Hundertwasserhaus

I was really curious to see this building, as it looked like a total departure from all of the other homogeneous, eye-pleasing, neoclassical architecture in Vienna. It is the Hundertwasserhaus - a creation of Austrian painter Friedensreich Hundertwasser (1928-2000). 

Hundertwasser was thought to be a natural heir to Gustav Klimt artistically, with the heavy use of pattern and decoration in his paintings (above). In the 1950s though, as well as painting, Hundertwasser  became involved in humanitarian political and environmental activism, and applied himself to the field of architecture.

As an architect Hundertwasser was opposed to the earlier modernist work of fellow Austrian architect Adolf Loos, who advocated against decorative elements in architecture. Hundertwasser thought straight lines godless and immoral, and that anything drawn with a ruler was done without feeling. Hundertwasser also expressed the idea that austere buildings and environments were the cause of human unhappiness. There certainly appears to be some truth in this opinion with the recent rethink and demolition of many older council estates. 

The Hundertwasserhaus was built during 1983-85 with the aid of architects Josef Krawina and Peter Pelikan, and within there are a range of apartments, offices, and private and communal terraces. The design of Hundertwasserhaus employs organic principles such as the use of uneven floors which Hundertwasser called "a melody to the feet", onion domes, a roof covered in grass, and trees growing inside the rooms.

The Hundertwasserhaus is certainly an interesting building. Refreshing as it is to see a radically different architectural style in Vienna, I personally do not think it has aged well. To my eyes it looks dated. It seems to be a mish-mash of styles randomly thrown together, and decorated with bright, (now badly faded) paint, and a few mosaic tiles half-heartedly slapped on. I think Gaudi's visions of organic architecture in Barcelona are much more fully realised and cohesive, given that he had full control of his projects. Money may also be a factor. Gaudi's patrons had pockets deep enough for him to fully indulge his fantastic visions without him having to compromise on design or materials financially. For this project Hundertwasser was largely reliant on the skills and talents of the other two fully fledged architects.

In a city of row upon row of neoclassical architectural pastiche you can understand Hundertwasser's desire to rebel, and create something new and unique as the Secssionists before him did, but I don't think Hundertwasserhaus is the solution. Above is a picture of the building with it's neighbour, which is more uniform and typical of neo-classical Viennese architectural styles found in the Innere Stadt. I don't understand how, or why the British phone box fits in (two picture above), but it certainly adds to the random mix.

Across the way from Hundertwasserhaus is the Kalke Village of cafes and shops, designed on the principles and handiwork of Hundertwasser. As an environment I found it quite contrived and like a theme park. I really did not like the atmosphere in the Kalke Village which seemed to be aimed specifically at getting tourists and visitors to part with their money, so I exited pretty swiftly. 

As the apartments and offices in Hundertwasserhaus are private, the public does not have access. I would be interested though, out of curiosity to see the interiors with undulating floors, and wonder how practical those inhabitants with trees growing in their apartments with limbs supposedly extending out of the windows find this experience.

There was another Hundertwasser architectural project nearby, but after seeing Hundertwasserhaus I didn't feel particularly inspired enough to seek it out.

Hundertwasserhaus
& Kalke Village
03 corner of Löwengasse & Kegelgasse
Landstrasse District
Vienna

Otto Wagner

A new discovery for me in Vienna was the work of architect Otto Wagner (1841-1918). Wagner was born in Vienna, and during his career was a teacher, urban planner, and most notably an architect who championed the modern in architecture and design. His book Modern Architecture was a protest against the 19th century fashion for employing previous architectural styles, which was a practice especially prevalent in Vienna at the time. “We do not walk around in the costume of Louis XIV” - he stated by way of justification for the adaptation of the modern in the book. In 1897 Wagner was part of the breakaway group that formed the Vienna Secession. I was really impressed by the visual impact of his buildings. They are still really ornate to contemporary eyes, even though they were derided as being too plain when they were constructed. The first building of Wagner's architectural legacy that I encountered was the Majolikahaus, a short walk from the Secession building, and opposite the Naschmarkt.

Majolikahaus c.1899

The Majolikahaus apartments were created in 1899, and of all Wagner's output were most synonymous with the art-nouveau style. The complete facade is decorated in ceramic majolica tiles incorporating a floral design with sinuous, stylised tendrils so indicative of the nouveau movement. The iron-work on the building though suggests more of a shift to Wagner's Secession style and utilises the ubiquitous motif of laurel leaves to good effect.

Just next door to the Majolikahaus at no.38 there is another apartment building which again is thought to have been designed by Wagner, but the decoration is attributed to another Secession affiliated artist - Koloman Moser. It is really amazing that these two very elegant buildings were initially thought to be hideous, and rejected by Viennese society.

The Moon Goddess medallions are so lovely, as are the gilded laurel leaves scaling the facade, but even this level of architectural detail was not decorative enough for fin de siècle Vienna. Just across the road from these two buildings and the Naschmarkt is Kettenbrückengasse, one of many U-Bahn stations also designed by Wagner. Again the structure is streamlined but contains many of Wagner's trademark decorative details in wrought iron, and of course those ever-present laurel leaves.

In the picture below, just across from the Secession building on Karlsplatz is a pair of Wagner U-Bahn Karlsplatz Pavilion buildings, and in the background can be seen Vienna's finest Baroque religious building - the Karlskirche. Otto Wagner was commissioned to design much of Vienna's underground system which included the bridges and tunnels as well the stations. The two buildings at Karlsplatz are among his best known. One is now an exhibition hall and the other a café.

Combined with the decorative work of his Majolikahaus, and Kettenbrückengasse, I think you can see why I am such an enthusiast of his work. The attention to detail and gilding are just wonderful, and I love his use of the sunflower motif. Just perfect.

My only regret on this visit to Vienna was not having enough time to see his even more modernist Post Office building, and his magnum opus - the Kirche Am Steinhof church in the Penzing suburb on the outskirts of the city. They will certainly be a priority on any future visit.

Otto Wagner:

Majolikahaus: Wagner Apartments
No.38 & 40 Linke Wienzeile

Kettenbrückengasse U-Bahn station

Karlsplatz Stadtbahn Pavilion
Karlsplatz

Wien/Vienna