, y la revolución molecular disipada como una explicación a la generalización de la violencia urbana y el anarquismo que, derivados de fenómenos globalizadores, ponen en riesgo a los Estados.
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