Adolf Lost is an ABS comb shaped like a temple: the handle recalls a pediment, while the teeth take on the role of columns.

 

Function is present, but clearly secondary. This object is not meant to be useful — it is meant to declare itself.

Adolf Lost is a statement. A conscious gesture that adopts excess as its language. In open contrast with Adolf Loos’ ideology, the project does not merely reintegrate classical ornament — it amplifies it, stages it.

The temple reference is not the real issue here; the critique targets the very notion that excess must be eliminated. In this sense, Adolf Lost finds echoes in the aesthetics of haute couture, in the compulsive revival of Pollock’s dripping, in design’s appropriation of pop imagery, and in architecture’s overuse of green symbolism.

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Here, ornament is no longer guilt — it is awareness, irony, and pose.
It is domestic monumentality: an object that declares its superfluousness to assert its presence with even greater force.