This third and final section differs from the two previous ones in that the objects shown are both later-dated and far more heterogeneous. This simultaneously serves to address a phenomenon that, unlike today, was new in interwar Austria: heterogeneity of taste can arise once there exists widespread acceptance of a…

Loos’ cultural modernism stood in stark contrast to the formal and stylistic Modernism of the Secession, and along with it, the School of Arts and Crafts and the Wiener Werkstätte, to whom this space is devoted. For Loos, Modernism was a question of one’s attitude and did not depend on…