Abstract
In 1912, on the advice of Auguste Perret, Jeanneret discovered Adolf Loos' iconoclastic essay " Ornement et crime ", which had a decisive effect on him. Rather than focusing on Le Corbusier's assimilation of Loos' thinking, the analysis focuses on a series of figures encountered in the Viennese interiors of Loos and the Parisian interiors of Jeanneret. It highlights their shared hostility to eclectic and Art Nouveau compositions, and their taste for objects of good craftsmanship and certain types of furniture. Drawing a parallel between the house built by Loos for Tristan Tzara and Le Corbusier's Villa Stein-de-Monzie, the inclusion of works of art such as Henri Matisse's bronze Nu couché (Reclining Nude) reveals their respective approaches, which are reflected in divergent images in photographs by different authors.
