Journal articles: 'Adolf Loos'

1

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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6

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 pensamento moderno diante de questões relativas à cultura, à arte e à Arquitetura. Na diversidade das propostas encabeçadas por tal mentalidade, entra em crise o ornamento e começam a surgir importantes reflexões acerca da ruptura com o passado, em nome das transformações culturais e do estabelecimento do Modernismo. Nesse âmbito, destaca-se Adolf Loos, que teve na luta contra o 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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10

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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11

Henderson, Susan R. "Bachelor Culture in the Work of Adolf Loos." Journal of Architectural Education 55, no. 3 (February 2002): 125–35. http://dx.doi.org/10.1162/10464880252819976.

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12

Arnau Orenga, P. Inés, Sergio Bruns Banegas, and José María Lozano Velasco. "¿Ornamento y delito? De Loos a Venturi & Scott Brown." EN BLANCO. Revista de Arquitectura 9, no. 23 (October 25, 2017): 93. http://dx.doi.org/10.4995/eb.2017.7969.

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El ornamento en arquitectura ha estado siempre envuelto de polémica, en muchos casos influenciada por una lectura banal de la famosa conferencia de 1908 de Adolf Loos titulada “Ornamento y delito”. Una lectura más profunda de sus textos y el análisis de su obra nos lleva a comprender su posición respecto al ornamento e identificar aquellos elementos que el maestro vienés estaba realmente criticando. No se trata tanto de una crítica directa al ornamento, como de la censura al uso inadecuado del ornamento. Los ejemplos del café Museum o su edificio en Michaelerplatz ilustran sus teorías, al igual que maestros coetáneos como Otto Wagner o Frank Lloyd Wright. Debemos despojarnos de nuestros prejuicios sobre el ornamento, para entender la postura de Adolf Loos. Una postura que no ha perdido vigencia en la arquitectura contemporánea.

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13

Furján, Hélène. "Dressing down: Adolf Loos and the politics of ornament." Journal of Architecture 8, no. 1 (January 2003): 115–30. http://dx.doi.org/10.1080/1360236032000068451.

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14

Leatherbarrow, David. "Interpretation and Abstraction in the Architecture of Adolf Loos." Journal of Architectural Education 40, no. 4 (July 1987): 2–9. http://dx.doi.org/10.1080/10464883.1987.11102655.

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15

Leatherbarrow, David. "Interpretation and Abstraction in the Architecture of Adolf Loos." Journal of Architectural Education (1984-) 40, no. 4 (1987): 2. http://dx.doi.org/10.2307/1424868.

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16

Colomina, Beatriz. "Sex, Lies and Decoration: Adolf Loos and Gustav Klimt." Thresholds 37 (January 2010): 70–81. http://dx.doi.org/10.1162/thld_a_00197.

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17

Poisson, Céline. "Architecture et continuité : Loos, Wittgenstein, Peirce." Recherches sémiotiques 30, no. 1-2-3 (July 15, 2014): 165–78. http://dx.doi.org/10.7202/1025931ar.

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En me référant aux philosophes Charles S. Peirce et Ludwig Wittgenstein et à l’architecte Adolf Loos, je me propose de questionner le processus de création en architecture et en design dans l’esprit d’un souci de conservation et de continuité entre conception, fabrication et usage. La vue d’ensemble nécessaire à l’architecte, au designer ou à l’artisan d’expérience n’est nullement une pure construction de l’esprit. Il s’agit bien plutôt d’une pure présence de l’esprit à la réalité. Trouver la juste proposition architecturale pourrait, à bien des égards, ressembler à trouver le mot juste : une série d’essais, d’erreurs, d’idées et de propositions comparées entre elles. Un travail de la pensée qui rappelle le travail de l’artisan.

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18

Jeronymo, Liza da Fonseca, Francinne Xavier dos Santos, Mariana Malheiro Negrão Bandeira, Mariele Silva Ferragini, Valquíria Patricia Felix, Valquíria Pereira Bastos, and Korina Costa. "ARQUITETURA PRÉ-MODERNISTA: ADOLF LOOS E A RACIONALIDADE DA FORMA." Colloquium Humanarum 10, Especial (October 25, 2013): 257–62. http://dx.doi.org/10.5747/ch.2013.v10.nesp.000457.

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19

Ferrer Sala, Manuel. "Figuraciones de lo pre-moderno: Adolf Loos e Isadora Duncan." Ra. Revista de Arquitectura 18 (December 19, 2016): 97–102. http://dx.doi.org/10.15581/014.18.97-102.

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20

Lee, Da-Yeon, and Byung-Kweon Jun. "An Analysis of the Spatial Configuration of Adolf Loos’ House." Journal of the Korean Housing Association 27, no. 6 (December 25, 2016): 85–93. http://dx.doi.org/10.6107/jkha.2016.27.6.085.

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21

King, E. W. "Harnessing Light: Illuminating Lighting in Adolf Loos' Early Commercial Designs." Journal of Design History 25, no. 2 (May 22, 2012): 145–54. http://dx.doi.org/10.1093/jdh/eps004.

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22

Schöttker, Detlev. "nr="9"Sprachökonomie und Designökonomie. : Die rhetorische Tradition der Architekturmoderne in Wien." Zeitschrift für Germanistik 30, no. 1 (January 1, 2020): 9–23. http://dx.doi.org/10.3726/92165_9.

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Der Beitrag zeigt, dass die Grundlagen des modernen Bauens und Gestaltens in zentralen Ideen der Rhetorik wie Klarheit, Funktionalität und Ordnung verwurzelt sind. Anders als die Protagonisten und Anhänger des Bauhauses bezogen sich Vertreter der Wiener Moderne auf die Tradition einer rhetorisch fundierten Architekturtheorie seit der Antike, wie an Beiträgen von Adolf Loos, Ludwig Wittgenstein, Josef Frank und Emil Kaufmann erläutert wird.

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23

Cheng, Anne Anlin. "Skins, Tattoos, and Susceptibility." Representations 108, no. 1 (2009): 98–119. http://dx.doi.org/10.1525/rep.2009.108.1.98.

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This essay tells the story of the performer Josephine Baker and the architect Adolf Loos as a way to track an unexpectedly intimate dialogue between the making of the so-called "denuded modern surface" and the spectacle of black skin at the turn of the twentieth century. This connection in turn compels a reconsideration of the way we read (as) modern subjects.

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24

Park, Yo-song. "Semiotic Foundation for a Pollution‒Theory: From the Perspective of Ornament-Aesthetics by Adolf Loos." Semiotic Inquiry 59 (June 30, 2019): 113–44. http://dx.doi.org/10.24825/si.59.5.

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25

KISAKA, Hisashi, and Yuji AGEMATSU. "RAUMPLAN BY ADOLF LOOS AND TWELVE TONE COMPOSITION BY ARNOLD SCHONBERG." Journal of Architecture and Planning (Transactions of AIJ) 70, no. 593 (2005): 217–23. http://dx.doi.org/10.3130/aija.70.217_4.

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26

Schwartz, Frederic J. "Architecture and Crime: Adolf Loos and the Culture of the “Case”." Art Bulletin 94, no. 3 (September 2012): 437–57. http://dx.doi.org/10.1080/00043079.2012.10786051.

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27

Lubrich, Oliver. "Dracula vertextet. Bram Stoker und Adolf Loos entsorgen ein archaisches Monster." arcadia - International Journal for Literary Studies 40, no. 1 (July 2005): 2–29. http://dx.doi.org/10.1515/arca.2005.40.1.2.

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28

Ersoy, Ufuk. "The fictive quality of glass." Architectural Research Quarterly 11, no. 3-4 (December 2007): 237–43. http://dx.doi.org/10.1017/s1359135500000737.

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‘The fire is burning. Is it burning for me or against me? Will it give tangible shape to my dreams, or will it eat them up? I know pottery traditions going back thousands of years; all the potters’ tricks I know, I have used them all. But we have not yet reached the end. The spirit of the material has not yet been overcome.’(Adolf Loos, ‘Pottery’)

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29

Arnau Orenga, Prudencia Inés, Sergio Bruns Banegas, and José María Lozano Velasco. "Loos y Venturi & Scott Brown. Del ornamento en la modernidadal símbolo postmoderno." EN BLANCO. Revista de Arquitectura 11, no. 27 (October 30, 2019): 106. http://dx.doi.org/10.4995/eb.2019.12054.

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Bien pudiera afirmarse que Adolf Loos y Robert Venturi junto con Denise Scott Brown, marcaron el inicio de dos de los movimiento arquitectónicos más importantes del Siglo XX. Sus escritos sirvieron para fundar los postulados del Movimiento Moderno y de la Posmodernidad. A pesar de tratarse de arquitectos tan diferentes, sus actitudes no son tan distintas, al defender una arquitectura honesta, cargada de mensaje y dispuestos a transgredir los dogmas pasados, al no considerarlos ya aptos para la sociedad de su momento. Permítasenos elegir dos ejemplos de cierto carisma. El proyecto de la casa para Josephine Baker sirve para ilustrar la posición de Adolf Loos. Se trata de un proyecto cargado de simbolismo, donde la propia fachada se convierte en mensaje. Décadas más tarde, Venturi & Scott Brown construirían al otro lado del Atlántico la Guild House, el primer gran edificio etiquetado como posmodernista por su carga simbólica y el uso irónico del ornamento, en gran parte debido a la falsa antena. Estos proyectos del maestro austriaco y de Robert Venturi & Denise Scott Brown sirven también para ilustrar su teoría, convirtiéndose de esta manera en manifiestos construidos. Teorías que hoy siguen perdurando.

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30

López Lloret, Jorge. "Del ornamento al delito. El diseño y la mujer en la segunda mitad del siglo XIX." Laocoonte. Revista de Estética y Teoría de las Artes, no. 6 (December 16, 2019): 165. http://dx.doi.org/10.7203/laocoonte.0.6.14481.

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La segunda mitad del siglo XIX fue decisiva para el desarrollo de la cultura del diseño de producto. Tuvo especial importancia el debate en torno al principio del revestimiento, aunque no se trataba sólo de aclarar las relaciones entre forma y función, sino de establecer la importancia antropológica y cultural de la disciplina. Se desarrolló la idea de que había claras conexiones entre la manera en la que tratábamos los objetos de uso y el cuerpo humano, especialmente el femenino. Se estudiará esto analizando la transformación conceptual de las relaciones de la cultura con la naturaleza entre el “Elogio del maquillaje” de Charles Baudelaire y “Ornamento y delito” de Adolf Loos. [The second half of nineteenth century was decisive in the development of product design culture. It was especially important the debate about the clothing principle, although it was not only about clear up the relations between form and function but set up the discipline anthropologic and cultural relevance. It was developed the belief that there were clear connections between how we behave towards the objects of use and the human body, women’s primarily. This will be studied analysing the conceptual transformation of the relations between nature and culture from Charles Baudelaire’s “In Praise of Makeup” to Adolf Loos’ “Ornament and Crime”].

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31

Westergaard, Peter K. ""...En murer, som har læst latin"." Slagmark - Tidsskrift for idéhistorie, no. 27 (February 4, 2018): 7–8. http://dx.doi.org/10.7146/sl.v0i27.103867.

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For eftertiden er Adolf Loos (1870-1933) først og fremmest kendt som en af Wiens mere fremtrædende arkitekter fra begyndelsen af dette århundrede, der søger at forny den klassiske tradition i et funktionalistisk formsprog. For samtiden var han fortrinsvis kendt, frem til færdiggørelsen af hans Looshaus på Michaelerplatz i Wien i 1911, som en polemisk kultur- og kunstkritiker, der færdedes i kredsen omkring den indflydelsesrige redaktør, kronikør og forfatter Karl Kraus (1874-1936).

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32

Urlich, Petr. "La villa del Dr. Müller en Praga y su autenticidad." Loggia, Arquitectura & Restauración, no. 12 (December 2, 2001): 52. http://dx.doi.org/10.4995/loggia.2001.3607.

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Este artículo reúne un doble interés: en primer lugar relata el proceso de restauración de una obra singular de la época heroica del Movimiento Moderno, proceso que se ha basado en una metodología rigurosa y deliberada basada en el concepto de autenticidad; en segundo lugar desvela secretos hasta ahora soslayados sobre la propia concepción arquitectónica y espacial de Adolf Loos a través del análisis pormenorizado de su obra póstuma.

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33

KISAKA, Hisashi, and Yuji AGEMATSU. "REMOVAL OF ORNAMENT BY ADOLF LOOS AND ATONAL MUSIC BY ARNOLD SCHONBER." Journal of Architecture and Planning (Transactions of AIJ) 68, no. 563 (2003): 283–88. http://dx.doi.org/10.3130/aija.68.283.

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34

Canales, Jimena, and Andrew Herscher. "Criminal Skins: Tattoos and Modern Architecture in the Work of Adolf Loos." Architectural History 48 (2005): 235–56. http://dx.doi.org/10.1017/s0066622x00003798.

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Adolf Loos’s famous essay, ‘Ornament and Crime’, decisively linked unornamented architecture with the culture of modernity and, in so doing, became one of the key formulations of modern architecture. To a great extent, the essay’s force comes from arguments drawn from nineteenth-century criminal anthropology. Nevertheless, Loos’s work has been consistently understood only within the context of the inter-war avant- gardes. In the 1920s, Le Corbusier was particularly enthusiastic in bringing Loos’s work to the fore, thereby establishing its future reception. ‘Ornament and Crime’ became an essential catalyst for architecture’s conversion away from the historicism of the nineteenth century to modernism. At the turn of the century, Loos’s essay already foreshadowed the white abstraction of ‘less is more’ architecture and the functionalist rigour of the International Style which would dominate the twentieth century.

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35

Shapira, Elana. "Adolf Loos and the Fashioning of “the Other”: Memory, Fashion, and Interiors." Interiors 2, no. 2 (July 2011): 213–37. http://dx.doi.org/10.2752/204191211x13070211134385.

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36

Poulot, Cécile. "Prague et la Tchécoslovaquie dans la trajectoire de l’architecte viennois Adolf Loos." Austriaca, no. 88-89 (December 1, 2019): 91–103. http://dx.doi.org/10.4000/austriaca.736.

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37

Horton, Sarah. "Serial killers? Investigating some modernist myths about decoration, pattern and ornament through workplace interventions." Journal of Illustration 6, no. 2 (December 1, 2019): 305–25. http://dx.doi.org/10.1386/jill_00016_1.

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Abstract What is it about ornament that made it so contentious for influential modernist thinkers and practitioners such as Adolf Loos and le Corbusier? According to Loos it was a sign of degeneracy and for le Corbusier best suited to 'simple races, peasants and savages'. By championing the use of ornament as a vital tool for 'resistance' in the sense that Michel de Certeau used the word the practice-led research featured in this article seeks to interrogate some of these myths. Rather than being a passive adornment to an environment the visual artworks presented here tested the potential of decoration and ornament to offer a resistive, critical interruption to everyday spaces. The particular space addressed was that of the workplace, with bespoke artworks being made for three different work-related locations.

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38

Overy, Paul. "“The Whole Bad Taste of Our Period:” Josef Frank, Adolf Loos, and “Gschnas“." Home Cultures 3, no. 3 (November 2006): 213–33. http://dx.doi.org/10.2752/174063106779090721.

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McBride, Patrizia C. ""In Praise of the Present": Adolf Loos on Style and Fashion." Modernism/modernity 11, no. 4 (2004): 745–67. http://dx.doi.org/10.1353/mod.2005.0011.

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40

KANEMAKI, Takahiko. "A STUDY ON THE BACKGROUND AND POSITIONING OF ADOLF LOOS' ARTICLE “THE THEATRE”." Journal of Architecture and Planning (Transactions of AIJ) 85, no. 769 (2020): 743–51. http://dx.doi.org/10.3130/aija.85.743.

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Vasilski, Dragana. "In searching for the rots of minimalism in architecture: Formal silence of Adolf Loos." Arhitektura i urbanizam, no. 31 (2011): 16–34. http://dx.doi.org/10.5937/arhurb1131016v.

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42

Maciuika, John V. "Adolf Loos and the Aphoristic Style: Rhetorical Practice in Early Twentieth-Century Design Criticism." Design Issues 16, no. 2 (June 2000): 75–86. http://dx.doi.org/10.1162/074793600750235804.

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Hirsa, Vaclav, and Miloslav Hanz. "Recuperación y restauración del teatro barroco Castillo de Cesky Krumlov (República Checa)." Loggia, Arquitectura & Restauración, no. 13 (December 6, 2002): 48. http://dx.doi.org/10.4995/loggia.2002.3572.

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La sólida tradición en la protección y conservación de monumentos de Bohemia que se remonta al magisterio ejercido por Aloïs Riegl y Max Dvorak sigue viva y encuentra un magnífico ejemplo en esta ocasión. Las circunstancias singulares que han rodeado a este caso han permitido la delicada recuperación no sólo de la bella arquitectura pintada del edificio, sino también de toda la tramoya, vestuario e ingenios originales del escenario. Los arquitectos, autores asimismo de la restauración de la Villa Müller de Adolf Loos (LOGGIA nº 12), han demostrado que su sensibilidad hacia el patrimonio precede a su versatilidad en la acción.

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Stevanović, Vladimir, and Andrea Raičević. "Aesthetics of unspoken: Architectural form and visible boundary of language." SAJ - Serbian Architectural Journal 9, no. 2 (2017): 121–32. http://dx.doi.org/10.5937/saj1702121s.

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Stonborough House is a house in the heart of the city of Vienna that was, apart from architect Paul Engelmann - a disciple of Adolf Loos, designed and constructed by philosopher Ludwig Wittgenstein, at the suggestion of his sister Margaret Stonborough-Wittgenstein. In an attempt to connect Wittgenstein's philosophy with his work as an architect, the Stonborough House has often been named 'a visible form of his teaching'. Therefore, this paper intends to point out that translation into a substitute language of architecture became a meaningful way of addressing philosophical issues, and that the credo of Wittgenstein's philosophical ethics, which was restraint from the redundant, found articulation of its aesthetic value through architectural rhetoric.

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45

Dias Fortes, Alexandra. "Aldo Rossi." Croatian journal of philosophy 21, no. 61 (May 21, 2021): 25–38. http://dx.doi.org/10.52685/cjp.21.1.2.

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Aldo Rossi offers a captivating account of the relationship between human life and material forms. Rossi says that he came to “the great questions”, and to his discovery of Ludwig Wittgenstein and Georg Trakl through Adolf Loos (Rossi 1982: 46). I will outline some connections between Loos, Trakl, and Wittgenstein that might help us to grasp the way in which Rossi’s assertive attitude concerning architecture gradually leans towards “forgetting architecture”. (The goal is not to try and justify how they might have influenced Rossi; rather the aim is to try to understand Rossi’s work with those connections as a backdrop; to outline a constellation of affinities.) The running thread being the internal relation between the object and the subject, i.e., “construction and the artist’s own life” (Lombardo 2003: 97). I will conclude by considering architectural form on the page, that is to say, in Rossi’s plans, “a graphic variation of the handwritten manuscript”, and drawings, “where a line is no longer a line, but writing” (Rossi 1981: 6), and finally by considering what he says about his architecture, namely, that it stands “mute and cold,” though it will still “creak” (Rossi 1981: 44), and give rise to “new meanings”.

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46

Passanti, Francesco. "The Vernacular, Modernism, and Le Corbusier." Journal of the Society of Architectural Historians 56, no. 4 (December 1, 1997): 438–51. http://dx.doi.org/10.2307/991313.

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The modernist architecture of the 1920s, often referred to by the terms "machine aesthetic" and "International Style," has been seen as antithetical to the vernacular. Focusing on Le Corbusier, this essay argues that, to the contrary, the vernacular played an essential role in the construction of modernist architecture, as conceptual model for a notion of modern vernacular-one as naturally the issue of modern industrial society, and as representative of it, as the traditional vernacular of common parlance had been of earlier societies. Le Corbusier arrived at this notion by layering on each other several discourses concerning regionalism, folklore, and the more complex concept of Sachlichkeit (factualness), developed in Vienna and Germany at the turn of the century by such figures as Adolf Loos and Hermann Muthesius.

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47

Weizman, Ines. "Derechos de la Cosa. Una revitalización arquitectónica de la casa Josephine Baker de Adolf Loos (1928)." ARQ (Santiago), no. 95 (April 2017): 30–39. http://dx.doi.org/10.4067/s0717-69962017000100030.

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48

Damisch, Hubert. "L'Autre “Ich,” L'Autriche— Austria, or the Desire for the Void: Toward a Tomb for Adolf Loos." Grey Room 1 (September 2000): 26–41. http://dx.doi.org/10.1162/152638100750173047.

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49

Long, Christopher. "Review: Adolf Loos—dílo v českých zemích / Adolf Loos—Works in the Czech Lands by Maria Szadkowska, Leslie Van Duzer, Dagmar Černoušková; Junge Meister: Architekten aus der Schule Otto Wagners in Mähren und Schlesien by Jindřich Vybíral." Journal of the Society of Architectural Historians 70, no. 1 (March 1, 2011): 124–26. http://dx.doi.org/10.1525/jsah.2011.70.1.124.

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50

Toral Guinea, Marta. "Activación de los sistemas arquitectónicos compactos. La construcción del mecanismo de proyección diagonal en la obra de Adolf Ros." EGA Revista de expresión gráfica arquitectónica 24, no. 37 (November 18, 2019): 74. http://dx.doi.org/10.4995/ega.2019.10832.

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Abstract:

La activación de los sistemas arquitectónicos compactos, formados por unidades espaciales adosadas, especializadas, cualificadas, relacionadas entre sí en un contenedor definido y regular, requiere de herramientas específicas, capaces de suplir la carencia de espacios dinámicos, intersticiales y de comunicación. En la construcción del Raumplan, Adolf Loos desarrolla diferentes mecanismos relacionales. Entre ellos, destaca uno de gran capacidad dinamizadora del espacio interior. Su construcción parte de la evolución de las operaciones de fluctuación y frontalidad heredadas de la tradición arquitectónica para incorporar gradualmente alteraciones focales que conducen a la proyección diagonal. Mediante el análisis gráfico elaborado por el/la autor/a, se estudian las herramientas empleadas para la cualificación de este mecanismo perceptivo, que potencia la disociación entre el recorrido físico y perceptivo del observador.

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