Jewelry Schullin 2. Hans Hollein, 1982
I recently visited Vienna and I am impressed to see that is one of those cities, like Paris and London, contains a highly significant historic heritage and rich. The Austrian capital is an intense cultural and spatial condensation, which is situated within a short time period, the final years of the nineteenth century and the early decades of the twentieth.
<--- That was a golden age of intellectual splendor of the Austro-Hungarian Empire and lasted over fifty short years between 1865 and 1920. Also in line with historical convulsions end a political entity heir of the Holy Roman Empire, then Austrian, which would have a combined length of nearly 1,000 years.
The fin de siècle Viennese culture must be characterized by a high sophistication, the result of the interaction of a large multiplicity of peoples, countries and identities. To receive this just a brief look at the many personalities who came together in a celebrated cafés, and both have contributed to the creation of the modern world as we perceive it in more recent times. Since philosophers like Ludwig Wittgenstein and scientists like Freud, painters such as Klimt, Kokotscha and Schiele, musicians such as Mahler, Schoenberg and Berg, to writers such as Karl Kraus, Robert Musil and the poet Georg Trakl. And of course architects.
Intense Viennese cultural history throughout the twentieth century from the architecture can be represented by some commercial cover as constructed claims have been superimposed on earlier buildings ideo of romantic. Reflect the concerns of a dynamic society to the pursuit of an authenticity feature. Works of people such as Otto Wagner and his followers of Secezion and Wiener Werkstätte , which paved the way for a radical overhaul of the architecture. And others of critics of the frauds aesthetic of his time, led by Adolf Loos and the most brilliant intellectuals.
The modern transformation of the city of Vienna is clearly related to the construction of the esplanade defensive glacis vacuum of several hundred meters from the Altstadt, the old part of the city and the suburbs, the then, once established, will be called the Ring. Was that a vast operation of urban construction that gave the Austrian city with its most distinctive stamp. The process begins in mid-nineteenth century by holding a contest to redefine the public space, transforming a central link that connected the old center and the districts were consolidated and peripheral crown. The winning project of Ludwig von Foster generation raised a wide boulevard outside annular connecting a series of five plots gridded rectangular blocks and dotted by numerous representative buildings that would stand between the large gardens and monuments. The ring road is crowned with the existing walk along the river Danube.
The resulting architecture palatial buildings combining residential apartments, for the burgeoning middle class Viennese, as well as numerous cultural and administrative facilities. Monumentality to be seen was the result of applying the architectural language of the whole of romantic historicism in the prevailing resource recovery figurative classical architecture. Something that gives the city a strong stylistic unity and the glowing references built as the new City Hall, the Austrian Parliament, State Opera and numerous museums and monumental churches. In this constructive process played an important role, Gottfried Semper, as renowned theorist of German academic scene of the moment.
The cultural sophistication achieved in that crepuscular moment is represented by the strong reaction intelectualidad contra el arte romántico y la arquitectura historicista. Son unos años de intensas polémicas estéticas mantenidas entre los arquitectos, que se aglutinaron en torno al movimiento de la Wiener Secezion , liderada por Otto Wagner. Allí, al igual que en otras ciudades europeas se plantea una renovación estilística radical que se inspiraría en formas naturales y la aplicación de un decorativismo de nuevo cuño. Numerosos edificios ligados a la nueva estética fueron realizados en la ciudad en esos años por los colaboradores de aquél; gente como Hoffmann, Joseph María Olbrich, Max Fabiani o Josef Plecnik.
Pavilion Karlsplatz subway station. Otto Wagner. 1901
even Wagner in its final stage of its waste would follow historicist works to raise the stamp of the secessionist aesthetics. The twin buildings at the Otto Wagner Karlsplatz made for the underground railway in the city, next to the pavilion Postsparkasse and Joseph Olbrich's Secession, represent a radical break with the language of the old architecture. This will rely on new spatial concepts and the renewed use of more contemporary material. Everything is coated with a floral expression adjective architecture, in line with the aesthetic sensibilities several contemporary artists.
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Pharmacy Engel. Oskar Laske, 1902
A home in which that effort is inherently present decorative design is made for Oskar Laske building in Bognergasse Engel Apotheke. Laske, a member of the Viennese Secession movement and disciple of Wagner, is limited to redefine the narrow facade of the building by establishing a structure of symmetry with a double center hole defining the space of pharmacy in the ground and first floors, the ornament principal is established by applying two identical tiles that represent two separate potions are angels from above.
A second wave of brilliance of Viennese architecture is represented by Adolf Loos, the most critic of historicism and then the decorative style of the Secessionists. It is an approach that would anticipate the nature of the European avant-garde that would follow. For Loos, the authenticity of the architecture would have to arise from the radical stripping of the architecture of those essential elements. His battle against the ornament will mean a isolation from their professional environment and condemnation coming from the distinguished Viennese society that kept endless controversy.
Tailoring Knize. Adolf Loos, 1913
The claim of Western culture, exemplified by that which he received in the United States from the late nineteenth century, made him a great advocate of practical fashion against the smug clothing empire. He considered himself an exponent of sophisticated elegance. As a result, Loos had many clients in the field of tailoring what it would take to run your building best known for the clothing firm Goldman & Salatsch in Michaelerplatz.
Another example is the reform of local Tailors Knize that would stand in the street the city's busiest, Graben. Your home reflects the architect's ideas strongly with functional simplicity that would become standard in many places: several small glass windows on the sides of the access door to the building. The artifact exhibition of products for sale would be framed in two massive pieces arc of polished black granite, under a frieze of the same material that includes the company logo. Be configured and a mask that denies the building which clearly integrates cutting historicist.
Shop
Kärnter Bar Adolf Loos, 1909
similar thing take place for another minute local, Kärnter American Bar, an area of \u200b\u200b4.5 x 6 mts. Particular admiration for American culture is clearly reflected here. The facade is characterized by the stained glass window lit, which serves as the American flag motif. The use of exotic materials such as mahogany, onyx and marble Greek Kyros, contributes to the dignity of the small enclosure.
A return to ornamental practices, the sophisticated use and refinement in the design is found again with the architecture of Hans Hollein, that recovered in the 70's, that taste for luxury and sophisticated materials.
hatching coincides with a technological language, which are involved as some other Austrian architects Haus-Rucker and Co, Coop Himmelblau and Gustav Peichl. A group that some (such as Charles Jencks) have labeled Supersensual. This rich movement would lead to some episodes rich contemporary architectural practice. For example, Hans Hollein would fit in the group led by Paolo postmodern Portoguesi be presented by the famous Strada Novisima in the 1980 Venice Biennale. There, his contribution to the known presence of the past, would make a wink the reinterpretation of the Austrian cultural heritage by proposing a columned porch that would integrate the historicism of the palaces of the Ring with the column skyscraper competition for the Chicago Tribune of Loos and the coarseness of the materials in a column topiary plant.
The presence of the past. Strada Novísima Home for the Venice Biennale. Hans Hollein, 1980
Hollein take place in Vienna a select group of stores. Premises of refined aesthetics and exquisite layout in small spaces. Small commercial work that develops in that Hollein time in the old town of Vienna, are an intelligent synthesis of decorative Secessionist aspirations and taste for premium materials Loosian purism.
One of them, the candle shop in Kohlmarkt Retti, made in 1965, continues to use a bare polished aluminum plate to mask the nineteenth-century facade of another building. A radical symbolic strategy that represents a sort of metal box or jewelry which bear the wonders of a colorful interior, consisting of a simple geometry of two intersecting cubes.
Shop Retti candles. Hans Hollein, 1965
Another cover of sensual impact is to be prepared for the second seat of the jewelry Schulin, 1982, another major shopping street of the historic center of Vienna, Kohlmarkt. This sophisticated strategy Hollein reach a higher level of detail and artistic luxury distances him from his predecessors. The use of a portal sculpture, consisting of two oak columns supporting a solid piece of bronze, define an element of attraction to a colorful interior, full of references to formal suits and decorative motifs from the Viennese tradition.
This group covers, I had occasion to appreciate, reflect the continuing dialectic between tradition and modernity. A dispute in which the modern attempt to subjugate those who have gone before, establishing mechanisms of masking and distortion, if not radical rejection of the inherited culture.
is a process of creative destruction in which the development means that in some cases, lost valuable cultural artifacts, transformed wild on a desire to impose the most contemporary expression. It's something that can be positive when acting with a greater level of development cultural and provide a higher level of intellectual sophistication. On the contrary, it is absolutely despicable if those involved do it from the contempt for the riches provided above.
is what progress has .--->
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