DOCSLIB.ORG

Otto Wagner Wiener Stadtbahn, Vienna's Metropolitan Railway

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Otto Wagner Wiener Stadtbahn, Vienna's Metropolitan Railway ARST 457.02 History of Architecture and Human Settlements II -The Rise of Modernity, 1750 to the Present Professor: Graham David Livesey Otto Wagner Wiener Stadtbahn, Vienna’s Metropolitan Railway System Winter 2015 April 7th, 2015 Danais Ponce ID: 10079896 1 The stations for the elevated and underground "Wiener Stadtbahn”, also known as the Vienna Metropolitan City Railway, are one of Vienna’s better-known examples of early Art Nouveau architecture. Designed by Otto Wagner (1841-1918), the stations acquired architectural relevance as they broke with tradition by insisting on function, material, and structure as the bases of architectural design.1 Vienna’s city railway line exemplifies Wagner’s ability to lend artistic refinement to the work of the engineer, while achieving a unity of form and function that was well ahead of his time.2 It is in fact this ability that separated Wagner from contemporaries such as the unimaginative architectural dilettantes of the International Association for Public Building in Paris.3 Thus, by allowing Wagner to built the Stadtbahn the Viennese municipal council permitted the formation of the strongest influences on European architecture even well before war, creating work that led directly to the architecture of the present day and saving the city from the tasteless design drawn up by the English engineers.4 For that reason these stations are considered one of Otto Wagner’s masterpieces and one of his most famous works. Ultimately, his designs for the Wien Stadtbahn stations led him to be recognized as the pioneering Viennese architect and representative of the European Art Nouveau era.5 However, in order to clearly understand the relevance of Wagner’s railway stations and his contribution to architecture, it is necessary to get acquainted with the historical context of the city of Vienna. The "Gründerzeit" period of the late nineteenth century in Austria, under the reign of emperor Franz Joseph I (1848–1916), was a time of intensive industrialization, investment, speculation and growth.6 Between the years 1850 and 1920 the metropolis of Vienna, one of the numerous centers within the Austro-Hungarian monarchy; became the hub of a vast, multi-racial empire, attracting thousands of citizens from far-flung provinces and countries.7 Thus, the population of the capital increased more than four-fold during the reign of the Emperor, from less than half a million in the 1850s to over two million inhabitants by 1910.8 As a result, Vienna became one of the largest cities in the world, the third most densely populated region in Europe and the economic and administrative center of a multi-ethnic nation.9 1 The Editors of Encyclopædia Britannica. "Otto Wagner | Biography - Austrian Architect." Encyclopedia Britannica Online. Accessed March 23, 2015. http://www.britannica.com/EBchecked/topic/633917/Otto-Wagner. 2 Waissenberger, Robert. Vienna, 1890-1920. New York: Rizzoli International Publications, 1984, 176 3 Geretsegger, Heinz, and Max Peintner. Otto Wagner, 1841-1918; the Expanding City, the Beginning of Modern Architecture, New York: Praeger, 1970, p.50 4 Ibid, 50, Wien, Kaiser and Platzer. Architecture in Austria in the 20th and 21st Centuries. Berlin: Birkhäuser Verlag, 2007, 39 5 "Otto Wagner's Stadtbahn Pavilions." – Vienna now or never. Accessed March 20, 2015, http://www.wien.info/en/sightseeing/sights/art-nouveau/wagners-stadtbahn-pavilions. 6 Vergo, Peter. Art in Vienna 1898-1918: Klimt, Kokoschka, Schiele and Their Contemporaries. London: Phaidon, 1975, 9 7 Ibid, 9; Wien, et al., Architecture in Austria in the 20th and 21st Centuries, 39 8 Ibid, 9 9 Wien, et al., Architecture in Austria in the 20th and 21st Centuries, 39 2 However, the expansion of the city led to the development of a critical transportation problem within Vienna. Transportation issues were accelerated mainly due to the large influx of people flocking to the imperial capital from all corners of the Habsburg Empire, which lead to the second phase of urban expansion.10 The expansion, realized in 1890, expanded the city by demolishing the old city walls that separated Vienna from its vororte or suburbs.11 In order to solve traffic issues, the city aimed to create major traffic lines that would match roads and means of mass transportation with the seemingly ever-increasing population of Vienna and be used simultaneously to transport military freight. To achieve these goals, the city proposed the construction of a metropolitan rail network as a special commission in the year 1898-89. 12 Thus, a competition for metropolitan railway system was announced in 1890 by the municipal authorities following the incorporation of the outer districts.13 In 1893 Wagner’s entry won the competition for the general regulation of the city, for which he was appointed the general planner of the Vienna Stadtbahn and adviser to the Transport Commission.14 As the winner, Wagner was commissioned to undertake the overall architectural planning of Vienna’s first public transport system, which provided a plan for six lines in all - two more than were actually built.15 The Stadtbahn plan had four individual lines: the Gürtellinie, the wiental-Donaukanallinie, the Wientallinie and the Vorortelinie or Line to the second district or suburbs.16 Most of these lines were on the “inner network”, therefore one of the two additional lines was supposed to run close to the Ringstrasse, while the other was projected to run along the outer belt.17 When the construction of the Stadtbahn started in 1893, the general layout comprising the Outer Suburban, Gürtel, Wien Valley and the Danube Canal lines, had already been determined.18 The Stadtbahn lines were laid out to connect the main railroad terminals in the city and to improve Vienna's position as the capital of the empire.19 Yet, as the adviser to the Transport Commission and general planner, Otto Wagner was called in to advise on the aesthetic aspects of the scheme.20 10 Ibid, 40 11 Waissenberger, Robert. Vienna, 1890-1920, p.50; City of Vienna. "Municipal Housing in Vienna. History, Facts & Figures." Accessed March 20, 2015. https://www.wienerwohnen.at/.../1.0Wiener-Gemeindebau-engl.pdf 12 Vergo, Art in Vienna 1898-1918, 9; Geretsegger, et al., Otto Wagner, 1841-1918; the Expanding City, 48 13 Wien, et al., Architecture in Austria in the 20th and 21st Centuries, 46; Ylimaula, Anna. Origins of Style: Phenomenological Approach to the Essence of Style in the Architecture of Antoni Gaudi, C. R. Mackintosh and Otto Wagner. Oulu: Univ. of Oulu, 1992, p.131 14 Vergo, Art in Vienna 1898-1918, 95-96 15 Geretsegger, Heinz, and Max Peintner. Otto Wagner, 1841-1918, p.50 "Stadtbahn Pavillons." Lonely Planet. Accessed March 22, 2015. http://www.lonelyplanet.com/austria/vienna/sights/landmarks-monuments/stadtbahn- pavillons#ixzz3VEDx17k6. 16 Geretseggeret al., Otto Wagner, 1841-1918, 47 17 Ibid, 47, 50; Ylimaula, Origins of Style, 131 18 Waissenberger, Vienna, 1890-1920, 172 19 "Otto Wagner's Stadtbahn Pavilions." – Vienna now or never 20 Waissenberger, Robert. Vienna, 1890-1920, 172 3 So as to manage the large-scale project and speed up work on the city railway, Wagner set up a large drawing office in which he installed some seventy collaborators, bringing together a group of talented architects such as Olbrich, Hoffmann, Max Fabiani and Leopold Bauer.21 As a result, Wagner and his team designed not only the 40km steam powered Stadtbahn network but also the station buildings, bridges, viaducts, embankments, arches, columns and tunnel entrances along the track.22 Overall the Stadtbahn was planned to accommodate more than thirty stations, some of them quite extensive with platforms, staircases, signal boxes and booking offices.23 These stations can be classified in two types: the stations for the lines running in cuttings below ground level and the elevated stations.24 In this manner, the architect approach was unique in that he was able to provide each line with its own individual character and integrated them with the body of the city, heightening the perception of the city’s hilly topography.25 The Stadtbahn stations bring to life several characteristics and qualities of Wagner’s distinctive and revolutionary style. First, the Stadtbahn stations designs exemplify Wagner’s demands for truth and honesty to materials as the base of innovation in architectural design.26 For instance, the use of new materials such as concrete, glass, marble, aluminum and ebonite by Otto Wagner were considered “pure new words” as no architect would have thought of suchlike at the time when the Landerbank was being built.27 Thus, even though Otto Wagner did not invent these materials, he “discovered them” and gave them their up-to-date significance by revealing their practical and aesthetical application for architecture.28 Therefore, the use of new building materials and proportions in the Stadtbahn stations designs gave rise to new methods of construction, encouraged new decorative and monumental means of expression and reduced the demands of the day to one radical formula: glass and iron.29 Yet, Wagner was convinced that forms must correspond not only to new materials but also to contemporary needs if they are to be found suitable for mankind today.30 The latter statement manifest of a second important characteristic present on Wagner’s style: his conviction that the sole departure point for art and architecture should be within the context of modern life.31 To Wagner the architect was supposed to be a modern man that takes into account the colossal, technical and scientific advances of our age, as well as the practical requirements of the present in order to produce structures fit for modern humanity.32 Thus the architect task was 21 Ibid, p.172 22 Ibid, 172; Vergo, Art in Vienna 1898-1918, 98 23 Ibid, 98 24 Wien, et al., Architecture in Austria in the 20th and 21st Centuries, 46 25 Ibid, 46; Waissenberger, Vienna, 1890-1920, 173 26 Vergo, Art in Vienna 1898-1918, 91 27 Ibid, 104 28 Ibid, 104-105 29 Ibid, 100, 104,105 30 Ibid, 93 31 Ylimaula, Origins of Style, 127 32 Vergo, Art in Vienna 1898-1918, 93; Schezen, Roberto, and Peter Haiko.
Load more

Recommended publications
  • A Pair of Art Deco Amboyna and Gilt Armchairs Attributed to Josef Hoffmann of Vienna
    A Pair of Art Deco Amboyna and Gilt Armchairs Attributed to Josef Hoffmann of Vienna Circa 1910 – 12 23.5 x 20.5 x 44 in high (60 x 52 x 112 cm high) The tops of the curved attenuated backs are fitted with giltwood cappings. The backs and fronts of the high backs are quarter veneered and the arms are curved and shaped around the seat. With square legs and upholstered in a brown patterned velvet. Josef Hoffmann (1870-1956) was an ! Austrian architect, interior designer and applied artist. He studied architecture at the Academy of Fine Arts in Vienna, Austria, under Art Nouveau architect Otto Wagner, whose theories of functional, modern architecture profoundly influenced his works and, in 1896, he joined his office. ! In 1898, he established his own practice in Vienna. In 1897, inspired by Mackintosh and the Glasgow School, he was one of the founding members with Gustav Klimt, of an association of revolutionary artists and architects, the Vienna Secession.!!In 1903, he founded, with architects Koloman Moser and Joseph Maria Olbrich, the Wiener Werkstätte for decorative arts. ! They aspired to the renaissance of the arts and crafts and to bring more abstract and purer forms to the designs of buildings and furniture, glass and metalwork, following the concept of total work of art. Hoffman's works combined functionality and simplicity of craft production with refined and innovative ornamental details and geometric elements. He is an important precursor of the Modern Movement and Art Deco. !!In 1905, Hoffmann, Klimt and the Wiener Werkstätte artists, designed the Palais Stoclet, in Brussels, the Capital of Art Nouveau and city of Victor Horta.
    [Show full text]
  • Notes of Michael J. Zeps, SJ
    Marquette University e-Publications@Marquette History Faculty Research and Publications History Department 1-1-2011 Documents of Baudirektion Wien 1919-1941: Notes of Michael J. Zeps, S.J. Michael J. Zeps S.J. Marquette University, [email protected] Preface While doing research in Vienna for my dissertation on relations between Church and State in Austria between the wars I became intrigued by the outward appearance of the public housing projects put up by Red Vienna at the same time. They seemed to have a martial cast to them not at all restricted to the famous Karl-Marx-Hof so, against advice that I would find nothing, I decided to see what could be found in the archives of the Stadtbauamt to tie the architecture of the program to the civil war of 1934 when the structures became the principal focus of conflict. I found no direct tie anywhere in the documents but uncovered some circumstantial evidence that might be explored in the future. One reason for publishing these notes is to save researchers from the same dead end I ran into. This is not to say no evidence was ever present because there are many missing documents in the sequence which might turn up in the future—there is more than one complaint to be found about staff members taking documents and not returning them—and the socialists who controlled the records had an interest in denying any connection both before and after the civil war. Certain kinds of records are simply not there including assessments of personnel which are in the files of the Magistratsdirektion not accessible to the public and minutes of most meetings within the various Magistrats Abteilungen connected with the program.
    [Show full text]
  • Hütteldorf - Heiligenstadt U4 Ab 12.6
    Hütteldorf - Heiligenstadt U4 ab 12.6. bis 28.6. und ab 2.9.2019 Betreiber: Wiener Linien GmbH & Co KG Tel.: 01/79 09-100, Alle Angaben ohne Gewähr Keine Bedienung der Haltestelle Pilgramgasse bis 2020. Kein Betrieb zwiachen Längenfeldgasse und Karlsplatz von 29.6. bis 1.9.2019. Montag-Freitag (Schule) Wien Hütteldorf 4.52 5.02 5.08 5.14 alle 6.04alle 9.19 alle 12.04 12.08 12.12 12.15alle 12.27 12.30alle 12.42 12.45alle 12.57 - Ober St. Veit 4.54 5.04 5.10 5.16 5 6.063 9.21 5 12.06 12.10 12.14 12.174 12.29 12.324 12.44 12.474 12.59 - Unter St. Veit 4.55 5.05 5.11 5.17 Min 6.07Min 9.22 Min 12.07 12.11 12.15 12.18Min 12.30 12.33Min 12.45 12.48Min 13.00 - Braunschweiggasse 4.57 5.07 5.13 5.19 6.09 9.24 12.09 12.13 12.17 12.20 12.32 12.35 12.47 12.50 13.02 - Hietzing 4.58 5.08 5.14 5.20 6.10 9.25 12.10 12.14 12.18 12.21 12.33 12.36 12.48 12.51 13.03 - Schönbrunn 5.00 5.10 5.16 5.22 6.12 9.27 12.12 12.16 12.20 12.23 12.35 12.38 12.50 12.53 13.05 - Meidling Hauptstraße 5.01 5.11 5.17 5.23 6.13 9.28 12.13 12.17 12.21 12.24 12.36 12.39 12.51 12.54 13.06 - Längenfeldgasse 5.02 5.12 5.18 5.24 6.14 9.29 12.14 12.18 12.22 12.25 12.37 12.40 12.52 12.55 13.07 - Margaretengürtel 5.04 5.14 5.20 5.26 6.16 9.31 12.16 12.20 12.24 12.27 12.39 12.42 12.54 12.57 13.09 - Kettenbrückengasse 5.07 5.17 5.23 5.29 6.19 9.34 12.19 12.23 12.27 12.30 12.42 12.45 12.57 13.00 13.12 - Karlsplatz 5.09 5.19 5.25 5.31 6.21 9.36 12.21 12.25 12.29 12.32 12.44 12.47 12.59 13.02 13.14 - Stadtpark 5.11 5.21 5.27 5.33 6.23 9.38 12.23 12.27 12.31 12.34 12.46 12.49 13.01 13.04 13.16
    [Show full text]
  • A House in the City – in the Context of Secession Aesthetics
    MaRia MaLzacheR* a hoUse in the citY – in the conteXt oF secession aesthetics DoM MieszkaLnY w MieŚcie – w kontekŚcie estetYki secesYjnej a b s t r a c t a new image of the house in the city is presented against the background of the secession aesthetics as a manifestation of new attempts, concepts and modernist trends in early 20th-century architecture and denial of the stylistic principles of jaded historical forms of art. the search for a new expression of buildings and achieve- ment of “architectural unity” indicate the dualistic challenge of creating a form os- cillating between utility and aesthetics. the means of expression of the secession aesthetics associated with the aspects of visual perception, as carriers of ideas, sym- bols and semantic connotations in the creation of new transformations of the archi- tectural urban space are analysed on the bases of selected examples: houses in cities and towns of autonomous Galicia. Keywords: house, Secession architecture, aesthetics s treszczenie w artykule przedstawiono zagadnienia związane z kształtowaniem nowego obli- cza domu mieszkalnego w mieście w kontekście estetyki secesyjnej jako przejaw wyrazu nowych dążeń, poglądów i modernistycznych tendencji w architekturze po- czątku XX w. oraz negacji stylistycznego kanonu przeżytych form historycznych. Poszukiwania nowego wyrazu budowli i osiągnięcia „architektonicznej jedności” ukazują dualistyczną dążność kształtowania jej formy oscylującej pomiędzy jej użytecznością a estetyką. Środki wyrazu estetyki secesyjnej związane z aspektem percepcji wizualnej, jako nośniki idei, symboli i konotacji znaczeń w kreowaniu nowej transformacji przestrzeni architektonicznej miasta, zanalizowano na wybra- nych przykładach – domów mieszkalnych ośrodków i miast autonomicznej Galicji. Słowa kluczowe: dom mieszkalny, architektura secesyjna, estetyka * PhD.
    [Show full text]
  • The Influence of Major Cities Architecture on Form of Krakow Town Houses from the Turn of the 20 Th Century
    International Journal of Arts & Sciences, CD-ROM. ISSN: 1944-6934 :: 08(01):305–315 (2015) THE INFLUENCE OF MAJOR CITIES ARCHITECTURE ON FORM OF KRAKOW TOWN HOUSES FROM THE TURN OF THE 20 TH CENTURY Beata Makowska Krakow University of Technology, Poland Krakow town houses dating from the turn of the 20 th century combine a local tradition with tendencies popularized in major European cities ( i.a. Vienna, Paris, Berlin). They present stylistic diversity and individualization of the arrangement of their facades. Many of town houses were apparently influenced, among others, by the then important Vienna school. The decorations combine both the typical geometrical motifs of the Wiener Secession and plant motifs that were usually limited to clearly separated spaces. The influence of the Wiener Secession can be seen in geometrised forms, especially in the motif of a circle with three vertical strips, where the middle strip was often the longest one. In many Krakow structures the impact of Wagner’s works is visible – this refers, among others, to the method of arrangement of decorations on the fa çade (the “floating” façade), in the selection of forms, such as aluminium pins (dots), geometrical divisions (checks), the attic consisting of the simple sectional form supplemented by an iron guard-rail fixed on bricked brackets over the eaves, the window joinery with square divisions (the Quadrastil promoted by the Wiener Werkstätte ), borders of main façade fields, the graphic treatment of bars between windows, or the introduction of inscriptions on façades that are used not only because of their symbolic meaning, but also due to the value of their composition and decorations.
    [Show full text]
  • Stiegen-Spaziergang in Mariahilf, 6. Wiener Bezirk
    1 Die Stiegen von Mariahilf www.walkinginside.at Der APA Wien –Meldung vom 30. August 2004 konnte man Folgendes entnehmen: „ Im olympischen Sinne "nur Blech", ansonst aber den hervorragenden vierten Platz hat eine Wiener Stiege in einer internationalen Untersuchung erreicht. Die italienische Gesellschaft "Marketing e TV" hat die schönsten Stiegen Europas gekürt. In dieser Aufstellung landete die Wiener Fillgraderstiege auf dem hervorragenden vierten Platz, noch vor Prag und Berlin. Sieger wurde die Spanische Treppe in Rom, gefolgt von der Anlage zur Basilika Sacre Coeur in Paris und dem "Tempel der Athena" auf Rhodos.“1 Dass Wien zu den Städten mit den schönsten Stiegen Europas zählt, überrascht. Genau so überrascht, dass die schönste Treppe Wiens nicht die in einem Roman verewigte Strudelhofstiege sein soll, sondern die Fillgraderstiege in Mariahilf. Die vorliegende Hommage an die Stiegenanlagen in Mariahilf, in Form einer Spaziergangsbeschreibung, bringt die Gesamtheit der Stiegenvielfalt des 6. Wiener Gemeindebezirks „buchstäblich" ans Licht. 2 Stiegen-Spaziergang in Mariahilf, 6. Wiener Bezirk Wie schon eingangs gesagt, spricht man von Stiegen in Wien, denkt man unweigerlich an die Strudelhofstiege im 9. Wiener Gemeindebezirk und an Heimito von Doderers gleichnamigen Roman Die Strudlhofstiege. Der „stiegenreichste“ Wiener Bezirk ist jedoch der 6. Bezirk, Mariahilf. Stiegen - im sonstigen deutschen Sprachraum Treppen genannt - sind Bauteile zur Überwindung von Höhenunterschieden. In der Kulturgeschichte des Menschen wurden Stiegen
    [Show full text]
  • Step 2025 Urban Development Plan Vienna
    STEP 2025 URBAN DEVELOPMENT PLAN VIENNA TRUE URBAN SPIRIT FOREWORD STEP 2025 Cities mean change, a constant willingness to face new develop- ments and to be open to innovative solutions. Yet urban planning also means to assume responsibility for coming generations, for the city of the future. At the moment, Vienna is one of the most rapidly growing metropolises in the German-speaking region, and we view this trend as an opportunity. More inhabitants in a city not only entail new challenges, but also greater creativity, more ideas, heightened development potentials. This enhances the importance of Vienna and its region in Central Europe and thus contributes to safeguarding the future of our city. In this context, the new Urban Development Plan STEP 2025 is an instrument that offers timely answers to the questions of our present. The document does not contain concrete indications of what projects will be built, and where, but offers up a vision of a future Vienna. Seen against the background of the city’s commit- ment to participatory urban development and urban planning, STEP 2025 has been formulated in a broad-based and intensive process of dialogue with politicians and administrators, scientists and business circles, citizens and interest groups. The objective is a city where people live because they enjoy it – not because they have to. In the spirit of Smart City Wien, the new Urban Development Plan STEP 2025 suggests foresighted, intelli- gent solutions for the future-oriented further development of our city. Michael Häupl Mayor Maria Vassilakou Deputy Mayor and Executive City Councillor for Urban Planning, Traffic &Transport, Climate Protection, Energy and Public Participation FOREWORD STEP 2025 In order to allow for high-quality urban development and to con- solidate Vienna’s position in the regional and international context, it is essential to formulate clearcut planning goals and to regu- larly evaluate the guidelines and strategies of the city.
    [Show full text]
  • Vienna Guide
    April 22—24, 2015, Vienna, Austria Hotel Park Royal Palace Vienna Guide SIGHTSEEING Vienna is old, Vienna is new… and the sights are so varied: from the magnificent Baroque buildings to “golden” Art Nouveau to the latest architecture. And over 100 museums beckon… ALBERTINA The Albertina has the largest and most valuable graphical collection in the world, including works such as Dürer’s “Hare” and Klimt‘s studies of women. Its latest exhibition presents masterpieces of the Modern era, spanning from Monet to Picasso and Baselitz. As the largest Hapsburg residential palace, the Albertina dominates the southern tip of the Imperial Palace on one of the last remaining fortress walls in Vienna. ANKER CLOCK This clock (built 1911–14) was created by the painter and sculptor Franz von Matsch and is a typical Art Nouveau design. It forms a bridge between the two parts of the Anker Insurance Company building. In the course of 12 hours, 12 historical figures (or pairs of figures) move across the bridge. Every day at noon, the figures parade, each accompanied by music from its era. AUGARTEN PORCELAIN MANUFacTORY Founded in 1718, the Vienna Porcelain Manufactory is the second-oldest in Europe. Now as then, porcelain continues to be made and painted by hand. Each piece is thus unique. A tour of the manufactory in the former imperial pleasure palace at Augarten gives visitors an idea of how much love for detail goes into the making of each individual piece. The designs of Augarten have been created in cooperation with notable artists since the manufactory was established.
    [Show full text]
  • ECAP Vienna 2018
    ECAP Vienna 2018 Documentation European Conference for Architectural Policies “High Quality Building for Everyone. Baukultur and the Common Good in Europe.” 13 to 15 September 2018 University of Technology Vienna 1040 Wien, Karlsplatz 13, Kuppelsaal English with simultaneous translation into French European Conference for Architectural Policies, Vienna 2018 Documentation Vienna, 2019 Imprint Publisher: Federal Chancellery of Austria, 1010 Vienna www.baukultur.gv.at E-Mail: [email protected] www.bundeskanzleramt.gv.at Editing: Barbara Feller, Elsa Brunner, Gerhard Jagersberger Photo Credits: All photos by www.kunst-dokumentation.com exept: p.46 and 47 (above and below): Lisa Schwarz; p.47 (center), 49, 50, 51 (below): Lars Christian Uhlig; p. 48: PlanSinn; p. 51 (above): Barbara Feller Design: BKA Design & Grafik Printer: Digitalprintcenter des BMI Vienna, 2019 Table of Contents Introduction 5 Program 6 1st Conference Day, September 13th, 2018 7 2nd Conference Day, September 14th, 2018 23 3rd Conference Day, September 15th, 2018 48 The Five Messages of the Conference 52 Die fünf Botschaften der Konferenz 57 Links 58 Introduction As part of the Austrian Presidency of the Council of the European Union and the European Year of Cultural Heritage, the European Conference for Architectural Policies took place in Vienna from September 13th to 15th, 2018. Participants included highly esteemed speakers from Austria and abroad, and around 150 guests from 25 countries from different fields of specialization (trade associations, state architectural administrations, architecture education) under the broad umbrella of the Baukultur field of work. The conference was held in the impressive cupola hall of the TU Wien, the perfect space for the lectures and workshops.
    [Show full text]
  • Tips for Bicyclists: Discover Vienna by Bicycle
    Tips for Bicyclists: Discover Vienna by Bicycle Table of Contents From the Danube bicycle path to the center of Vienna 2 Bicyclist-friendly hotels & pensions 3 Guided tours through Vienna 3 For Specialists: Mountain Biking in the Vienna Woods 5 Bicycle and electric bike rentals 6 Electric bike rentals 7 Electric bike charging points 8 Public air pumps 8 Around the Old City on the sightseeing bicycle path “Ringstrasse” 9 Other thematic bicycle paths 9 Citybike Vienna 10 Bicycle and public transportation 11 Bicycles on trains 11 Event tips for cyclists 12 Bicycling according to a plan, literature, maps, apps 13 Transportation Clubs - additional information 14 Shops for all things bike 14 1/14 Publisher: Vienna Tourist Board, 1030 Vienna, Invalidenstraße 6, tel. +43-1-24 555, [email protected], www.wien.info. Last revision: March 2018, subject to change without notice. Note: Ride along these routes at your own risk Tips for Bicyclists: Discover Vienna by Bicycle You can travel fast with a bicycle, but still slowly enough to enjoy Vienna's sights on the way. Vienna offers more than 1,300 kilometers of bicycle paths, some of them in areas with hardly any traffic. Explore Vienna by bicycle: whether you bring your own or rent one, the city has a lot to offer to bicyclists. We have collected a few tips for your bicycling tour through the metropolis on the Danube, such as where you can rent a bicycle or get one repaired, at what times you are allowed to take it on Vienna's public transportation system, and when guided city tours are offered for bicyclists.
    [Show full text]
  • Tabaktrafiken Wien Und Umgebung
    VIENNA TOBACCO SHOPS INNERE STADT Brandsetter, Birgit Am Hof 5 1010 WIEN Schober, Michael Stubenring 22 1010 WIEN Wessely, Thomas Weihburggasse 3 1010 WIEN Mohilla, Maria Kohlmarkt 6 1010 WIEN LEOPOLDSTADT Singer, Maria Praterstern S Top 6 1020 WIEN Eggendorfer, Viktoria Taborstraße 10 1020 WIEN Matzinger, Nicole Leopoldsgasse 16 1020 WIEN Lesjak, Manuel Lassallestraße 4 1020 WIEN LANDSTRAßE Peter, Matthias Landstraße Hauptstr. 99-101 1030 WIEN Bauer, Michael Schlachthausgasse 2-4 1030 WIEN Dohnal, Kurt Löwengasse 17 1030 WIEN Fellner, Stefan Landstraßer Hauptstr.29 1030 WIEN WIEDEN Adametz, Helfried Rechte Wienzeile 9 1040 WIEN Hazar, Ercan Margaretenstraße 42 1040 WIEN Stehlik, Sabine Wiedner Hauptstraße 26 1040 WIEN MARGARETEN Daoud, Eid Schönbrunnerstraße 79 1050 WIEN Lukele, Tristan Kettenbrückengasse 21 1050 WIEN MARIAHILF Eckert, Reinhard Stumpergasse 20 1060 WIEN Haller, Verena Otto-Bauer-Gasse 27 1060 WIEN VIENNA TOBACCO SHOPS NEUBAU Simic, Tanja Kaiserstraße 96 1070 WIEN Reitermeyer, Mario Siebensterngasse 46 1070 WIEN Lebinger, Martin Stiftgasse 11 1070 WIEN Petje, Heinrich Mariahilferstraße 100 1070 WIEN JOSEFSTADT Leutgeb, Brigitte Florianigasse 2 1080 WIEN Deltl, Andrea Florianigasse 2 1080 WIEN ALSERGRUND Braunöder, Reinhard Währinger Gürtel 18 1090 WIEN FAVORITEN Binder, Christian Raxstraße 13 1100 WIEN Wasinger, Wolfgang Gertrude-Fröhlich-Sandnerstr. 2 1100 WIEN Peck, Ingrid Favoritenstraße 239 1100 WIEN Kindler, Marcus Absberggasse 25 1100 WIEN Hrnjak, Kata Keplerplatz 1 1100 WIEN SIMMERING Aumüller-König, Caroline Swatoschgasse
    [Show full text]
  • Karlsplatz & Around Naschmarkt
    ©Lonely Planet Publications Pty Ltd 92 Karlsplatz & Around Naschmarkt Neighbourhood Top Five 1 Karlskirche (p94) Rid- Klimt’s Beethoven Frieze at 4 Akademie der Bil- ing the lift (elevator) up to the 1897-designed exhibition denden Künste (p96) View- this mesmerising church’s centre of the Vienna Seces- ing Bosch’s impressive and elliptical copper dome for a sion movement artists. gruesome Triptych close-up view of the incred- 3 Naschmarkt (p96) of the Last Judgment ible frescoes by Johann Breathing in the heady aro- altarpiece. Michael Rottmayr. mas of spices, olives, oils and 5 Staatsoper (p95) 2 Secession (p97) Con- vinegars, cheeses, hams, sau- Reliving operatic highs with templating the sensuous sages and much more while a guided tour of this re- shapes, gold mosaics and snacking your way from stall splendent gold-and-crystal- mythological symbolism of to delectable stall. adorned opera house. 00000000 00 0000000000 00 0(R00B 0000000 r 000 00 00000i 0u0000000 t 000 00000 00000n 0r00000 S 000 00000 M 00000g00g 0000 000 0 1 km u s ri r 00000 000000t 00n 000 000 e e# 0 0.5 miles s 00M0a0ri0a-0r00g 000 0000 e a Burg- n u0000000s 0000 0000 t 00Th0er0es0ien0- 0s0000 0000 m n e garten Burggasse 0s00Pl0at0z 000) 0000 r ) 00p 000000 000 ä g e 000000 O s l K n N a p i s 000000 er r e t n Z ( 5##ý a e 000z 000 R rin k r s in g i g r t u s e s tra a s b s K g a G 000 K se ärn P g a e ) l g tn n a t 000 e r ( e i u e R r 000 i d i R00000 r n l i R s g i g d n 0000 g e st 00g0(00 e e r N a m a 0000 a 00000 f ss r a e 0000 s 00000 s ) e n r s NEUBAU
    [Show full text]