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The transformation that the Austro-Hungarian Empire under went during the 19th century was radical and

fast. While the countries of France and England and to an extent Germany showed that on e of the largest empires was slow to develop. Kaiser Franz Jposef seeing the potential of his country becoming irrelevant started a radical program to modernize the country. To do this it would require the development of an infrastructure and as a by product of this architecture. Gottfried Semper (November 29, 1803 May 15, 1879) was a German architect, art critic, and professor of architecture, who designed and built the Semper Opera House in Dresden between 1838 and 1841. In 1849 he took part in the May Uprising in Dresden and was put on the government's wanted list. Semper ed rst to Zrich and later to London. Later he returned to Germany after the 1862 amnesty granted to the revolutionaries. Semper wrote extensively about the origins of architecture, especially in his book The Four Elements of Architecture from 1851, and he was one of the major gures in the controversy surrounding the polychrome architectural style of ancient Greece. Semper designed works at all scales, from a baton for Richard Wagner to major urban interventions like the re-design of the Ringstrae in Vienna. A convinced Republican, Semper took a leading role, along with his friend Richard Wagner, in the May 1849 uprising which swept over the city . He was a member of the Civic Guard (Kommunalgarde) and helped to erect barricades in the streets. When the rebellion collapsed, Semper was considered a leading agitator for democratic change and a ringleader against government authority and he was forced to ee the city. To be completed The 'Museum-question' was discussed in Vienna during the 1860s. Works forming the imperial art collection were scattered among several buildings. Semper was assigned to submit a proposal for locating new buildings in conjunction with redevelopment of the Ringstrasse. In 1869 he designed a gigantic 'Imperial Forum' which was not realized. The National Museum of Art History and the National Museum of Natural History were erected, however, opposite the Palace according to his plan, as was the Burgtheater. In 1871 Semper moved to Vienna to undertake the projects. The Four Elements of Architecture is a book by the German architect Gottfried Semper. Published in 1851, it is an attempt to explain the origins of architecture through the lens of anthropology. The book divides architecture into four distinct elements: the hearth, the roof, the enclosure and the mound. The origins of each element can be found in the traditional crafts of ancient 'barbarians': hearth re, ceramics roof carpentry enclosure weaving mound stonemasonry Semper, stating that the hearth was the rst element created: "around the hearth the rst groups assembled; around it the rst alliances formed; around it the rst rude religious concepts were put into the customs of a cult."[citation needed] Enclosures (walls) were said to have their origins in weaving. Just as fences and pens were woven sticks, the most basic form of a spatial divider still seen in use in parts of the world today is the fabric screen. Only when additional functional requirements are placed on the enclosure (such as structural weight-bearing needs) does the materiality of the wall change to something beyond fabric.

The street was built to replace the city walls, which had been built during the 13th century and funded by the ransom payment derived from the release of Richard I of England, and reinforced as a consequence of the First Turkish Siege in 1529, and instead of the glacis, which was about 500m wide. The fortication had been obsolete since the late 18th century, but the Revolution of 1848 was required to trigger a signicant change. In 1850, the Vorstdte (today the Districts II to IX) were incorporated into the municipality, which made the city walls a simple impediment to trafc. In 1857, Emperor Franz Joseph I of Austria issued his famous decree "It is My will" (Es ist Mein Wille at Wikisource) ordering the demolition of the city walls and moats. In his decree, he laid out the exact size of the boulevard, as well as the geographical positions and functions of the new buildings. The Ringstrae and the planned buildings were intended to be a showcase for the grandeur and glory of the Habsburg Empire. On the practical level, Emperor Napolon III of France's boulevard construction in Paris had already demonstrated how enlarging the size of streets effectively made the erection of revolutionary barricades impossible.

Wagner was born in Penzing, a district in Vienna. He was the son of Suzanne (ne von Helffenstorffer-Hueber) and Rudolf Simeon Wagner, a notary to the Royal Hungarian Court.[1][2][3] He studied in Berlin and Vienna. In 1864, he started designing his rst buildings in the historicist style. In the mid- and late-1880s, like many of his contemporaries in Germany (such as Constantin Lipsius, Richard Streiter and Georg Heuser), Switzerland (Hans Auer and Alfred Friedrich Bluntschli) and France (Paul Sdille), Wagner became a proponent of Architectural Realism. It was a theoretical position that enabled him to mitigate the reliance on historical forms. In 1894, when he became Professor of Architecture at the Academy of Fine Arts Vienna, he was well advanced on his path toward a more radical opposition to the prevailing currents of historicist architecture. By the mid-1890s, he had already designed several Jugendstil buildings. Wagner was very interested in urban planning in 1890 he designed a new city plan for Vienna, but only his urban rail network, the Stadtbahn, was built. In 1896 he published a textbook entitled Modern Architecture in which he expressed his ideas about the role of the architect; it was based on the text of his 1894 inaugural lecture to the Academy. His style incorporated the use of new materials and new forms to reect the fact that society itself was changing. In his textbook, he stated that "new human tasks and views called for a change or reconstitution of existing forms". In pursuit of this ideal, he designed and built structures that reected their intended function, such as the austere Neustiftgasse apartment block in Vienna. In 1897, he joined Gustav Klimt, Joseph Maria Olbrich, Josef Hoffmann and Koloman Moser shortly after they founded the "Vienna Secession" artistic group. From the ideas of this group he developed a style that included quasi-symbolic references to the new forms of modernity. Art Nouveau (French pronunciation:[a nu'vo], Anglicised to /rt nuvo/) is an international philosophy[1] and style of art, architecture and applied artespecially the decorative artsthat were most popular during 18901910.[2] The name "Art Nouveau" is French for "new art". It is known also as Jugendstil, pronounced [junttil ], German for "youth style", named after the magazine Jugend, which promoted it, as Modern () in Russia, perhaps named after Parisian

gallery "La Maison Moderne", as Secession in Austria-Hungary and its successor states after the Viennese group of artists, and, in Italy, as Stile Liberty from the department store in London, Liberty & Co., which popularised the style. A reaction to academic art of the 19th century, it was inspired by natural forms and structures, not only in owers and plants but also in curved lines. Architects tried to harmonize with the natural environment. It is also considered a philosophy of design of furniture, which was designed according to the whole building and made part of ordinary life.[3] he style was inuenced strongly by Czech artist Alphonse Mucha, when Mucha produced a lithographed poster, which appeared on 1 January 1895 in the streets of Paris as an advertisement for the play Gismonda by Victorien Sardou, featuring Sarah Bernhardt.[4] It popularised the new artistic style and its creator to the citizens of Paris. Initially named Style Mucha, (Mucha Style), his style soon became known as Art Nouveau.[5] Art Nouveau was most popular in Europe, but its inuence was global. Hence, it is known in various guises with frequent localised tendencies.[6] In France, Hector Guimard's Paris metro entrances were of art nouveau style and Emile Gall practised the style in Nancy. Victor Horta had a decisive effect on architecture in Belgium.[7] Magazines like Jugend helped publicise the style in Germany, especially as a graphic artform, while the Vienna Secessionists inuenced art and architecture throughout Austria-Hungary. Art Nouveau was also a style of distinct individuals such as Gustav Klimt, Charles Rennie Mackintosh, Alphonse Mucha, Ren Lalique, Antoni Gaud and Louis Comfort Tiffany, each of whom interpreted it in their own manner.[8][9] Although Art Nouveau was replaced by 20th-century modernist styles,[10] it is considered now as an important transition between the historicism of Neoclassicism and modernism.[9] Furthermore, Art Nouveau monuments are now recognised by UNESCO with their World Heritage List as signicant contributions to cultural heritage.[11] The historic center of Riga, Latvia, with "the nest collection of art nouveau buildings in Europe", was included on the list during 1997 in part because of the "quality and the quantity of its Art Nouveau/Jugendstil architecture",[12] and four Brussels town houses by Victor Horta were included during 2000 as "works of human creative genius" that are "outstanding examples of Art Nouveau architecture brilliantly illustrating the transition from the 19th to the 20th century in art, thought, and society".[13] The origins of Art Nouveau are found in the resistance of the artist William Morris to the cluttered compositions and the revival tendencies of the 19th century and his theories that helped initiate the Arts and crafts movement.[24] However, Arthur Mackmurdo's book-cover for Wren's City Churches (1883), with its rhythmic oral patterns, is often considered the rst realisation of Art Nouveau.[24] About the same time, the at perspective and strong colors of Japanese wood block prints, especially those of Katsushika Hokusai, had a strong effect on the formulation of Art Nouveau.[25] The Japonisme that was popular in Europe during the 1880s and 1890s was particularly inuential on many artists with its organic forms and references to the natural world.[25] Besides being adopted by artists like Emile Gall and James Abbott McNeill Whistler, Japanese-inspired art and design was championed by the businessmen Siegfried Bing and Arthur Lasenby Liberty at their stores[26] in Paris and London, respectively.[25]

Born in 1870 in Brnn (Brno) in the Moravia region of the Austro-Hungarian Empire to an ethnically German family, Loos was nine when his father, a stonemason, died.[2] He completed technical school in Liberec, which is now Technical University Liberec (commemorated by a plaque located in front of Pavilion H), and later studied at Dresden Technical University before moving to Vienna. Loos stayed in America for three years, where he had an uncle living in Philadelphia. In his rst year he visited the 1893 Columbian Exposition in Chicago, and appreciated the work of Louis Sullivan. He visited St. Louis and did odd jobs in New York. Loos returned to Vienna in 1896 a man of taste and intellectual renement, immediately entering the Viennese intelligentsia. His friends subsequently included Ludwig Wittgenstein, Arnold Schnberg, Peter Altenberg and Karl Kraus. He quickly established himself as the preferred architect of Viennas cultured bourgeoisie. Searching for marble in 1904 he rst visited the island of Skyros and was confrontated with the cubic architecture of the Greek islands. When the empire collapsed and divided into independent states after World War I, he was awarded Czechoslovakian citizenship by President Masaryk.[2] Diagnosed with cancer in 1918, his stomach, appendix and part of his intestine were removed. His personal life was tumultuous. In July 1902, Loos married 21-year-old Carolina Catherina Obertimper (Lina), a drama student. The brief marriage ended in 1905. In 1919, Loos married 20year-old Elsie Altmann, a dancer and operetta star and the Austrian-born daughter of Adolf Altmann and Jeannette Gruenblatt. They divorced seven years later. Loos married his third wife, writer and photographer Claire Beck, in 1929. She was the daughter of his clients Otto and Olga Beck, and thirty-ve years his junior. They were divorced on April 30, 1932.[3] Following their divorce, Claire Beck Loos wrote Adolf Loos Privat, a literary work of snapshot-like vignettes about Loos character, habits and sayings, which was published by the Johannes-Presse in Vienna in 1936. The book was intended to raise funds for Adolf Loos tomb. By the time he was fty he was nearly deaf and required people to speak to him through an ear horn. In 1928 he was disgraced by a paedophilia scandal and at his death in 1933 at 62 he was penniless.[4] He died in Kalksburg near Vienna. Following his death in 1933, Loos body was moved to Viennas Zentralfriedhof to rest among the great artists and musicians of the city including Arnold Schoenberg, Peter Altenberg, and Karl Kraus, all some of Loos closest friends and associates.[3]

Architectural theory
Loos authored several polemical works. In Spoken into the Void, published in 1900, Loos attacked the Vienna Secession, at a time when the movement was at its height.[5] In his essays, Loos used provocative catchphrases and has become noted for one particular essay/ manifesto entitled Ornament and Crime, spoken rst in 1910.[6] In this essay, he explored the idea that the progress of culture is associated with the deletion of ornament from everyday objects, and that it was therefore a crime to force craftsmen or builders to waste their time on ornamentation that served to hasten the time when an object would become obsolete. Loos' stripped-down buildings inuenced the minimal massing of modern architecture, and stirred controversy. Perhaps surprisingly, some of Loos's own architectural work was elaborately decorated, although more often inside than outside, and the ornamented interiors frequently featured abstract planes and shapes composed of richly gured materials, such as marble and exotic woods. The visual distinction is not between complicated and simple, but between "organic" and superuous decoration.

Hoffmann was born in Brtnice, Moravia (now part of the Czech Republic).[1] He studied at
the Higher State Crafts School in Brno (Brnn) beginning in 1887 and then worked with the local military planning authority in Wrzburg. Thereafter he studied at the Academy of Fine Arts Vienna with Karl Freiherr von Hasenauer and Otto Wagner, graduating with a Prix de Rome in 1895. In Wagner's ofce, he met Joseph Maria Olbrich, and together they founded the Vienna Secession in 1897 along with artists Gustav Klimt, and Koloman Moser.[2] Beginning in 1899, he taught at the University of Applied Arts Vienna. With the Secession, Hoffmann developed strong connections with other artists. He designed installation spaces for Secession exhibitions and a house for Moser which was built from 1901-1903. However, he soon left the Secession in 1905 along with other stylist artists due to conicts with realist naturalists over differences in artistic vision and disagreement over the premise of Gesamtkunstwerk.[3] With the banker Fritz Wrndorfer and the artist Koloman Moser he established the Wiener Werksttte, which was to last until 1932. He designed many products for the Wiener Werksttte of which designer chairs, most notably "Sitzmaschine" Chair, a lamp, and sets of glasses have reached the collection of the Museum of Modern Art,[4] and a tea service has reached the Metropolitan Museum of Art.[5]

Sanatorium Purkersdorf Hoffmann's style eventually became more sober and abstract and it was limited increasingly to functional structures and domestic products. In 1906, Hoffmann built his rst great work on the outskirts of Vienna, the Sanatorium Purkersdorf . Compared to the Moser House, with its rusticated vernacular roof, this was a great advancement towards abstraction and a move away from traditional Arts and Crafts and historicism. This project served as a major precedent and inspiration for the modern architecture that would develop in the rst half of the 20th century, for instance the early work of Le Corbusier.[6] It had a clarity, simplicity, and logic that foretold of a Neue Sachlichkeit.[7]

Palais Stoclet Through contacts with Adolphe Stoclet, who sat on the supervisory board of the Austro-Belgischen Eisenbahn-Gesellschaft, he was commissioned to build the Palais Stoclet in Brussels from 1905 to 1911 for this wealthy banker and railway nancier. This masterpiece of Jugendstil, was an example of Gesamtkunstwerk, replete with murals in the dining room by Klimt and four copper gures on the tower by Franz Metzner. In 1907, Hoffmann was co-founder of the Deutscher Werkbund, and in 1912 of the sterreichischer Werkbund. After World War II, he took on ofcial tasks, that of an Austrian general commissioner with the Venice Biennale and a membership in the art senate. Some of Hoffmann's domestic designs can still be found in production today, such as the Rundes Modell cutlery set that is manufactured by Alessi. Originally produced in silver the range is now produced in high quality stainless steel. Another example of Hoffmanns strict geometrical lines and the quadratic theme is the iconic Kubus Armchair. Designed in 1910, it was presented at the International Exhibition held in Buenos Aires on the centennial of Argentinean Independence known as May Revolution. Hoffmann's constant use of squares and cubes earned him the nicknam The critical reception of Hoffmanns oeuvre has faithfully mirrored the changing tastes and ideologies in the history of 20th-century architecture. He received favourable attention from the critics early in his career; in 1901 The Studio brought him to the attention of the English-speaking world through an illustrated article written by Fernand Khnopff. He was also given extensive

coverage in the special volume The Art Revival in Austria that was published by The Studio in 1906. In France, Art et dcoration published favourable reviews of his early and his mature work. Naturally his most extensive and detailed reviews are found in German-language periodicals, in particular Deutsche Kunst und Dekoration where many well-illustrated articles were devoted to his designs. His international exhibition work also helped to make his name widely known, and many distinguished contributors to the Festschrift on his 60th birthday acclaimed him as a master. Honours bestowed on him included the cross of a commander of the Lgion dhonneur and the Honorary Fellowship of the American Institute of Architects. The critic Henry-Russell Hitchcock in 1929 wrote, In Germany as well as in Austria, Hoffmanns manner has profoundly inuenced the New Tradition. Only three years later, however, when together with Philip Johnson he published The International Style, Hitchcock no longer even mentioned Hoffmanns name. Siegfried Giedion in his inuential Space, Time and Architecture did not do justice to Hoffmanns oeuvre because it would not t easily into his polemically simplied version of architectural history. Despite honours and praise on the occasions of Hoffmanns 80th and 85th birthdays, he was virtually forgotten by the time of his death. Although his true stature and contribution were acknowledged by such masters as Alvar Aalto, Le Corbusier, Gio Ponti and Carlo Scarpa, the younger generation of architects and historians ignored him.

Architecture in English II
Lecture 5: Vienna and the Fin de Siecle

Lecture 5: Austria and the Fin de Siecle

Gottfried Semper Otto Wagner Josef Maria Hoffman Adolf Loos

Movements

Ringstrasse Jugenstihl The Secession

Why Vienna?

Austro - Hungarian Empire was is need of


modernization reformer

Emperor FranzJosef was considered a It was a perfect environment for change and
modernism

Precis de larchitecture
Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Precis de larchitecture
Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Precis de larchitecture
Date: 1802 - 05 AD Architect: Jean

Nicholas Louis Durand

Tectonic Study
Date: 1797 Architect: Fredrick

Gilly

Bibliotheque St. Genevieve Paris, France


Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France


Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France


Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France


Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France


Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France


Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France


Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France


Date: 1838 - 51 Architect: Henri

Labrouste

Bibliotheque St. Genevieve Paris, France


Date: 1838 - 51 Architect: Henri

Labrouste

Altes Museum - Berlin, Germany


Date: 1824 Architect: Fredrick

Shinkel

Altes Museum - Berlin, Germany


Date: 1824 Architect: Fredrick

Shinkel

Pylos Citadel City


1600 ~ 1100 BC

The Bauacademie Berlin, Germany


Date: 1831 Architect: Fredrick

Shinkel

Le Bon Marche Department Store: Paris, France


Date: 1867 AD Architect: Henri Boileau

Galarie dOrleans: Paris, France


Date: 1829 AD Architect: Fontaine

The Crystal Palace - London, England


Date: 1851 AD Architect: John Paxton

The Ringstrasse, Vienna


Date: 1871 - 89 AD Architect: Gottfried Semper

The Ringstrasse, Vienna


Date: 1871 - 89 AD Architect: Gottfried Semper

The Ringstrasse, Vienna


Date: 1871 - 89 AD Architect: Gottfried Semper

Sempers Theory on Architecture

Hearth (Center) - Fire and Ceramics Roof (Cover) - Carpentry Enclosure (Walls) - Weaving Mound (Foundation) - Stone

Tectonic Studies
Date: 1860 AD Architect: Gottfried Semper

Tectonic Study
Date: 1797 Architect: Fredrick

Gilly

Tectonic Studies
Date: 1860 AD Architect: Gottfried Semper

Museum of Ethnology - The Ringstrasse, Vienna


Date: 1871 - 89 AD Architect: Gottfried Semper

Natural History Museum - The Ringstrasse, Vienna


Date: 1871 - 89 AD Architect: Gottfried Semper

Natural History Museum - The Ringstrasse, Vienna


Date: 1871 - 89 AD Architect: Gottfried Semper

Neue Hofburg- The Ringstrasse, Vienna


Date: 1881 - 94 AD Architect: Gottfried Semper

Neue Hofburg- The Ringstrasse, Vienna


Date: 1881 - 94 AD Architect: Gottfried Semper

Neue Hofburg- The Ringstrasse, Vienna


Date: 1881 - 94 AD Architect: Gottfried Semper

Wagners Theory on Architecture

Utility and structural function should


be seen

Architecture was about truth Embrace the new and reject the old
(Jugenstihl) man

Architecture is a mirror for modern

Wagner Villa - Vienna


Date: 1886 - 88 AD Architect: Otto Wagner

Wagner Villa - Vienna


Date: 1886 - 88 AD Architect: Otto Wagner

Wagner Villa - Vienna


Date: 1886 - 88 AD Architect: Otto Wagner

Wagner Villa - Vienna


Date: 1886 - 88 AD Architect: Otto Wagner

Wagner Villa - Vienna


Date: 1886 - 88 AD Architect: Otto Wagner

Renweg - Vienna
Date: 1890 AD Architect: Otto Wagner

Renweg - Vienna
Date: 1890 AD Architect: Otto Wagner

Renweg - Vienna
Date: 1890 AD Architect: Otto Wagner

The Kaiser Pavilion


Date: 1899 AD Architect: Otto Wagner

The Kaiser Pavilion


Date: 1899 AD Architect: Otto Wagner

The Kaiser Pavilion


Date: 1899 AD Architect: Otto Wagner

The Kaiser Pavilion


Date: 1899 AD Architect: Otto Wagner

The Kaiser Pavilion


Date: 1899 AD Architect: Otto Wagner

The Kaiser Pavilion


Date: 1899 AD Architect: Otto Wagner

The Kaiser Pavilion


Date: 1899 AD Architect: Otto Wagner

The Kaiser Pavilion


Date: 1899 AD Architect: Otto Wagner

The Kaiser Pavilion


Date: 1899 AD Architect: Otto Wagner

The Kaiser Pavilion


Date: 1899 AD Architect: Otto Wagner

Karlsplatz Pavilions
Date: 1899 AD Architect: Otto Wagner

Karlsplatz Pavilions
Date: 1899 AD Architect: Otto Wagner

Karlsplatz Pavilions
Date: 1899 AD Architect: Otto Wagner

Karlsplatz Pavilions
Date: 1899 AD Architect: Otto Wagner

Karlsplatz Pavilions
Date: 1899 AD Architect: Otto Wagner

Karlsplatz Pavilions
Date: 1899 AD Architect: Otto Wagner

Wagner Apartments - Vienna


Date: 1898 - 99 AD Architect: Otto Wagner

Wagner Apartments - Vienna


Date: 1898 - 99 AD Architect: Otto Wagner

Wagner Apartments - Vienna


Date: 1898 - 99 AD Architect: Otto Wagner

Wagner Apartments - Vienna


Date: 1898 - 99 AD Architect: Otto Wagner

Wagner Apartments - Vienna


Date: 1898 - 99 AD Architect: Otto Wagner

Wagner Apartments - Vienna


Date: 1898 - 99 AD Architect: Otto Wagner

Wagner Apartments - Vienna


Date: 1898 - 99 AD Architect: Otto Wagner

Wagner Apartments - Vienna


Date: 1898 - 99 AD Architect: Otto Wagner

Kirche am Steinhof - Vienna


Date: 1903 - 1907 AD Architect: Otto Wagner

Kirche am Steinhof - Vienna


Date: 1903 - 1907 AD Architect: Otto Wagner

Kirche am Steinhof - Vienna


Date: 1903 - 1907 AD Architect: Otto Wagner

Kirche am Steinhof - Vienna


Date: 1903 - 1907 AD Architect: Otto Wagner

Kirche am Steinhof - Vienna


Date: 1903 - 1907 AD Architect: Otto Wagner

Kirche am Steinhof - Vienna


Date: 1903 - 1907 AD Architect: Otto Wagner

Kirche am Steinhof - Vienna


Date: 1903 - 1907 AD Architect: Otto Wagner

Kirche am Steinhof - Vienna


Date: 1903 - 1907 AD Architect: Otto Wagner

Kirche am Steinhof - Vienna


Date: 1903 - 1907 AD Architect: Otto Wagner

Kirche am Steinhof - Vienna


Date: 1903 - 1907 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

Postparkasse (Postal Savings Bank) - Vienna


Date: 1904 - 05 AD Architect: Otto Wagner

The Secession

The traditions of the past do not relate


to modern man modernism

Art was a fundamental part of the Art is a mirror for modern man

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

1-2 -1-2

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Secession House - Vienna


Date: 1897 - 98 AD Architect: Joseph Maria Olbrich

Loos Theory on Ornament and Architecture

Ornament in excess is a crime Ornament should be used organically Everyday items should reect the
making and not the whimsical

The Raumplan as organizer of space Relationship of solid and void

Strasser House - Vienna


Date: 1910 AD Architect: Adolf Loos

Strasser House - Vienna


Date: 1910 AD Architect: Adolf Loos

Steiner House - Vienna


Date: 1910 AD Architect: Adolf Loos

Steiner House - Vienna


Date: 1910 AD Architect: Adolf Loos

Steiner House - Vienna


Date: 1910 AD Architect: Adolf Loos

Steiner House - Vienna


Date: 1910 AD Architect: Adolf Loos

Loos House - Vienna


Date: 1909 - 10 AD Architect: Adolf Loos

Loos House - Vienna


Date: 1909 - 10 AD Architect: Adolf Loos

Loos House - Vienna


Date: 1909 - 10 AD Architect: Adolf Loos

Loos House - Vienna


Date: 1909 - 10 AD Architect: Adolf Loos

Loos House - Vienna


Date: 1909 - 10 AD Architect: Adolf Loos

Loos House - Vienna


Date: 1909 - 10 AD Architect: Adolf Loos

Loos House - Vienna


Date: 1909 - 10 AD Architect: Adolf Loos

Loos House - Vienna


Date: 1909 - 10 AD Architect: Adolf Loos

Loos House - Vienna


Date: 1909 - 10 AD Architect: Adolf Loos

Loos House - Vienna


Date: 1909 - 10 AD Architect: Adolf Loos

Loos House - Vienna


Date: 1909 - 10 AD Architect: Adolf Loos

Scheu House - Vienna


Date: 1912 - 13 AD Architect: Adolf Loos

Scheu House - Vienna


Date: 1912 - 13 AD Architect: Adolf Loos

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