La Sirène des Tropiques
•
(1927)

The invention of the magazine can be traced back to the late 1600s. Under the name “The Treasure Hidden Secrets”, the ‘honest matrons and virtuous virgins’ received information on acute occurrences of the Elizabethan age, such as the plague. During the reign of Queen Anne, this content shifted to women’s diaries, gazelles, or pocket pamphlets with a female-centric audience. The publications were the pioneers in creating an educational reader community and enabled exchange. Under Louis XIV of France, magazines started featuring illustrated fashion sketches of pieces usually worn by aristocrats of the time, portraying the nobility, serving inspiration, and giving directions to dressmakers. The first publication that is considered to have reported about the fashion industry is Le Mercure Galant. Founded by the writer Jean Donneau de Visé in 1672, the literary gazette played a pivotal role in the dissemination of news about fashion, luxury goods, etiquette and court life under Louis XIV to the provinces and abroad.

In “The Mystery of Acoustics,” he rejects the idea that the problem of acoustics can be solved on the drawing board, by engineers who draw “straight lines from the sound source to the ceiling, assuming the sound would bounce off at the same angle, like a billiard ball from the cushion, and continue on its way.” For Loos, the scientific calculation of acoustics was “nonsense”—according to him, the acoustics of a space depended not on spatial design, but on material. Given that he developed his design of the house on a small scale, he did not specify his choice of material for the interior. (Only the façade is described as being clad with black-and-white marble slabs.) But if one reads the plans more closely, it appears as if Loos based his design of the interior on familiar environments from his own oeuvre and on elements from Baker’s stage sets and lm scenes.

In “The Mystery of Acoustics,” he rejects the idea that the problem of acoustics can be solved on the drawing board, by engineers who draw “straight lines from the sound source to the ceiling, assuming the sound would bounce off at the same angle, like a billiard ball from the cushion, and continue on its way.” For Loos, the scientific calculation of acoustics was “nonsense”—according to him, the acoustics of a space depended not on spatial design, but on material. Given that he developed his design of the house on a small scale, he did not specify his choice of material for the interior. (Only the façade is described as being clad with black-and-white marble slabs.) But if one reads the plans more closely, it appears as if Loos based his design of the interior on familiar environments from his own oeuvre and on elements from Baker’s stage sets and lm scenes.

In “The Mystery of Acoustics,” he rejects the idea that the problem of acoustics can be solved on the drawing board, by engineers who draw “straight lines from the sound source to the ceiling, assuming the sound would bounce off at the same angle, like a billiard ball from the cushion, and continue on its way.” For Loos, the scientific calculation of acoustics was “nonsense”—according to him, the acoustics of a space depended not on spatial design, but on material. Given that he developed his design of the house on a small scale, he did not specify his choice of material for the interior. (Only the façade is described as being clad with black-and-white marble slabs.) But if one reads the plans more closely, it appears as if Loos based his design of the interior on familiar environments from his own oeuvre and on elements from Baker’s stage sets and lm scenes.

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