OTTO WAGNER APPLIED ••• by Graham 0. Llvesey •••

ODD O DD ODD STADTBAHN BRIDGE 'MAJOLICA HOUSE' KARLSPLATZ STADTBAHN STATION

_ but 1t IS th.s Jurtaposltion of con­ layer. Stucco should not purport to be a Thus began his use of the trasting symbols· the appllqu6 of classical load-bearing stone facade, as unadulterated engineering aesthetic. one ordar of symbols on another • Wagner often caused it to appear. But Steel l·beams and rivets clashed with tllat constitutes for us the stucco cannot indicate a light, thin skin stucco and stone classicism decorated shed.' either. Ornamental symbolism on stuc· unabashedly. Robert Venturl eo IS e1ther an uncertain continuation of the stucco or somethmg quite separate. During the seven years of construction Bom of the Symbolist Movement, of the Stadtbahn, Wagner became more Modernism has nevertheless been Wagner was first appointed professor and more influenced by Art Nouveau hostile to the symbol as a means in architecture at the Academy of Fine aesthetics and symbolism. The middle of visual commumcation. The rise Arts In 1894 and two years later he aged master, open to new Influences, of abstract art, m particular has published, Moderne Architektur. The produced organic and geometric orna· tended to locus our sttent1on upon pragmatic nature of this. his first book ment of great timeless beauty. This or· the work as a thing fn itself, wholly of theory, is deceptive. it Is a strident namental use of new materials stood ioentlfled wtth the art-process. Any call for rational utility and the true ex· beside the historical classicism of stuc· art wtuch can be desert bed as sym­ presslon of the modern age, a continu­ eo and stone pilasters, cornices and bolist must necessarffy reJect such Ing theme in hiS polemics. He would, rusticated bases and the use of an att1tude. 2 years later, when discussing city plann· engmeering steel. Sinuous lines and Edward Luc1e-Smith lng, reiterate that, "Art must give ex· plant images both led and delighted the presslon to the conditions of our own commuter as he passed through the he skin 'hung' upon the structure time. Art must therefore conform its ci· stations. John Ruskln, stated earlier his of a building Is a notion. Robert ty plan to the needs of the mankind of influential and Immutable love for the T Venturi, In Learning from Las today.''4 Seemingly a rationalist, a organic; " ... all perfectly beautiful forms Vegas, pleads for the return of sym· tremendous change occured n must be composed of curves; since bollsm. Literal symbolism applied. Wagner's work during the 1890's which there is hardly any common natural What should symbolic applique mean refutes this notion. form In which it Is possible to discover a and whom Is it for? straight line.''6 This leads to another In his writings, Otto Wagner never ad· Ruskinian ideal, a building w1th either a Some of the purest expressions of the mltted the deeply romantic side of his decorative sktn or symbolic ornamental s In and applied symbolic ornament nature. This romanticism only became elements applied to it. can be found In the Secessionist/Art obvious In the ornament and skins of Nouveau work of the great Viennese ar· h1s buildings after the mid 1890's. So 1897 sees the formation of the Vienna chltect, Otto Wagner {1841-1918). He much so, that a statement such as the Secession under the leadership of the was an important figure as architecture follow1ng seems absurd: painter. Gustav Klimt. A group heavily evolved from eclecticism and revivalism Influenced by the Glasgow school Into that which more truly embodied au~te as unjust1f1able and as ob­ under Charles Rennie Mackintosh. The new materials, ideas and altitudes. actionable from an artistic view· young radical Secessionists included point are mtentional but unwar· the painter Koloman Moser and the ar· Born well·to·do, Otto Wagner was train· ranted curves and irregularities In chltects Joseph Marla Olbrich and ed as an architect m Germany, under a the lay-out of streets and squares, Josef Hoffman, both students of Otto former assistant of Kart Friedrich Intended solely to produce ar· Wagner. The principal aim of the group Schln et, and subsequently In his tlficfally picturesque vlstas.5 was, ·•to provide in art a surrogate native Vienna. Dunng Vienna's glorious religion offering a refuge from modern Rlngstrasse era Wagner established a Although written much later, this life."7 The Secessionists explored sym· tnrlvlng practice. He became one of the passage adamantly denies the Art bolically, the mystical and mythological leading architects In the ltafianate Nouveau character that hts work took and the sensuous, mstlnctual, erotic ctass1cal style. "Utility behind a screen on. He never elaborated on the laws and ecstatic. This manifested itself in of hlstoocal sty,e:''3 aptly describes his that governed his romantic tendencies, an art depleting plant Images and rationalist revivalist apartment houses possibly to preserve an tmage In society elongated beautiful nymphs whose and commercial buildings. These were or because of the inherent d1screpan~y tong flowmg hair hopelessly entangles very good, but ended to over· between words and romantic thoughts. the male psyche. lt was a symbolic decoration. psychological revolution In form. The transformation began In the sta· VIenna, the grand stucco city. Wagner lions, bndges and cultlngs Wagner The organic flowing lines and sensual often used stucco In his early ltallanate built between 1894 and 1901 tor the women are visually engaging but the buildings. A continuous, non-structural, VIenna city railway system, the Stadt· deeper meanings are obscure and Q appt ed material. lt Is an ambiguous bahn. The white stucco stations had elitist· a description of a snake-holding materlal capable of pretending heavy taken on a new voluptuousness and woman In the foreground of Gustav mass when In fact lt Is a thin applied freedom of classical interpretation. Kllmt's painting Medicine: " Along with ! l !I 14 THE FIFTH COLUMN, Hlver 1983 DD DD DD DD DD DD KARLSPLATZ STATION · DETAIL SAVINGS BANK· INTERIOR her brother Ascleplus, Hygela was born emanating a profound romantic non­ a snake out of the tellurian swamp, the Intellectual spirit. land of death. The snake, amphibious creature, phallic symbol with bi-sexual The Imperial Post Office Savings Bank associations, Is the great dlssolver of from {1904-1906) is one of the most boundaries: between land and sea, man significant early modern buildings. Dlf· and woman, life and death."8 VIsually ferlng from his early decorated relevant but symbolically Irrelevant. revivalism and his symbolic Seces­ sionism, this Is Wagner as the J.M. Olbrlch's Secession building, the pragmatist. The use of materials i s exhibition place for the movement, was stunning, f...... ~•·:co·su•r•'»'C~ SI honest and revolutionary. constructed In 1897. Wagner's 'Ma· Large aluminium bolts blatantly hold jollca House' , an ordinary Viennese thin stone and marble sheets to the apartment house gloriously clad in a IMPERIAL POST OFFICE SAVINGS BANK building. This would seem to be his skin of tiles colourfully depleting a ma· ultimate and most explicit expression jestic flowering rose plant, was built the tlonally engaging. The matenals, the of the skin as an entity unto itself it same year; thin, applied decoration, colour contrasts, the lines and the jux­ would never become the total separa­ symbolic of Wagner's respect for the taposition of detailed ornament with tion of the skin from the structure .. young Secessionists. blank surface, play In masterful visual harmony. 1t ranges from the simple and The use of aluminium Is unashamedly The Majolica House is a 'decorated sh· poignant to the obtuse and esoteric. bold, particularly within the luminous ed'. lt Is, floral-patterned, very much like The meaning of the Secessionist orna· glass-vaulted banking hall. Riveted sup­ Robert Venturi's ' Best' products ment is irrelevant, it works only at the ports penetrate the glass ceiling whilst showroom. For Wagner lt Is the first ex· visual level. The mystical paintings of aluminium robot·llke ventilation dif­ presslon ot the thin two-dimensional Klimt were not understood by the fusers stand on guard. Ornament skin. However, like stucco, the thin t iles leading VIennese Intellectuals of the enriches the entrance and encrusts the are applied ambiguously to a hidden day. The mythology, the sensuality, the roof-line where two mystical damsels surface. The curtain-wall, developed by abstract spiritual codes and ideas are dwell, outstretched arms clutching the 'modernists', would ultimately ex· obscure. Applied symbolism can repre­ wreaths to the city A rationally tunc· press both its thinness and total sent many things: power, wealth, tlonal building. separation from the structure. religion, philosophical ideas, a building type, structure. However, it must cater Otto Wagner's Kalserbad Dam Ad­ In 1898 Wagner officially joined the to the populace or not exist at all. ministration building {1904·1908) Is his Secession to the horror of Viennese most 'modern' building. Symmetrical, society. The major figures were to re· The most interesting Stadtbahn station with a subdued cornice, the classicism main with the movement until 1905 is the Karlsplatz station of 1898-1899. has been restrained as the form follows when most, Including Wagner, left. Two classically planned pavilions the function. The building controlled across the street from one another, one of the dams on the Danube canal. A The romantic freedom and symbolism large semi-cylindrical canopies, for· ship bridge-like control bay lifts above so masterfully delineated by Wagner on ward set, dominate the simple masses the main mass destroying classical his skins and In his ornament failed, ac· beneath. Thin, white, pristine sheets of repose. Stairs that link the street level cording to most historians, to influence marble stand between slender steel with the lower canal level are part of yet the still very rational and traditional support members. Floral and geometric distinct ~rom the building. Blue tile composition of plans, elevations and patterns enhance, either carved Into the above bolted-on white marble sheets masses. This and the dull pragmatism marble panels or hung from the above a bolted-on stone base Wavy of his writings suggests an Intellect steelwork. Ornament contrasts with white lines of tile upon the blue fighting Its own artistic Inclinations. blank wall, green and gold contrasts background symbolizes the waters. Manfredo Tafurl contests, however. with white, natural curve contrasts with Electrifying blue and white, the that the spiritual/romantic Influence of straight line. The ornament seems building, a ship-like masterpiece, sits the Secession also profoundly affected removed and non-symbolic. merely beside the canal. Symbolism Is restrain· the design and nature of Wagner's flowers and leaves. The ornament Is ed . Wagner always designed according seemingly rational buildings. Tafurl timeless and the material expression is to principles most appropriate to the describes the unartlculated Otto lucid. "Wagner treated the walls in his building In question. Wagner; "To stop and listen to those modern manner as skins, suggesting mysterious echoes Is possible only to volume rather than the mass Wagner's most Secessionist building Is one who understands the ritual of Inter· beneath."10 The Karlsplatz station St . Leopold's Am Steinhof (1905-1907), a pretatlon."11 depicts for Wagner, motion versus domed Greek·cross church. The marble stasis and romanticism versus ra· sheets are bolted-on In such a way as to Wagner'a ornament la visually and emo- tlonallsm. The buildings huddle, create conflicting rhythms of bolt·

THE FIFTH COLUMN, Winter 1983 15 oooooooooooooooooo •• oooooooooooooooooo ••

MODERNE GALERIE KAISERBA D DAM • DETAIL AM STEINHOF

heads, joints and panels Christian In The new abstract symbolism was In· Although very Influential. Venturl"s its symbolism, the ornament has Itself dustrlal symbolism, the glorification of Ideas have tended to spawn other become separate from the structure the machine and technology. The things. The classicism of the suburban and skin. Wagner Incorporated stained human intent shifted from bourgeois to home has exploded Into the classicism glass, frescoes and statues o! ange s socialist. but lt failed. Unlike Wagner's of ledoux, Schlnkel and lutyens. The and samts by other Secessionist art sts work the symbolism was Implied, not omnipresent classical cycle. lt has Into the church. visual. The modem architecture was become pseudo-revivalism and abstract cold, oblivious, and Inhuman and there expressionistic classicism and eclec· The last built W()(ks, lnclud1ng the was no recourse, just endless white t clsm; esoteric manipulation more Neustlftgasse •o apartment building blank stucco strips and endless steel· removed from reality than ever before. (1 909·1910) and the second VIlla mullioned windows. Wagner 11912·19131 show a return to Symbolism tends to the esoteric and stucco In a stnpped·classlcal non· If one accepts ornament in architec· unrealistic; philosophical, industrial symbolic way. The buildings beCome lure, lt Isn't a question of man or and pop' art. simple masses adorned with 111es p ac· machine made. 1t Is a question of ed In the stucco to emphasize divisions enhancement, timeless beauty and if Instead of a balanced critique of and local points. symbolic, understandable meaning ... the modern tradition we are now eradication of non-articulated surfaces being subjected to the In· Some of Wagner's most symbolic work in architecture. discriminate reaction against the remained unbuilt and only exists as entire evolution of modernist 13 drawings. Wagner's marvellous draw· Aobert Venturl, the father of anti· culture. ings, similar to those of Schmkel 'n modernism, argues for a return to literal delineation and the use of surreal symbolic appliqu~ In architecture in his Graham D. Livesey is a student at the foreground figures, somewhat parallel· book Learning from Las Vegas. He re­ School of Architecture of McGi/1 Univer· ed his architecture becoming more and jects abstract surfaces for appl1ed Pop­ sity and has recently returned from more Ar1 Nou~eau. The dra~lngs show art symbolism. His symbols are derived three months of travel in Europe. schemes for tremendous churches, from pop American culture. the subur­ museums and monuments One of the ban home and the stnp billboard Th s Notes most symoolically esotenc .s a pro­ understandang surfaces In his work like 1. Aobert Venturi, Learning from Las posal for a Moderne Galer e of 1900. A Andy Warhol Brlllo boxes. From low art Vegas, MIT Press, 1972, p.70. long frescoe on the facade shows the to high art and back again; a d•stortion. 2 Edward lucle-Smith Symbolist Art, arts lifting the ve11 ol Ignorance from The references are not to be London, 1972, p.7. tne people, whilst four bethroned understood; but are Instead esoteric 3 .earl E. Schorske, Fln·de-Siecle Vien· women surround the entrance and tongue-In-cheek games played at the na, 1961, p.75. floral ornament renders the surfaces expense of good taste and arch tecture 4.0tto Wagner, ''The Development of fantastic. the City", Archtectural Record, May Venturl proposes the 'decorated shed' 1912, p.489. As a respected transitional architect principle where pop symbolism Is ap· S.Wagner, p.490. teacher and polemicist Wagner' s piJed to an 'ordinary building', and op· 6. John Auskin, The Seven Lamps of legacy to 'modernism' would be his poses the 'duck' theory where the Architecture, London, 1890, p.195. distinct and honest use of materials. building Itself is a literal symbol. Ven· 7 Schorske, p.254. Although a functionalist, h1s methods turf Is eenous but are his ideas? 8.Schorske. pp. 240-42 would be re1ected for new interprets· 9.Manfredo Tafurl, " Am Stelnhof", tlons baSed upon the machine and an· Venturl'a symbolism Is as elitist as that Lotus 29, 1980, p.89. dustrlallsm, space, structure and of the Secessionists. However, the old 10.Schorske, p.109. socialism. notion of small-scale, dense (and visual· 11. Venturl, p.72. ly delightful) surface articulation still 12.Venturl, p.98 Adolf Loos, an admarer of Wagner, remains vague In contemporary ar· 13.Kenneth Frampton, Modern Ar· vigorously attacked tne use of orna· cnltecture. Venturl's surfaces are chttecture • A Cfltical History, Lon· ment n architecture. lnerltably ar· geared towards a medla·blltzed don, 1980, p.288. chitecture became the blank surfaces populace; "Artlcu!ated architecture to­ References of the machane-agf:llook. AlthOUgh the day Is like a minuet In a discotheque, -H. Geretsegger and M. Pelntner, Otto ornament disappeared, symbolism re­ because even off the highway our sen· Wagner 1841· 1918, 1964. mained Venturl wrates, "Ironically, the slbllltles remain attuned to Its bold -Leonardo Benevolo, History of Modern Modern architecture of today, While re­ scale and detall.''12 Architecture Architecture Vol. 1, MIT Press, 1971. jecting explicit symbolism and frivolous representing flash and transience. The appllqu6 ornament has distorted the bold, flat, 'pop'-dellned and pastel· Drawings and photographs from Otto whole building Into one big coloured surfaces still lack the fine Wagner, 1841·1918, by H. Geretsegger ornament.''11 detail necessary for ViSual play. and M. Pelntner.

16 THE FIFTH COWMN, Hlver 1983