{"product_id":"susleme-ve-curum","title":"Embellishment and Delinquency","description":"Adolf Loos’s writings, collected in Ornament and Crime, are back on the shelves with a new edition.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eArketon Yayınları has released a new edition of Adolf Loos’s forty-eight essays, translated into Turkish by Erdem Ceylan, with his introduction and editorial notes, under the title Ornament and Crime. Published under the general editorship of Aykut Köksal, Ornament and Crime organizes the essays into eight main categories: Craft, Culture, Art, Fashion, Furniture, Material, Style, and Architecture. The essays compiled in Ornament and Crime were selected from Loos’s collections titled “Spoken into the Void” (1921) and “Despite” (1931).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn his foreword to the book, Erdem Ceylan writes: “As the reader engages with Loos’s texts, they witness the numerous identities of the 'author.' He is an architectural, art, and fashion critic, prophet, teacher, advertiser, essayist, storyteller, orator. Sometimes several of these at once, even within the same text. Loos’s written language is far from the cold objectivity of scientific discourse, the profundity of intellectualism, its detached stance, and its condescending perspective. The reason for this attitude is his opposition to the intellectualization of writing, just as he opposed it in architecture, and thus his desire to return language to culture. He writes, gets angry, complains, claims to be wronged, in a sincere and honest language that the average segment of society can understand, in the living, everyday spoken language of the people; yet, ultimately, he is always the authority on the subject. The 'correct' information, perspective, assessment, interpretation, and judgment reside with him. To legitimize his theses and justify his claims, he gathers evidence from the depths of history — evidence he believes will be familiar to his reader. He wants to be understood and avoids wordplay. Yet, it is also true that he is occasionally allusive and sarcastic. His aim is not to wander into the convoluted paths of literature, but to engage in dialogue with his reader — whoever that may be and at whatever cost — and, just as he did with his sensational projects in Vienna, to provoke his readers to ask questions and think through his writings.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA citizen of the Austro-Hungarian Empire, an Austrian national, a Viennese, a visitor to the United States, a sympathizer of English culture, a short-term Secessionist, an enemy of the Secession and Wiener Werkstätte, an anti-ornamentalist, a civil servant, a regular at Viennese cafes, one of the Viennese modernists, an architect, furniture designer, writer, critic, pioneer, intellectual, man, son of a sculptor and stonemason, deaf until the age of twelve, always alone, a husband, a misogynist, a womanizer. Loos is all of these. And much more.”\u003cbr data-mce-fragment=\"1\"\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480762611,"sku":"9786057293640","price":688.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Loos-Yenikapak-5.jpg?v=1713270163","url":"https:\/\/yemkitabevi.com\/en-us\/products\/susleme-ve-curum","provider":"YEM Kitabevi","version":"1.0","type":"link"}