Chapters 44-45-46 Art Nouveau – Vienna Secession- Chicago School
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ch-45-PPTaccessible.pptxArchitecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 45
Vienna Secession
1897 – 1920s
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Vienna Secession
Strives to create a modern style free of historicism & academic stagnation
Founded 1897, Vienna, Austria by group of artists, architects, sculptors, designers
Influenced more by Britain, Scotland, Germany than France or Belgium
Advocates simplicity, rational construction, honest use of materials
Influences later modern developments
Members form Weiner Werkstätte, a crafts organization
Shares beliefs with Secession, but emphasis on unity & excellent craftsmanship
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Concepts
Designs that reflect modern life
See no division between fine & decorative arts & design
Evident in Secessionist exhibitions
Favor expressive power of construction & materials instead of historicism; form over ornament; rationalism; stylistic simplicity
Believe in power of architecture to reform not only taste but also clients’ lives
Weiner Werkstätte shares similar beliefs
More emphasis on craftsmanship & honest use of materials
Realize work too expensive for most but exclusivity evidence of appeal to highest tastes & role in social reform
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Characteristics and Motifs
Architecture, interiors, furniture, textiles, decorative arts
Minimalism, geometric silhouette, strong contrasts
Geometric form & shape; repetition; defined outlines; vertical movement; volumes as planes; functionalism; simplicity; honest use of materials
Interiors & furniture--plain, stark with little or no ornament although rich materials
Emphasis on quality, detail, human scale
Rectangles, squares, palette of black, white, & gray with spots of bright color
Motifs—squares & checkers in black & white or solid & void; repeating geometric designs; circles; florals--sunflowers or roses; laurel trees or leaves
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Architecture
Strives to evolve from & reform modern life
Design goals: rectangular & cubic forms dominating composition; monumental mass; minimal ornament; emphasis on function, light, & air
Intended to transform Viennese classical architecture with simplicity, functionality, modern materials such as glass, steel, aluminum
Color usually from materials but some elaborate carved, painted or tile decoration in bright colors
Highly individual & innovation projects
Offices, railway stations, museums, shops, apartment complexes, affluent residences
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45.1
Motifs: Poster on Weiner Werkstätte and decorative interior by Leopold Bauer, 1898-1903; Austria. Vienna Secession
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45.2a
Vienna Secession Building, 1897-1898; Vienna, Austria; Josef Maria Olbrich. Vienna Secession.
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Long Description:
The raised building has stairs to the entrance. Four small rectangle towers are on the front top. A large spherical ball decorated with ornamental design is between the chimneys. The windows have rectangle frames. The front walls are less decorated with floral and ornamental designs.
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45.2b
Vienna Secession Building entry detail, 1897-1898; Vienna, Austria; Josef Maria Olbrich. Vienna Secession.
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Long Description:
A small portico with an entrance is visible. The top of the entrance has three human sculptures on the wall. The sides of the entrance have floral patterns. The cornice and friezes have floral patterns. The face on the cornice has non-English text. Two small rectangular towers hold a spherical ball decorated with an ornamental design on the top.
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45.3
Karsplatz Stadbahn (railway station), 1898; Vienna, Austria; Otto Wagner. Vienna Secession.
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Long Description:
The entrance has an arched glass top and arch. The face of the arch is decorated with floral motifs and geometrical patterns. A cupola is above the arch. The side walls are decorated with concentric circles.
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45.4a
Post Office Savings Bank, 1904-1912; Vienna, Austria; Otto Wagner. Vienna Secession.
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Long Description:
The facade has five entrances with glass doors. The front walls have numerous rectangle windows with simple glass doors. The top of the walls has sculptures and balustrades.
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45.4b
Post Office Savings Bank elevation, 1904-1912; Vienna, Austria; Otto Wagner. Vienna Secession.
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Long Description:
The top of the facade has a sculptural figure accents roof and a straight roof line. The tall, slender windows in rows repeat across the facade. The walls have marble tiles with aluminum bolts. The wall has an emphasis on straight lines and vertical movement. The entrance has a glass canopy over the entrance. The entrance has dark entry doors with glass panels in a grid.
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45.4c
Post Office Savings Bank main banking room, 1904-1912; Vienna, Austria; Otto Wagner. Vienna Secession.
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Long Description:
The entrance has rectangular doors with glasses. The ceiling has a glass roof. The floors are decorated with marble tiles and geometrical patterns. The side walls have sliding glass windows for natural light and air.
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45.5
Majolika Haus and detail, 1898; Vienna, Austria; Otto Wagner. Vienna Secession.
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Long Description:
The building has a flat plain roof. The walls are decorated with floral patterns. The facade has numerous glass windows in series. The bottom and first story have balustrades and rectangular glass door entrances. The balconies are on the left and the right corners.
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45.6a (1 of 3)
Palais Stoclet, 1905-1911; Brussels, Belgium; Josef Hoffman with murals Gustav Klimt and decorative work by Weiner Werkstätte. Vienna Secession.
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Long Description:
The walls are decorated with geometrical patterns. The side walls have rectangular glass windows and dome-shaped extensions with windows from the walls. The roof has a sloping top. An asymmetrical tower on the top has human sculptures. The top story to the entrance has arched windows.
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45.6a (2 of 3)
Palais Stoclet floor plans, 1905-1911; Brussels, Belgium; Josef Hoffman. Vienna Secession.
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Long Description:
The ground floor plan from left to right has a stage, music room, office, terrace, hall, dining room, entry, breakfast, pantry, kitchen, storage areas, garage, and yard on the right. The toilet and servant rooms are on the right to the entry. The first floor plan from left to right has a bedroom, bath, Child’s, hall open to below, child’s bedroom, nurse and child’s bath. The second floor plan from the left to the right, servant, sewing, and bath, servants room, and child’s bath.
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45.6a (3 of 3)
Palais Stoclet, 1905-1911; Brussels, Belgium; Josef Hoffman with murals Gustav Klimt and decorative work by Weiner Werkstätte.
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Long Description:
The ceiling is plain. The walls have a decorative frieze panel by Gustav Klimt. The walls are furnished with white marble. The black lacquered sideboard is close to the bottom walls. The table at the center has an emphasis on rectangular furniture. The floors are decorated with black and white tile and rug with geometric motifs. A long rectangle table with around twenty chairs is arranged at the center.
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Interiors
Consider interiors as important as architecture
Try to create total works of art (Gesamtkunstwerk)
Emphasis on function, simplicity, geometric forms, defined outlines, smooth surfaces
Similar geometry & linear details as exteriors
Selected geometric details enhance simplicity
Uncluttered spaces with mainly geometric patterns, details
Painted surfaces, colored tile, marble, wood, metal, mirrors, plain & stained glass
Design furniture, textiles, decorative accessories, often in costly materials
Sometimes use mass-produced furniture
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45.7
Interior, 1898-1904; Josef Hoffmann. Vienna Secession.
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Long Description:
The room has a plain ceiling. The walls are decorated with paintings. The chairs have back with lines. The room is decorated with hanging lamps. The sofa with pillow is behind a partition that has draperies. Two types of hangings are on the left and the right. The hangings have curves and floral motifs.
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45.8
Bedroom, 1901; Austria; Wilhelm Schmidt. Vienna Secession.
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45.9
Textiles: Fabrics, 1901-1908; Austria; Top from left: Otto Prutscher; Josef Hoffmann; bottom left: J. M. Auchentaller. Vienna Secession.
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Long Description:
The geometrical pattern has an oval-shaped structure. Four and three pendulums descend from the top and bottom edges respectively. An hanging from four circles is above the oval, and it is present in a rectangular box.
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45.10
Lighting: Table lamp by Josef Hoffmann and chandelier, c. 1900; Austria. Vienna Secession.
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Long Description:
The chandelier has inner and outer circular frames. The inner frame holds a lamp, and two arms descend through it and an outer circular frame. The two arms hold two lamps below the outer circular frame. The frame is hung to the ceiling through a vertical rod with a repetitive circular pattern.
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Furnishings and Decorative Arts
Weiner Werkstätte designs furniture & decorative arts
Architectonic character, strong geometry, rectilinear like exterior
Excellent craftsmanship, plain forms, unadorned surfaces, geometric patterns—checker boards in black & white; solid & void
Truth to materials in use & construction; simplicity, modesty, classic proportions
Looks adaptable to machine production but individuality & craftsmanship prevent
Usually created for specific interior but similar appearance among designers
Sometimes rich materials, intricate details
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45.11a
Chairs, 1900-1909; Austria; Josef Hoffmann with much of furniture manufactured by Thonet Brothers. Vienna Secession.
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45.11b
Club chair, 1900-1909; Austria; Josef Hoffmann with much of furniture manufactured by Thonet Brothers. Vienna Secession.
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45.11c
Recliner, 1900-1909; Austria; Josef Hoffmann with much of furniture manufactured by Thonet Brothers. Vienna Secession.
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45.12
Armchair, 1901-1904; Austria; Otto Wagner & R. Tropsch. Vienna Secession.
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45.13
Writing Desk, c. 1902-1903; Austria; Koloman Moser. Vienna Secession.
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45.14
Bedroom furnishings; 1901-1904; Austria. Vienna Secession.
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