Ernst Plischke As Teacher: Wellington (Auckland) Vienna from BEAUX-ARTS to BIM

INTERSTICES AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE Wellington] Digby, by[Photograph Spencer Plischke,1947. A. Fig. 1Ernst Vienna Wellington (Auckland) PlischkeErnst asTeacher: CHRISTOPH SCHNOOR lying noble mind that would support their architectural endeavours. their architectural lying noblemindthatwould support him may have to amoralcompass, develop to teachhisstudents an under been to more of a high quality from important his students, modernism architectural val inexpecting aimstowas material,show thisarticle thatwhilePlischke strict Drawing conversations,practised? from literature aswell andpersonal asarchi Didheteachwhat modernism. ofalight, elegant architecture—indeed, ernist ofmod iswell teaching.Plischke knownsupporter asastaunch ordinary just of their teacher alive.ory hadgiven thatPlischke Thisaloneindicates more than tothemem have keep of hisformerstudents Society Some thePlischke formed are devotedasteacher. to Plischke contributions 2003)inwhich fourteen (also andassistants by hisformerstudents ofessays ofhisteachingisthecollection ofthelong-term results documentation of histeachingstemsfrom a1976 whilethebest designs, publicationofstudent works everlightly. only so touch thissubject thorough documentation Themost ofPlischke’s intheir2003catalogue time, whileSarnitzandOttilinger complete extensively. Inhisautobiography of1989, from this shows afewprojects Plischke researched previously ofhiscareer hasnot been Theteaching aspect Fine Arts. sign. For 10years until1973, attheAcademy class taughthisMaster of Plischke giving inWellington, uphispractice hewas finally able de to architectural teach Sixteen years later, in1963, to leftNewreturn to Plischke Vienna.While Zealand Firth). withCedric (inpartnership architect careerasanindependent successful ofteachingatuniversity,able teachingexperience.Instead his began Plischke Englishcandidate trained, withconsider Light,aBeaux-Arts preferred Charles atAuckland Universityof Design theUniversity Althoughinterviewed, College. Centre.oration with the Architectural In 1947, of Chair for a position he applied inprivate incollab sometimes times atother circles, give oflectures, smallseries as a professor.knowledge anémigré inWellington As inthe1940s, hewas ableto abletoonhis topass be butalso architect only apractising not towished be From early oninhiscareer, (1903–1992) Plischke Ernst Austrian-born architect 37 FROM BEAUX-ARTS BIM FROM TO ------INTERSTICES AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE Ernst Plischke asTeacher: Wellington (Auckland) Vienna 38 Wellington, in1943 andin1945. to both writes Rie: Plischke University ofVictoria Department of was to asked deliver attheHistory lectures architecture. publicly about A little later, audience when speaking terested he may right, Plischke Thus, with some have felt that he was an in able to attract LucieRie(1902–1995):nowned potter friendandconfidante, to the to hislife-long re deliver reports alecture.Plischke early as1941,As hewas invited by theWellington Students’ Architectural Club level. ifthiswas onamodest ticipate education—even inarchitectural hisdream to withdelightto par realise uptheopportunity hetook Construction, allow InWellington, thisto happen. ofHousing whileworking intheDepartment oneday. aprofessor tecture, to become didnot InVienna,thecircumstances Early in his career, the wish to developed teach archi in Vienna, Plischke still Educational Engagement inWellington name forhimself. arrivedThus, whenPlischke in1939, inNew Zealand hehadalready madea government. won the achievements 2003). (Orosz hisrealised terior designs Werkbund 20in inVienna,threeemploymentandagood centres, settlement thedoubleunitat to hewas New ableto callahandfulofhouses, Zealand, graduated from theAcademyin1926.Plischke ofFineArts emigrating Before allofwhomwere oftheAustrianand Peter Behrens, Werkbund, members Frank, Having Strnad,Josef suchasOskar underprominent architects studied programme, andconstruction. ofsite, withhisunderstanding combined sense, by astrong underlying aesthetic Plischke’s functionalism, titleindicates though thebook architecture was driven in Sartoris by Alberto internationally, published Thisbuildingwas (1930–31). soon Liesing forexample ofarchitectureishisEmploymentinVienna’s Centre pieces of hisbest suburbof and as such he was architect, an exception in Austria.tation as amodernist One the Nazis inAustria. From early oninhiscareer, arepu haddeveloped Plischke andhisJewish wifeAnnacametoin1939 NewPlischke from Zealand asrefugees ArchitectA Modernist withaStrong SenseofAesthetics evening, so we so hadto haveevening, one. We asecond whichenabled hadaprojector preparations immensely.these muchforone too Thenthematerial became ern architecture. plentyoftimeto prepare andenjoyed Ispent thislecture ofarchitectureinvitedThe clubofthestudents meto give onmod alecture I likeandtheywant to have itintheway of have attheuniversity of lecture[s] outhere. aserie[s] Imay pickany theme I already have private and quite another pleasant job. Ihave to asked been youngsters 1941). itwasnewandexciting (Plischke absolutely it.Weheard about forthe offunout thisevening hadlots andespecially private andalso with hiswife, architect theassistant whohad architects evening second ourchiefarchitect there forthecamealso lecture the first ifyou them.After remember me to show themplentyofmy foto-cuttings; Großer Staatspreis Gli elementi dell’architettura funzionale —the Great State Prize, a prize newly introduced by newly—the GreatState introduced Prize, aprize kunsthistorisches Seminar 1 FROM BEAUX-ARTS BIM FROM TO At of33, theage hehad of1935; butal 2 with ------Ernst Plischke as Teacher: Wellington (Auckland) Vienna FROM BEAUX-ARTS TO BIM

discussions and so on. I hope that I will like it very much (Plischke 1943, April 19).

The “kunsthistorisches Seminar” was like a university seminar in art history, indeed on the topic of the Fine Arts. The seminar finished by the end of September. In a further letter, Plischke adds: “There were ten of [the lectures], one every week, perhaps the greatest fun I had since I am here, very exciting but also very strenuous” (Plischke 1943, September 30). In his application to Auckland University College in 1947, Plischke would list about 30 lectures he had presented overall (see further down).

At the same time, Plischke was able to lay down a few of his theoretical positions in two publications. Asked to write a design guide for returning servicemen, AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE SPECIAL CENTENARY SCHOOL AUCKLAND About Houses was published in 1943 by Government. This was extended into a veritable book which discussed good modern design on three scales—the interi- or, the house itself, and the urban environment. Design and Living, published in 1947, allowed Plischke to contribute to the design education of the general public.

INTERSTICES His engagement in educational activities in Wellington extended into the early years of the Architectural Centre. The Centre was created at a meeting on July 23, 1946. Plischke was present, amongst architects such as Graham Dawson, Gordon Wilson, Helmut Einhorn, and Fritz Farrar, the two latter also being émigrés, and a group of students. Plischke became part of the executive committee (Salinger 1996: 69–78). He also participated in the publication of the Centre’s journal, the Design Review, both with articles on his own work and, for a period, as member of the editorial board. As we have seen, Plischke had already delivered lectures to the Wellington Architectural Students’ Club five years before the Architectural Centre was founded.

Because the only architecture school in the country was in Auckland, a strong driver for the Architectural Centre was to assist “students with their study in the form of an atelier”; thus with support from the Housing Division and Town Planning Office of the Ministry of Works, “in 1947 the Centre ran its first course in architecture” (Salinger 1996: 74). Plischke was invited to take part in the 1948– 49 summer school studio session, which was held in August 1948. This was the starting point for the design and building of a contemporary prototype house, which became known as the Demonstration House (Gatley 1996: 89–95; Gatley & Walker 2014: 35–39). In this, Plischke was joined by his former superior, Gordon Wilson—“an interesting pairing”, as Julia Gatley and Paul Walker observe, “given their much-hyped personality clash” (2014: 36). All of these moments show Plischke’s wide engagement with architectural education of students as well as of the general public.

After leaving the Department in late 1947, a new phase in Plischke’s life began when he officially went into partnership with Cedric Firth. The two young architects had met in 1939 in the Department of Housing Construction and began to cooperate soon thereafter,3 while officially setting up their joint office as Plishke & Firth in early 1948. In Firth, Plischke found an equally committed supporter of modernist architecture. Firth had trained as a builder and studied at Auckland University College before travelling to Europe in 1931 and 1932 (Bowron 2000).

39 INTERSTICES AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE Ernst Plischke asTeacher: Wellington (Auckland) Vienna 40 Arts”, adherentclear to theBeaux modern was to steer and sufficiently liberal thatBuddenhimself, sheconcludes although“a in retrospect, cult to establish diffi tocommittee towards be Whilethisseems ormodernism. theBeaux-Arts biasofthe committeeindetail, inorder topointment determine apossible oftheap thecomposition Shediscusses Auckland 2010: (McCarthy 258–64). forwhatmighthavecision-making process Plischke’s become in professorship Zealand. of Architecture, the Universities’School Bureau, Association the Architectural Education, of Architectural Board Architects the offourofficials, Budden, thisconsisted representing Royal InstituteofBritish from aschairofthecommitteeinEngland.Apart chosen Liverpool had been LionelBuddenoftheUniversity Professor was of where assembling. thejury itoff to andsent London, hisrésumé puttogether Auckland—and to Plischke andquitequite incredible” foolish, 1948). (Firth atAuckland look “makes theSchool and Gropius’Wurster’s schools work atthese calling thelatter “an man”. oldanddisillusioned says, He also however, that WilliamWurster andWalter hemetwithProfessor On thisoccasion, Gropius, criticism, madeinthecontext atHarvard ofavisithepaidto architects andMIT. his upon elaborates Firth andpractices. methods onBeaux-Arts strongly focused in1926.Architecture, whichstarted atAucklandDean University since1925. of College upthe Bachelor Hehadset and Professor in England,Paris,and the United had been had studied States, inworse” 1948). inhellifnot Knight, anAustralian (Firth rest who his bones Prof. commented inaletter “Good to Firth Plischke: Knight,maywhom Cedric Cyril Knight—on Dean, who someone with the would filled by work closely be to numbers, student oftheincreased because needed It was anewposition, toHe writes Rie: was Plischke made awareErnst he apply. by friends, suggesting of this opening andbuiltby theGroup inAuckland. designed Company houses, Construction afewyears later intheGroup itself Thiswould inNewtecture manifest Zealand. Gatley 2010: 20).Here was archi acall,madeby young for modernist students, ofBuildingTechnicians Group inEngland”(Architectural 1946,Association in andthe Group [MARS,London] Research Architectural oftheModern the ideas Wer[k]bund, similarto andbuilders theDeut[s]che of planners andincluding basis” and“2)…to achieve anorganization …onaco-operative group practice thattheywoulding intheirconstitution work onadevelopment towards “1) in1946, 44).Also 42, Group, theArchitectural hadformed severalstudents writ 1946, librarian(Gatley2017: andapermanent inconstruction thatofalecturer ue to grow. were in two thisincrease,another advertised positions Considering from 66in1943,had continuously increased to 210in1946, andwould contin ofArchitecture(AUC 1947:in theSchool 378–78a). intheSchool Studentnumbers 1946,In December Auckland foraChairofDesign University advertised College Application at Auckland University College apply andthatIeven mighthave 1947, achance(Plischke June 14). friendsthoughtthatIshould Some inNew-Zealand. school architectural of Auckland University. Itwas allover advertised theempire. Itistheonly was school anewchairfordesign createdatthearchitectural months ago Since my letter last we hadagainabitofexcitement,bad.Five too butnot 6 Ina2010paper, hasattemptedto clarifythede McCarthy Christine 4 Both his education and teaching had been andteachinghadbeen hiseducation Both 5 andtheUniversity of New FROM BEAUX-ARTS BIM FROM TO ------Ernst Plischke as Teacher: Wellington (Auckland) Vienna FROM BEAUX-ARTS TO BIM

the University of Liverpool towards the teaching of modernism (McCarthy 2010: 260–61). Budden compiled a shortlist of six of the 12 applicants for interview. These were the candidates: Ashworth, Breakwell, Bulmer, Harvey, Light, and Wood. “Professor Budden indicated that in his opinion Mr. Plischke would have been included in this list had he been available in England” (AUC 1947: 380). Plischke was considered to be a suitable candidate but could not be interviewed together with the other six shortlisted applicants. Thus he was in the strange situation to remain outside the main application process although he was present in the country where the position was to be filled. The interviews in London were conducted on April 21, 1947. The committee unanimously agreed on Charles Light as their preferred candidate, with Harry I. Ashworth as the runner-up. However, the committee saw itself “unable to recommend the appointment of AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE SPECIAL CENTENARY SCHOOL AUCKLAND any of the other candidates which it interviewed” (AUC 1947: 381).

A month later, Ernst Plischke was interviewed in Auckland. He had been given relatively short notice, receiving the telegram on May 20, six days before the interview (Registrar, 1947). He travelled to Auckland via plane. The AUC Council INTERSTICES Minutes of May 26 state that “Mr. E. A. Plischke was interviewed by Council” and recommend that the chair be offered to Charles Light while asking the Senate “to approve of the following four applicants: H. I. Ashworth, R. H. Bulmer, A. C. Light and E. A. Plischke” (listed in alphabetical order and thus not giving away any hierarchy of the list) (AUC 1947: 350). In the letter to Rie from June 1947, Plischke summarises:

A few days ago I got a cable to come to Auckland for an interview of the council. The chairman and part of the council was for me but the other professor who is Dean of the faculty was dead against me. He wanted of course an Englishman, with the routine experience of teaching, and [who] would be a mediocre architect and be no competition for him. So the final toss-up was between the Englishman and myself. Now his appointment has been announced in the newspaper (Plischke 1947, June 14).

The “other professor who is Dean of the faculty” and who was “dead against” Plischke, was Professor Knight. With the assumption that “the Englishman” Light would be no competition for Knight, Plischke indirectly says that he would foresee a competitive situation between himself and Knight because of his own strong architectural convictions that would not (easily) be reconcilable with those of Knight.

Returning to Wellington, Plischke muses over the event in a diary entry of the interview day. In view of the unfortunate circumstance that no official records of the interview have survived,7 his recollection is the closest we will get to know about the conversation that took place:

Whatever I said, Knight would have found it unsuitable or insufficient; either too aggressive or not forceful enough. Teaching experience as precon- dition. I have no English education. They asked many questions that were already answered in the application … Apart from Knight no one asked a question. It is just as well that the antagonism with Knight became visible now and not too late. Had I talked as I wished, there would have immediate- ly been a row with Prof [Knight]. Should I have presented a prepared lecture? … Creative force of NZ youth. If I had ever enquired if the RIBA recognises our degree. Prof. Knight did not query my qualification but that it is not a

41 INTERSTICES AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE Ernst Plischke asTeacher: Wellington (Auckland) Vienna 42 job description stated the“right stated to private description job itinterfered with practice” (unless (Gatley2017: hadcomparatively Whilethe Plischke littleofthelatter” 44–45). andacademic experience,and practice withboth aperson sought the College was architect, because never astrong contender fortheposition a respected stating that“Plischke Julia Gatleyreiterates findings, [who] McCarthy’s was inWellington—it Wilson Gordon well mightvery have. asClemensHolzmeisterin or strong Austria other minds—such with difficulties answered.strong in reality as it was be And given in his imagination cannot his Knightwould have Whetherhisperceived withProfessor discord cessful. as been that hislackofanEnglishbackground madeitmore besuc difficultforhim to saw also Plischke clearly ofhiscompetitors. administrative ofsome experience compare not favourablytainly does withthecomprehensive teachingand butthisenumerationcer are surely more 30lectures thannothing, About far: so hehadpresented the lectures (AUCtion ofteachingexperience 1947: all 378),inhisapplicationhehadnamed “qualificationsDesign”, inArchitectural andexperience didnot require amen adifficulty.sented specifically askingfor while Althoughthe advertisement, to have pre seems that his lack of teachingexperience Plischke correctly seen saw ofany “unableto recommend the appointment candidates oftheother itself outentirely ruled fortwothecommitteeinEngland be sibility cannot reasons: and himself, and until the end of his life this is how he saw the event. Light thoughtthatintheend itcamedown Charles tobetween Plischke adecision employed inone(AUC 1947: 374). orhaving therepractice isnomentionofrunninganarchitectural es—but been have priz design won atall.Hehadindeed important any experience practice didnot Minutes, was asProfessor, CVintheCouncil appointed theshort asper Lightwho isthat Charles imprecise.Andthesurprise this, theadwas perhaps teachingexperience the expected was theadvertisement surprisingly design, muterience inarchitectural onboth thecandidate’s andrequiredastatement about atthe College) the duties expe Knight British training. WhateverIcouldhave saidinmy favour was anattack on Summer School of Design, Wellington. ofDesign, Summer School 1947, (Plischke February 3:3) toCentre theArchitectural design onproblems ofmodern Three lectures Students’Architectural Club. fortheWellington andcriticism ofesquisses ondesign Lectures Centres. Community librariansinAuckland to oftheNew a Conference A lecture on Zealand … fortheArmy Service Education lectures Several in1945. course asanadulteducation ern houses ofmod University atVictoria onthedesign of ten lectures College A series University Wellington, College, in1943 … Victoria Department, …intheHistory onFineArts of ten lectures A series day life every closely aspossible tothe practice background andconditionsofpractice and … I wouldendeavour tolinkmy teaching—the work ofthe students—as (Plischke 1947, (Plischke May 26). and practice experience (AUC experience practice 1947: 378);in 8 FROM BEAUX-ARTS BIM FROM TO 9 This pos ------

Ernst Plischke as Teacher: Wellington (Auckland) Vienna FROM BEAUX-ARTS TO BIM

which it interviewed”, and the fact that Plischke was able to refer to the shortlist of two can only mean that members of the Council at his interview must have indicated as much. So perhaps “the final toss-up” was indeed between Light and himself, even if McCarthy claims that this was not the case (2010: 262). First, she notes that “the short-listing privileged experience and post-graduate qualification over practice, and experience over youth” (2010: 261). With this in mind, she re-formulates her question to ask whether or not another one of the British candidates should have been offered the position. This was William Walter Wood, a practising modernist architect with teaching experience who already had been Head of School at three polytechnic schools (2010: 261). McCarthy concludes that on strength of the material available, William Wood would have been at least a strong contender for the job, if not better suited than Light. But he was not cho- AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE SPECIAL CENTENARY SCHOOL AUCKLAND

sen—and so this hypothetical scenario is perhaps unrewarding.

However, McCarthy importantly points out it appears that the English “committee’s bias was against a professor conducting practice” (2010: 262). Indeed, the report by the Universities’ Bureau clearly argued against this possibility by INTERSTICES stating William Wood was “a very ambitious man, but the Committee considered that he was likely to be more interested in the building up of a large private practice than in the development of a University School” (AUC 2010: 381). Plischke might easily have received the same comment had he been present at the interviews in England: his thought after the interview that “I would endeavour to link my teaching—the work of the students—as closely as possible to the practice background and conditions of practice and every day life” makes his position on the relationship between teaching and practice very clear. And it is a useful, modern position that would resonate in any similar application today. In a letter of June 1, 1947, to his family back in Vienna, Plischke goes into more detail, and his thoughts regarding teaching and practice seem relevant here:

Last night then was the meeting of the University Council and I [was] presented and interviewed. Of all the applicants only one architect in England and myself are left on the shortlist. Very honouring, isn’t it? The President of the Senate absolutely wants me. The Dean (of the Architecture Faculty) wants the Englishman. Here, a teaching architect has not been allowed to practice until now. This is different for this new position, since one begins to accept that practice is important also for teachers. But it is an innova- tion. As of yet, an applicant for a teaching position only had to demonstrate teaching practice at other schools … The Senate is divided and I think that the Englishman will get the position. When I realised this during the interview where the Dean was present, I got very depressed and disappointed (Plischke 1947, June 1).10

So what emerges from a renewed study of the application process, with new material by Plischke at hand, is that the committee—and thus, one has to conclude, Auckland University College—was not sufficiently interested in a Professor of Design who would continue to maintain a design practice. Charles Light was their preferred candidate because of his uninterrupted academic experience and because he did not “threaten” to practise. As McCarthy has shown, his inclina- tion towards the Beaux-Arts might have helped.

Perhaps Plischke’s last sentence in his reflections on the train back to Wellington can open a discussion: in the Universities’ Bureau report on the applicants, Light

43 INTERSTICES AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE Ernst Plischke asTeacher: Wellington (Auckland) Vienna 44 “deal andaback-transplantation what anewuprooting with thequestion would biggarden” to their“lovely andbeautiful ahesitation about house andabout answeredPlischke Rainer withambivalence: inhisletter ofJanuary 18, hespeaks young in1930s architect 2010: Austria 254). (Posch win this prize, giving consideration to the many heencountered asa difficulties ofthejury,case, heerred:aspart should thatPlischke Holzmeisterhadsuggested may199). Plischke assumption, have With his first second right,but inthe been in1935 himwinningtheGreatState against Prize 1989: (Plischke had been 181, obtaining in afterhis difficulties anycommissions believed Holzmeister 1933 and the war. felt.Hesaw behind Plischke directly atleast Holzmeisteras being Orso returned to Austria in1954.Plischke’s Hehadbeen intheyears before nemesis tive in1938 conservativewhohad emigratedto Turkey architect and modern chair.professorial ac Holzmeister (1886–1983) and politically was a successful would thatPlischke takeoverthe surprise,thismeant ClemensHolzmeister’s attheAcademy (Rainer fullProfessor 1960).turn to Viennato To become addto wasAcademy inVienna.Rainer enquired ifPlischke willing to re ofFineArts ceived aletter from Roland architect Rainer, whoatthetimewas Rectorofthe In January 1960, in Wellington, with Firth in practice while still re Plischke atAppointment theAcademy inVienna architects. practising ence was even not considered. What counted was were that candidates prolific in Vienna: atthe Academylight of hisappointment in Vienna,teachingexperi inthe remains,re-considered andisto ofteachingexperience be This question should have given advantage himasolid over any applicant. non-local other inhousingandtown layouts both for Government andcommunitycentres) from today’s (own knowledge practice,planning theintimate local perspective, Hewas alocal. theonlysomehow applicantwholived Seen inNew Zealand. amigrantinthecolony but through language being hehadbecome the German 1988). of irony, In a twist (Beaglehole Plischke’s disadvantage was only of not to be were runninghigh people) still (or,Germans asinthiscase,German-speaking of the story. that was only one aspect But perhaps In 1947, against resentments inthestudents’shoes. and anabilityto puthimself aninterest both had would from. Plischke whatthestudents benefit derstood andun intheconditionsofmakingarchitectureNewversed Zealand referred to the“conditions andeveryday ofpractice life”:well hehadbecome one’sthat reflects stance fundamental towards notes life as a whole, in these foran theneed maintained often reflections here thatPlischke,whoinhisown personal important It seems was conducted. inAuckland timeastheinterview atthesame almost published which hadbeen and hadadvanced farbeyond whathewas ableto lay down in since the early 1920s his own on architecture and design theoretical stance oped How would thecommitteehave him? judged hadcontinuously devel Plischke to interesting compare Plischke’sbe ofdesign: abilityto formulate hisown theory ofdesign” ofhow (AUC conception to teachthetheory a clear 1947: 380).Itwould to have “theonlywhoappeared was oneofthecandidates forbeing recommended 11 Would hehave ableto convinceinLondon? been thejury Innerlichkeit , perhaps to be translatedasinwardness to be , perhaps FROM BEAUX-ARTS BIM FROM TO Design andLiving Design — ------Ernst Plischke as Teacher: Wellington (Auckland) Vienna FROM BEAUX-ARTS TO BIM

implicate”; first of all he wished to discuss technical details with Rainer (Plischke 1960).12 But in the ensuing correspondence between the two architects, Plischke did show himself prepared to leave New Zealand in principle. His wife Anna agreed more reluctantly since it meant a lot to her to be close to her adult sons (Henry Lang living in Wellington and Franz Lang living in Sydney, both with their families). Still, in the following three years, Plischke went through various phases of ambivalence and agony: this is how long the decision-making process in Vienna took. Again and again, he did not know whether they would finally leave for Austria or not. For example, on May 20, 1960, he writes to his friend Rie, expressing his unease:

We live and work as usual, but in reality everything is totally unsettled with AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE SPECIAL CENTENARY SCHOOL AUCKLAND us. One day we think we are leaving N.Z. for good—sell our house and the garden where we have taken roots during those 20 years and go back where we left then. Another day we kind of hope that we stay here. No, Lucie—I have no illusions; I am very aware of the mental climate of Vienna from our last visit (Plischke 1960). INTERSTICES With this last comment, Plischke refers to his first visit back to Vienna in 1953, to celebrate his 50th birthday. He had not seen his family since their emigration in 1939. However, in Vienna he experienced an overwhelming disgust at the continued presence of “Nazis”—those who had either been in power during the Third Reich or been opportunist followers. A return to Austria was, if not impossible, at least loaded with mixed feelings. However, Plischke’s attitude changed, and he did hope to be appointed in Vienna, while remaining very sceptical that it might not happen. In this letter, he continues:

Anyhow I think the whole lot of trouble is again a waste of time—there is no real likelihood that they will take me. In their coalition proporz [proportion- al representation] system 50% is red and 50% black—Rainer is the red half and Holzmeister and his chair is the black one. I have never been or will be a Clerikaler [cleric] in my life. And that is what finally counts with the people who make the decision (Plischke 1960).

This is a reference to the political system of post-war Austria which, in some ways, has been continued until this very day, with half of posts and jobs being given to social democrats and the other half to members or allies of the conserva- tive party (Berger 2007: 278–81).

Implicitly, Plischke also refers to a letter by Holzmeister of a few weeks earlier (April 1960) in which Holzmeister speaks of his Chair and that the Institute for Sacral Art was attached to it. Because he wanted this tradition to be continued, he was keen to know whether Plischke had built any churches (Holzmeister 1960). The leading nature of this question annoyed Plischke and, in his eyes, demon- strated the politicisation of this case (A. Plischke n.d.). In his scepticism, Plischke was right in principle, however, in this case his worries were unnecessary: Rainer had prepared the ground for Plischke long before 1960; at least that is what appears to be the case when we closely follow the faculty meetings at the Academy.

Roland Rainer (1910–2004), seven years younger than Plischke and a prolific modernist architect, had brought Plischke up for discussion in these meetings as early as 1957, repeating his mention of Plischke’s name several times up and until 1960. Thus, it seems that Rainer was eager to make his colleagues aware

45 INTERSTICES AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE Ernst Plischke asTeacher: Wellington (Auckland) Vienna 46 in1947, InNew opening. a job Zealand were things different. very their newcolleague. fundamentally Thisis,ofcourse, different from applying for asto whomtheywould asanewChair—thatis, liketo appoint suggestions ofthefacultymade different from inViennathemembers theBritishprocedure: was also ofthenewprofessor process Theselection students. and educatekeen andinternationalthatwould standing experience allow himto attract the design Whatmattered ornot. wasteaching experience that thenewChairwould have had candidates) (orany whetherPlischke oftheirsuggested other no question For at the Academy in Vienna, there was the Austrian of Fine Arts professors inarchitectureisacknowledged. experience practice adifferent attitudewith regard to the canobserve waytinental—one inwhich there con educational systems—hereAnglo-Saxon, in culturaldifferences about employed inthisregard. into inBritainandNew Withoutgoing depth Zealand and Austrian fundamentally systemdiffers from thesystem that theGerman Itseems whenappointed? considerableteachingexperience title—has job actual the Design—whatever ofArchitectural itmatter ifacandidate forProfessor Does TeachingHow Muchdoes Matter? Experience Plischke’sters accepted appointment. Vienna1962). Itwasof FineArts untilMarch1963 not thatthecouncilofminis choice(Academy astheirfirst Plischke andrecommended to suggestion Rainer’s the decisive ofMay meeting attheAcademy 1962, agreed thegroup ofprofessors Eiermann,andHeikkiSirén. Egon In architect was to Plischke,German changed theoffer. Plischke’s declined helped indeed Jacobsen Intheend,list position. ing comparedto aninternationally would renowned likeJacobsen architect have would havePlischke not reputation inhisown right.Butbe hadanimpeccable would theofferanyway?lation thatJacobsen accept not say Thisisnot to that Plischke’s ownwas standing automatically Was strengthened. calcu itRainer’s ofacoupsince by namingtheworld-famous something ArneJacobsen, indeed (Academy Vienna 1960).bring honour to This the wasAcademy” of Fine Arts internationally circles inarchitectural and ment alonewouldasensation cause were andworld-renowned Thisdignifyingappoint outstanding architects. by saying: concludes that the above Martin “Prof named Dr Rainer emphasized that: leagues onJunemeeting 24,1960, hiscol informed Martin Christian Rector Professor atalaterdecision date. Andifthiswas his tactic, itwasInthe fully successful. to prepare themforafavourable andhisachievements—perhaps of Plischke Vienna 1960) Heikke Siren [ Denmark; 1902 born Arne Jacobsen, inCopenhagen, June 26 1903, Plischke,born Ernst inAustria, currently inNew Zealand; Education: of to theFederal Ministry suggested to ofthree candidates, be foralist tects Simultaneously, have professors following named archi above-named those Prof DrHolzmeister, School, of thechairMaster ontheagenda. DrRainer andDrHolzmeister haveProfessors thereplacement to asked set sic ], born 1918], born inHelsinki,Finland.(Academy ofFineArts FROM BEAUX-ARTS BIM FROM TO ------Ernst Plischke as Teacher: Wellington (Auckland) Vienna FROM BEAUX-ARTS TO BIM

There is the question whether a design professor should be a career academic or a practitioner who teaches students, while keeping his practice. It appears that in the Auckland process the committee preferred Light over the other candidates not only because of his ability to teach and administer but also because he presented no “threat” of suddenly wishing to practise. They said:

... and though he has a good deal of practical architectural experience the Committee has no doubt that his chief interest lies in teaching and it does not consider him likely to wish to develop a private practice to the detriment of his teaching duties (AUC 1947: 380).

While from the committee’s point of view this judgment makes perfect sense, it means that such a system sees no merit in the knowledge transfer that happens AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE SPECIAL CENTENARY SCHOOL AUCKLAND between teaching and practice. The German/Austrian system which is based on such transfer is not without conflicts for exactly the reasons that the committee had outlined in the case of Light and Wood: often, design professors find it hard to combine their teaching with a successful running of their practice. Since it is

INTERSTICES their practice experience that helped them obtain the position in the first place, it is often seen as desirable by the university that the professor in question keeps up his practice, with all the ensuing time and workload conflicts. The author of these lines has seen many cases in which this works well and an equal number of professors for whom it became necessary to decide for the one or the other.

Would Plischke have made a good professor in the sense of what Auckland University expected? Perhaps not. As mentioned, he recorded in a note to self: “I would endeavour to link my teaching—the work of the students—as closely as possible to the practice background and conditions of practice and every day life” (Plischke 1947, May 26). Here, Plischke stresses the point of practice—and probably did so in the interview. He had no wish to give up practicing at all. In fact, he would resign from the civil service at the end of 1947 to go back into practise from January 1948 onwards—and thoroughly enjoyed this move: “Altogether I am satisfied, especially I enjoy my freedom” (Plischke 1949).

The “Graph”, the Essence of Plischke’s Architectural Thinking Two years after his return to Austria, Plischke was appointed Rector of the Academy. That year, 1965, he also gave his inaugural speech at the Academy. In it, Plischke brought together his lifelong grappling with the contradictory elements of architecture in one precise but flexible definition. Not often in his career did he get the opportunity to define, to the point, his theoretical position. Here, the occasion allowed him to make a programmatic statement about his fundamental attitude towards architecture. He says:

In my view, the aim of a fully developed modern architecture needs to be the unity of a spatial concept on the one hand and a Bauplastik [a built sculpture] on the other hand. These two qualities nevertheless need to be developed from a fulfilment of the function of the building and of its structure.

The principal quality of such a fully developed architecture lies in the tension between the spatial concept and the building’s function on the one side and the vision of a sculptural building and the structure on the other hand. Only this tension brings a building to life, and makes its architectonics

47 INTERSTICES AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE Ernst Plischke asTeacher: Wellington (Auckland) Vienna 48 communication,August 30,personal 2016). “not inabadway,as Blauasserts, Blau, way” (L. disputinginagood instead “but”,there was a difference inopinions,he students, would arguewithhis detailondrawing added Plischke heapproved before Where adesign. to nuts crack”. itasgiving “hard hisstudents describes Mulitzer Apparently, they wouldableto receive be the teacher.unrelenting, Hegave aheavy hisstudents workload design before 30, to have 2016). attimes At time,appears thesame astrict, Plischke been to helpthemwhere hecould(M. Mulitzer, communication,August personal and hisstudents wordstowith thesame tried support asBlau, that Plischke and Plischke’s class of the Master understanding teaching. He says, almost 1986). Butthrough hisconversations anintimate hedeveloped withPlischke was young too (hegraduated from to theAcademy studyunderPlischke in tion for Plischke’s the material for it, autobiography assemble and helped 2016). Mulitzer, (1985 and1986) wholater Plischke asprepara interviewed communication, August 30,was to him”Blau,personal anddear near (L. of histeachingwas whenastudent to thathetried encourage, to support, inPlischke’sied from class 1966 Master to 1973. positiveaspect Hesays: “The 1945, strove Blau,born out how muchPlischke hisstudents. to stud assist haveIn conversations, Mulitzer LuigiBlauandMatthias architects pointed teaching. more ordinary thanjust the Academy. hadgiven thatPlischke indicates hisstudents initself Butthisfact at friends,orhisassistants were some colleagues, hisstudents, hadbeen these cover). ofthecolourits Not allof jokingly known (because asthe“red book” thatisnow fessor. ofcontributors to thebook of10grewnames Thelist into 25 birthday in2003, withessays ontheirformerpro to publishabook theydecided oftheirteacheralive.to thememory keep To ofPlischke’s honourthecentenary in Vienna Society the Ernst-A.-Plischke formed In 2002, 10 of his former students architectureschools. inNewgroups Zealand compared to class, today’sal approach of Master to teachinginthistype year and theymay are small numbers, highlightthemore These person in hisclass. graduated from Plischke’s one or more semesters 86 studied while another class, 1973. year. per were 10students small,withabout Classes Atotalof103students wouldattheAcademy class Plischke teachhisMaster for10years, from 1963 to butStrictTeacherA Supportive ofhisteaching. itattheheart placed only healso work, centralto hisown design principleof architecture. was This understanding not of an essential standing anunder demonstrates Plischke andthrough thiscomparison well-observed, tensions are hand. These on theother and tectonics one hand andsculpture onthe spaceandfunction between elements: identify thetensionsits between sculpture. Through thismanoeuvre, thatallows hearrives himto ataconstruct ting Vitruvian triadof the“graph”,he called heextends interesting: the very something does Plischke diagramwhich In thisdefinition,whichhelater completedwithanexplanatory with an abstract built sculpture (Plischke 1965b: (Plischke 11–12). builtsculpture with anabstract noticeable. Withoutthistension we endupwitheitherpure utilitarianismor venustas into two aspects: the interior and the exterior beauty—space and theinterior andtheexterior beauty—space into two aspects: utilitas , firmitas , venustas Abtestur —maybe “attestation” inEnglish. (utility,beauty) bysplit firmness, FROM BEAUX-ARTS BIM FROM TO 13 ------Ernst Plischke as Teacher: Wellington (Auckland) Vienna FROM BEAUX-ARTS TO BIM

Not Indoctrinating but Anachronistic? Architect Alessandro Alverà, who studied under Plischke from 1967 to 1971, states that it came as a big surprise to him that Plischke’s students did not rail against their professor as was common at the other schools during the 1968 protest years: “I think that Plischke’s lectures as well as his teaching style explain the loyalty of his students” (Alverà 2003: 98).14 This opens the question of how Plischke’s teaching sat within the radical challenges and changes of those years. Architect Dietmar Steiner remembers a case in which the given brief was a single-family house—in 1971. He found the idea of having to design a house for AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE SPECIAL CENTENARY SCHOOL AUCKLAND

one family appalling and changed the brief into designing a communal house for 20 people. Plischke’s reaction apparently was to ask: “So my Anna would have to stand in the kitchen with other women?” He then declared disinterest in the project (Steiner 2003: 126). Steiner was allowed to continue working on the project—but with one of his assistants, not with Plischke. Steiner conse- INTERSTICES quently shows himself unimpressed with Plischke’s teaching but remains with respect for what he calls a “relic from another time” (2003: 126).

This is an odd incident when compared with an observation of Janet Paul. Paul and Plischke had been friends since the 1940s when she designed the inscrip- tion for Plischke’s 1942 Tasman Memorial. She remembers that Plischke had told her of his efforts to design with cultural awareness. Being tasked to design multi-units for Ōrākei in Auckland from 1939 onwards (Schnoor 2014: 805–16), Plischke apparently was well aware that they were intended for Māori of the Ngāti Whātua iwi (tribe), the original residents of Ōrākei:

In private conversation, Plischke later related how, since these houses were to be lived in by Maori families, he had tried to find out the future residents’ specific preferences: these were for communal kitchens where all meals were prepared and eaten, as well as for the well-used deep verandas such as were commonly found in Maori meeting houses. In his initial design, Plischke had altered the small separate spaces of the kitchen, the tiny dining area, and the sitting room of the typical state house to make instead one large kitchen/living room, which opened on to a sheltered sun terrace. The sketch went up through the Housing Department as far as a final arbi- ter—the Prime Minister, Peter Fraser—who then rejected it on the grounds that “our Maoris deserve the same housing as is made for Pakeha New Zealanders” (Paul 1998: 193).

When he had shown so much progressive sensibility in the 1940s, how come a student’s idea to design a communal kitchen in 1971 Vienna angered him?

Steiner also compares Plischke and Grete Schütte-Lihotzky, the designer of the Frankfurt kitchen of 1926. He shows himself surprised how little interest both of them showed in political and societal challenges of their time. “They followed an inner position and searched to justify it morally and politically. In that, however, they neglected much that actually developed in politics and society of these times” (Steiner 2003: 128).15 It is fair to say that Plischke, despite his closeness to the big events of the twentieth century, indeed remained surprisingly apolit- ical. Party politics were not his means of engaging with society. However, in his

49 INTERSTICES AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE Ernst Plischke asTeacher: Wellington (Auckland) Vienna 50 in anambivalent many from ontheonehand,heattracted students position: again—have been all over to—once were the world, seems Plischke discussed Towards andcontent instudyorganisation theendof1960s, whenchanges ofLiving” Landscape Studio Teaching: Light-Weight Structures anda“New Baugesinnung towardsing humblestance architecture. in1965, Inalecture “The said: Plischke achieve ona daily basis was and continue this underly to help them understand wardness ( in by humilityandtheabove-mentioned thatischaracterised life ingeneral towards stance aphilosophical activity—infact, all architectural that underlies word. by an old-fashioned means itis a noblemindset it is also What Plischke but be“Gesinnung” could beliefs,allthese is more difficult:attitude, mindset, made upby Plischke.“Bau” to building or “bauen”: build.“Gesinnung” means 30, ofthequote refersto the 2016).part Theother communication,August Blau,personal ashecould”(L. to helpthem,asbest inorder aspossible asbest of thestudents ever attempts to tried readthedesign saying: hadnot, Plischke reallywell, “Even didnot listenvery hehow ifPlischke to hadtried educate“small ofwhetherPlischke Plischkes”.question Blauthought There inaconversation, are to twothisquote: first, LuigiBlauanswered parts the Inhisautobiography, compare inthissense? Plischke remembers: Plischke teacher. design makeagood How does necessarily not does designer A good disliked. butmay discussion whofostered have he to form—one begins ignoredpositions buthelpfulteacher unrelenting, attimes of a strict, acompleximage speak, es heard”(99). criticalvoicescouldbe very Thus,even withonly lettingafewvoic manner. engaged tive level, onthesame inthemost topic we Often, discussed, (Alveràontherespec mature students 2003:98).“Intheensuingdiscussion asa platform for lively thatwereserved discussions primarilyby led themore patience” (Spühler and asconsumer;itrequired perseverance thestudent setup,its suppressed in unclear sightdidactically atfirst concept, “This pieces. frompicture mosaic ways accurately prepared”, thewhole hadto assemble addingthatthestudents 130). andhiswork Plischke (Spühler2003: he refersto thecongruenceofperson to himasateacher, ofwhy was importance question Plischke ofsuchsustained lowed andwas greatfreedom innowayto answer Intrying the indoctrinating. in1967,who graduated from class theMaster claimsthatPlischke’s teachingal Spühler, observations. Spühler’s Martin oneofPlischke’s many students, Swiss teacheriscountered disinterested by andsocially viewofapolitically Steiner’s towards stance fundamentally philosophical life. heremaineddriven housingandcommunitycentres by social a ofboth designs Baugesinnung ableto expand,whowould architects, upmy keep independent become thestrengths oftheindividualinorderto to foster students, helpthem My aimhowever butrather was butsmallPlischkes, tonothing not produce 16 Spühler remembers Plischke’s Spühler remembers as “unsystematic but al lectures Tuesday Innerlichkeit is a matter of knowledge, of restraint, of tact” (Plischke 1965a). (Plischke isamatter oftact” ofknowledge, ofrestraint, (mindset relating1989: to (mindset architecture)(Plischke 423).

2003: 131). ). Whathe, to accordingtried to hisformerstudents, 17 Alessandro Alverà adds that the lectures often Alverà Alessandro addsthatthelectures Baugesinnung FROM BEAUX-ARTS BIM FROM TO , a neologism , aneologism 18 19 ------Ernst Plischke as Teacher: Wellington (Auckland) Vienna FROM BEAUX-ARTS TO BIM

Roland Rainer, who, as Viennese contemporaries tell, was very authoritarian; and maybe, Plischke’s personal attitude helped avoid a severe clash between professor and students, as Alverà suggests in the above quote. On the other hand, Plischke was not entirely of this new time. He was a staunch modernist and did not agree with postmodernist ideas at all.

But this does not mean that he would have been anachronistic in the sense suggested in the section above. While he did not show much interest in blob structures as they were en vogue with the students in the early 1970s, organic and tensile constructions—above all Frei Otto’s Munich Olympic Stadium—formed a core part of Plischke’s teaching and are reflected in his students’ works. Thus, the publication on work by students of Plischke’s Master class of 1976, entitled AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE SPECIAL CENTENARY SCHOOL AUCKLAND Designs and Projects, opens with the illustration of a structural model used for the class’s exhibition in 1967, an elegant tectonic sculpture made of metal, mesh, and string, by one of the students, based on purely tensile and compressive forc- es within the structural members (Plischke 1976: 9).

INTERSTICES “Organically differentiated” is the title of the first chapter, showing tensile structures, space-frames, and tectonically expressive structures. These works are very different from Plischke’s own designs and perhaps somehow surprising when compared with his site-inflected modernist houses, but it appears that he had a great interest in exploring the possibilities of such elegant lightweight structures. The other main trajectory of Plischke’s design teaching has to do with urban planning. Soon after his return to Vienna, Plischke took a small group of students to the old Danube river arm outside the city, to introduce a project for a new dis- trict, or one could even say for a whole new city outside the existing city centre of Vienna, called Wohnbezirk Alte Donau—“Residential area old Danube”.

In the accompanying text and in the respective chapter of his autobiography, Plischke refers to his own experiences with housing and community planning schemes. He speaks of wishing to develop an alternative to the Viennese courtyard housing projects of the 1920s. As a student, Plischke had worked briefly on drawings for Karl Ehn’s famous project of the Karl-Marx-Hof and had, so he remembered, despised its monumentality (Plischke 1989: 72). He had also sub- mitted a project for another courtyard scheme competition, together with his American friend William Muschenheim. Strangely, Plischke never appreciated the tenement blocks of “Red Vienna”, despite their achievements both in urban design and in liveability for the tenants. From his days in Vienna onwards, he always preferred the model of the Siedlung, smaller scale houses with adjacent gardens in a much lower density. “There is no doubt for me that the single family house, whether as terraced house or detached, constitutes the best form of living, particularly because of its garden” (Plischke 1976: 68).20 One could easily say that with this preference in mind, the New Zealand way of living suited him more than the typical Viennese density. In this publication text and in his autobiography, he mentions as precedents both his hometown Klosterneuburg (for its size of ca. 25,000 inhabitants and its density), together with his community designs for Trentham or Naenae, north of Wellington (Plischke 1989: 451–55). Plischke suggested a Neue Wohnlandschaft, a new landscape of living (1976: 69).

This project of autumn 1963 was indeed forward-looking in two respects: the so-called Donau-City became reality after 1990 and, with the United Nations buildings, forms a new high-rise area outside the city of Vienna. With the

51 INTERSTICES AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE Ernst Plischke asTeacher: Wellington (Auckland) Vienna otherwise. are my noted own, unless translations from German All education. architectural Plischke’s contributionto Ernst to discuss opportunity in 2017. Iamgrateful forthe the University ofAuckland 1912–2017”, at asymposium andPlanners, Architects at“Educating was presented versionearlier ofthearticle inEnglishalso.published An toand whichisplanned be inVienna, published to be about language in theGerman abook Plischke. Thisincludes onErnst project research ofabigger ispart This article Acknowledgement 52 Wohnbezirk Alte Donau air and the distance to ones surrounding” (Plischke n.d., surrounding” to(Plischke air andthedistance ones ca1939: 6). me … The foreign, which one lives between without reallytracts belonging—the his brother-in-law, thepainterFrey, Max in1939: “Itistheoutland/foreign thatat thathewas Plischke: alwaysises outofplace. somewhat Or, ashehadwritten to thencharacter more thanhedid.Thissituationperhaps in publicdebate—much Vienna whenhewasin1963. appointed TheAcademy wanted himto participate was attheAcademy in whattheexpectation aspossible—exactly together closely himtoed be. InAuckland, hewould have andteachingas to tried bringpractice he would have thattheAcademyinViennawant ofFineArts theprofessor been Similarly, had set. post for the Aucklandmission professorial in the late 1940s, Vienna, he—involuntarily—fulfilled oneoftwo mainthatthecom requirements exclusively time almost theirony thatthus,in to teaching.Itisperhaps ofhistory one. however, Suchlackofcommissions, thathewas meant now ableto devote his space, in bringing function, structure, and experiences life-long withtheFreytwo inGraz(1970–73) more House houses, anaccumulationofhis ter his return to building Vienna. and He was merely one school able to realise receiveto didnot hisregret, Plischke many af more commissions architectural here. Much ofthisdevotion, asdiscussed in2003speaks of hisformerstudents was ashewasPlischke asdevotedThepublication ateacherofdesign anarchitect. TeachingConclusion: orPractice crucial wasstayed thatstudents away from formalismandutilitarianism. different language fromin anarchitectural his own preference. What remained designed much if a student mind so did not overall is that Plischke demonstrates given to freedom develop Whatthepublication theirown substantial interests. were demonstrate thatthestudents also two Theillustrations precedents. those however, projects, ofthestudent Most employed amuchhigherdensitythan allover theworldtion projects from thatwere the1990s realised onwards. to be , Plischke also anticipated themany revitalisa also harbour , Plischke FROM BEAUX-ARTS BIM FROM TO Bauplastik 21 into ------Ernst Plischke as Teacher: Wellington (Auckland) Vienna FROM BEAUX-ARTS TO BIM

6 “Professor L. B. Budden, 12 “Wir leben hier in unserem lieben aus ihnen zu machen, die meine Professor of Architecture, alten Haus und schönem großen Baugesinnung aufrecht erhalten.” University of Liverpool, in the Garten seit über zwanzig Jahren. 19 “Die Baugesinnung ist eine Chair; Mr. Martin S. Briggs, […] Bevor ich mich aber innerlich Sache des Wissens, der Senior Vice-Chairman of zuviel damit auseinandersetze, Zurückhaltung, des Taktes.” the Board of Architectural was eine neue Entwurzelung Education, R.I.B.A.; Mr. C. St. und Rückverpflanzung mit sich 20 “Es besteht für mich kein Clair Oakes, Senior Master of the bringen würde, ist es notwendig, in Zweifel, daß das Einfamilienhaus, Architectural Association School einigen Punkten klarer zu sehen.” ob als Reihenhaus oder of Architecture; Mr. S. Ziman, freistehend, die beste Wohnform 13 “Das Ziel einer vollentwickelten representative in Great Britain of ist; vor allem aber wegen seines modernen Architektur muß the University of New Zealand; Mr. Gartens.” meiner Ansicht nach eine Einheit J. F. Foster, Universities Bureau 21 of the British Empire (Secretary)” sein zwischen einem räumlichen “Es ist die Fremde, die mich (AUC 1947: 380). Konzept einerseits und einer anzieht ... Das Fremde, zwischen Bauplastik andererseits. Diese dem man lebt, ohne so wirklich 7 It appears that the records dazu zu gehören—Die Luft

AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE SPECIAL CENTENARY SCHOOL AUCKLAND beiden Qualitäten müssen for the Auckland School of aber aus der Erfüllung der und der Abstand zu seiner Architecture for the year 1947 Funktion des Bauwerkes und Umgebung.” have gone astray. Information seiner Konstruktion erarbeitet kindly provided by Elizabeth werden. Die wesentliche Qualität Nichols, Auckland University einer solchen vollentwickelten Records Management Architektur liegt in der Spannung INTERSTICES ENDNOTES Programme Manager, January zwischen dem Raumkonzept 2018. und der Funktion einerseits 8 Original diary entry in German und zwischen der Vision einer with English parts. Translation by Bauplastik und der Konstruktion 1 the author. Parts that are English andererseits. Es ist erst diese Though published in Sarnitz Spannung, welche einen and Ottilinger (2003), Orosz’s in the original have been set in italics. Bau lebendig macht und zu catalogue was unfortunately not einem Spürbar-werden seiner included in the English edition 9 And this is what he conveyed Architektonik führen kann. of this book (Sarnitz & Ottilinger to Linda Tyler when she visited Ohne diese Spannung haben 2004). Plischke in Vienna in 1984 as part wir entweder einen reinen 2 In this letter to Rie, Plischke of the research for her Master of Utilitarismus oder eine abstrakte refers to the lectures having Arts thesis on Plischke. Bauplastik.” taken place “this last winter”, i.e. 10 “Gestern abend war also die 14 “Bei meinem Übertritt war mid-1941. Sitzung des Universitätssenates es eine große Überraschung 3 Linda Tyler suggests that Firth und ich vorgestellt und interviewt. für mich zu sehen, dass die wrote the specifications for the Von den gesamten Bewerbern Plischke-Schüler nicht über ihren house Plischke designed for ist nun nur noch ein Architekt in Professor schimpften, wie es an Otto Frankel in Christchurch in England und ich in der engsten anderen Schulen damals üblich 1939–40 (Tyler 1996: 34). See Wahl. Ganz ehrend, nicht? Der war. Ich denke, dass Plischkes also Firth’s job diary of the years Präsident des Senates will Vorlesungen sowie seine after 1944. Cedric Firth Papers, unbedingt mich. Der Dekan der Lehrmethode die Loyalität seiner No. 94–132, Alexander Turnbull (architektonischen) Fakultät will Schüler begründeten.” Library, Wellington. den Engländer. Hier hat bist jetzt ein unterrichtender Architekt 15 “Sie folgten einer Haltung 4 First set up as Bachelor of keinerlei Praxis haben dürfen. und suchten dies moralisch Architectural Science, it had Das ist anders für diese neue und politisch zu begründen. by 1933 become the Bachelor Lehrstelle, weil man einzusehen Dabei ließen sie aber vieles, was of Architecture (BArch) that beginnt, dass Praxis auch bei sich tatsächlich in Politik und remained in place until the Lehrern notwendig ist. Aber Gesellschaft in diesen Zeiten introduction of the Master of es ist eine Neueinführung. Bis entwickelte, außer acht.” Architecture (Professional) jetzt hatte ein Anwärter für eine 16 “Als Ganzes zeigt das Bild eine (MArch(Prof)) (Treep 2017: 27). Lehrstelle nur Praxis an andern Übereinstimmung von Mensch Schulen nachzuweisen. [...] Der 5 “In 1907, the League of und Werk.” Senat ist geteilt, und ich glaube, Empire sponsored an Imperial dass der Engländer die Stelle 17 “Dieses auf den ersten Blick Conference on Education; in July bekommen wird. Als mir das didaktisch unklar aufgebaute 1912, the first Congress of the gestern bei dem Interview, bei Konzept verdrängte den Universities was held in London, dem auch der Dekan anwesend Studenten als Konsumenten, es representing 53 universities and war, klar wurde, bin ich sehr, sehr verlangte Ausdauer und Geduld.” with 60% of delegates having had niedergedrückt und enttäuscht direct experience of living and 18 “Mein Ziel war es aber nicht, geworden.” working in the Empire. A Central lauter kleine Plischkes zu Universities Bureau of the British 11 Plischke (1947, June 14) reports produzieren, sondern die Stärken Empire was established at the having just sent Lucie Rie a copy der einzelnen Studenten zu Imperial Institute in 1913” (Bush of the book, meaning it was fördern, um selbständige und 2014; see also Pietsch 2013). published by this date. entfaltungsfähige Architekten

53 INTERSTICES AUCKLAND SCHOOL CENTENARY SPECIAL ISSUE Ernst Plischke asTeacher: Wellington (Auckland) Vienna Auckland University Press. Zealand architecture Architects: Towards aNew Gatley, J. (Ed.). (2010). Press. 89–95). Christchurch: Te Waihora movement inWellington Zeal andcrusade: Themodern House. (Ed.), In John Wilson TheDemonstrationdwelling: Gatley, J. (1996). Acontemporary Vienna. Archive, Academy ofFineArts, New York, to Plischke. E. Plischke C.Firth, (1948, July9). Letter, reviews/review/1541 from http://www.history.ac.uk/ (2015). Review no. 1541. Retrieved Bush, B. (2014). Review ofPietsch cedric-harold govt.nz/en/biographies/5f6/firth- Retrieved from Encyclopedia ofNew Zealand Harold.Cedric Bowron, G.(2000). Firth, Jahrhundert Geschiche im20. Österreichs Berger, P. (2007). ofInternal Affairs.Department Wellington: Allen&Unwin and Hitler inNew Zealand 1936–46 toprice pay: from Refugees (1988).Beaglehole, A. Auckland. Archive,1. Registry University of (1947). Volume Minutes. Council Auckland University College. Auckland University Press. architecture Towards aNew Zealand (Ed.), (2010). Group. inJ. Republished Gatley oftheArchitecturalConstitution Architectural Group. (1946). Salzburg: Anton Pustet. und Lehrer Ernst Anton Plischke: Architekt In F. Kurrent &W. Stelzhammer, (2003).Alverà, Vermittlung. A. Vienna. of FineArts 1961/62. Archive oftheAcademy Faculty Academic year Meeting, May(1962, 23). Minutesofthe4th Academy Vienna. ofFineArts Academy Vienna. ofFineArts year 1959/60. Archive ofthe 6th Faculty Academic Meeting, (1960, June24). Minutesofthe Academy Vienna. ofFineArts REFERENCES (pp. 100–109). (p. 20). Auckland: . Vienna: Facultas.. Vienna: Group Architects:Group Te Ara—The https://teara. Kurze . Auckland: A small Group Group (pp. . . entry. Plischke, (1947, E. May 26). Diary Vienna. Archive, Academy ofFineArts, University College. Plischke Faculty ofArchitecture, Auckland Application for ChairofDesign, Plischke, (1947, E. February 3). Vienna. Rie.Letter Private to L. archive, Plischke, (1943, E. 30). September Rie. Privateto L. archive, Vienna. Plischke, (1943, E. April19). Letter Vienna. Rie.Letter Private to L. archive, Plischke, (1941, E. 15). September Vienna. Letter to M.Frey. Private archive, Plischke, (n.d., E. 1939, ca. August). Academy Vienna. ofFineArts, copy. Carbon Lang. Archive ofthe Plischke, (n.d.). Letter A. to DrR. Manchester University Press. 1850–1939 world, and theBritishacademic networksscholars: Universities, T(2013).Pietsch, University Press. 192–199). Auckland: Oxford in thetwentieth century withNewconnection Zealand TheGerman shadow ofwar: In James Bade (Ed.), Paul, J. (1998). ErnstPlischke. (2003). works. InSarnitz&Ottilinger Orosz, (2003). E. Catalogue of and New Zealand. Architectural Historians, Australia Newcastle, NSW: of Society Conference International SAHANZ ofthe27thProceedings & M.Ostwald (Eds), Prof Plischke. InM.Chapman McCarthy, C. (2010). Imagining the Academy Vienna. ofFineArts, Letter to Plischke. E. Archive of Holzmeister, C. (April 6, 1960). University Press. Wellington of andtheremaking Centre Vertical living:TheArchitectural Gatley, J., &Walker, P. (2014). University ofAuckland. of Architecture andPlanning, (pp. 40–73). Auckland: School andplanning of architecture Auckland 100years School: TreepGatley &L. (Eds.), Light(andcomes Toy). InJ. Gatley, J. (2017). After Knight 54 . Auckland: Auckland (pp. 258–264). . Manchester: . Manchester: Empire of Imagining… Out ofthe Out (pp. The

Die Vielfalt derbildendenKunst Plischke, (1965, E. November 24). Pustet. Lehrer Anton Plischke: Architekt und Kurrent &W. Stelzhammer, Vorlesungen von EAP. InF. Auszüge aus denDienstag- undGeschrieben. Gehört Lecture. Alverà (2003). InA. Plischke, (1965, E. 12). January Rie. Privateto L. archive, Vienna. Plischke, (1960, E. May 20). Letter Academy Vienna. ofFineArts, Letter to Rainer. R. Archive ofthe Plischke, (1960, E. 18). January Vienna. Rie.Letter Private to L. archive, Plischke, (1949, E. 17). October Rie. Privateto L. archive, Vienna. Plischke, (1947, E. June14). Letter archive, Vienna. to hisfamily, Private Vienna. Plischke, (1947, E. June1). Letter Ernst Plischke’s for designs Werkbund sobriety: andwartime Schnoor, C. (2014). Between Munich: Prestel. thenew for architecture world (2004). &Ottilinger, A., Sarnitz, (Eds.). E. Prestel. inEnglishas: Republished Bauen unddieNeueWelt (2003). &Ottilinger, A., Sarnitz, (Eds.). E. Press. 69–78). Christchurch: Te Waihora movement inWellington Zeal andcrusade: Themodern Centre Inc. (Ed.), InJohnWilson TheArchitecturalof fresh air: Salinger, (1996). Abreath L. Academy Vienna. ofFineArts, to Plischke. E. Archive ofthe College. (1947, May 20). Telegram Registrar, Auckland University the Academy Vienna. ofFineArts, Letter to Plischke. E. Archive of Rainer, (1960, R. 4). January Salzmann. Kunst undPolitik Holzmeister. Architekt zwischen Posch, W. (2010). Architektur Plischke, (1989). E. Plischke A. Projekte: Meisterschule E. Plischke, (1976). E. Vienna. Arts at theAcademySpeech ofFine in derWelt von heute. Inaugural (p. 109). Salzburg: Anton Ernst Plischke: Das Neue Ernst Plischke: Modern . Vienna: Prachner.. Vienna: . Vienna: Löcker.. Vienna: . Salzburg: Müry Clemens Clemens Entwürfe und Entwürfe Ein Leben mit (pp. . Munich: Ernst . L. TreepL. (Eds.), The first years. In J. Gatley & architecture for thedominion”: Treep, (2017). “A L. of school Pustet. (pp. 126–128). Salzburg: Anton Plischke: Architekt undLehrer & W. Stelzhammer, der Küche stehen?”. InF. Kurrent sollte hiermitanderen Frauen in Steiner, D. (2003). MeineAnna Pustet. (pp. 130–133). Salzburg: Anton Plischke: Architekt undLehrer W. Stelzhammer, Vermittlung. InF. Kurrent & Schülersauseines derSchweiz. Spühler, M.(2003). Reflexionen SAHANZ. Queensland: and GoldCoast, SAHANZ andUnitec ePress; (pp. 805–816). Auckland: and New Zealand: 31, Translation Historians,Architectural Australia oftheSociety of Proceedings Orakei. InC. (Ed.), Schnoor BEAUX-ARTS BIM FROM TO Press. 33–38). Christchurch: Te Waihora movement inWellington Zeal incrusade: Themodern House. (Ed.), InJohnWilson urbane: ErnstPlischke’s Kahn Tyler, (1996). Theurbanand L. Auckland. Universityand Planning, of ofArchitectureAuckland: School and planning ofarchitecture 100years School: (pp. 14–39). The Auckland Ernst Anton Ernst Anton (pp.