In the series of interpretations of Adolf Loos (1870-1933), the question of the relationship between the written word and the built environment has rarely been addressed. This publication focuses on the analysis of the architectural theoretical program in the context of the built work, supplemented by a current image dossier of buildings, spaces, surfaces, and details that seeks to visually trace Loos's understanding of space and spatial design. It becomes evident that Loos, often portrayed as a moralist and ascetic, violated his own principles and the spirit of his frequently quoted maxims. Ornament was not his main enemy; rather, the entire ornament discussion appears to be a side issue in his battle against an outdated idea of beauty in architecture—and for a contemporary standard of taste. For him, aesthetics had nothing to do with the concept of art.