Studies in Conservation

ISSN: 0039-3630 (Print) 2047-0584 (Online) Journal homepage: https://www.tandfonline.com/loi/ysic20

The decorative in urban Vienna: Its preservation

Manfred Koller

To cite this article: Manfred Koller (2013) The decorative in urban Vienna: Its preservation, Studies in Conservation, 58:3, 159-175, DOI: 10.1179/2047058413Y.0000000087 To link to this article: https://doi.org/10.1179/2047058413Y.0000000087

Published online: 24 Oct 2013.

Submit your article to this journal

Article views: 279

Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ysic20 Forbes Prize Lecture

The Forbes prize was established in 1958 to honour Edward Waldo Forbes, emeritus director of the Fogg Art Museum, Harvard University, and the first honorary fellow of IIC. It is awarded by the Council of IIC for conspic- uous services to conservation and the recipient customarily delivers a lecture during IIC’s international congress, held in 2012 in Vienna. The 24th recipient of the Forbes prize in 2012 was Dr Manfred Koller.

Dr Manfred Koller was born in Vienna in 1941. He earned an MA in art technology and conservation at the Academy of Fine Arts, Vienna, and a doctorate in the history of art at the University of Vienna. In 1965 he joined the Austrian Bundesdenkmalamt (Federal Monument Agency) and from 1980 to 2005 he was chief restorer and head of the Federal Laboratories for Conservation and Restoration in Vienna. His life’s work on the conser- vation of paintings, polychrome sculptures, and mural paintings and the examination of architectural surfaces has been centred in Austria. From 1970 to the present he has been a lecturer in conservation and technology at a number of academies of art and universities in Vienna. He joined IIC in 1966 and was created an honorary fellow in 2006. Dr Koller was a founding member of the Austrian group of IIC in 1979, and its president 2003–2011. He was the editor of Restauratorenblätter, the German language journal of the Austrian group of IIC, from 1973 to 2011, and he is the author of c. 580 publications on the history of art, technical art history, con- servation of paintings, polychrome sculptures, mural painting, stuccowork, stone, and architectural surfaces.

The decorative in urban Vienna: Its preservation

Manfred Koller

University of Applied Arts Vienna, Vienna, Austria

The Vienna cityscape has retained its nucleus of the Roman fort through Medieval times to the present. Since the thirteenth century it has been enlarged, and its outlines changed again with the building of new fortifications in the sixteenth and seventeenth centuries. Gardens spread around the perimeter during the eighteenth century until the building of the new Ringstraße after 1857 replaced the dismantled bastions. Vienna’s cathedral, the Court, palaces, public and private houses with characteristic built features including details such as pavings, lighting or railings, symbolic ornaments on buildings or in public spaces, all illustrate aspects of the decorative. In 1864–1874 the first museum and school for applied arts in mainland Europe set new standards for techniques and design of decoration. In 1889 Camillo Sitte in his book on urban architecture promulgated the idea of retaining historic details in growing cities, and regarding them as artistic creations. In 1895–1905 plans to adapt the narrow city streets for modern traffic following the example of Paris would have destroyed large areas, but the plans were cancelled in time. Adolf Loos rejected superficial ornamentation in 1908 and placed bare white plaster or coloured marble or precious metal on his façades. Around 1900 Otto Wagner had even more influence on the townscape through his own immense oeuvre and the works of his many disciples. Decorations on Viennese façades were made from a variety of stone, lime plaster, lime stucco and since 1847 Roman cement, bare brickwork and glazed tiles, which will be briefly discussed in their historic context, along with aspects of their conservation. Colouring, mainly in ‘stone colours’, has been examined and can be compared to paintings of the city from the fifteenth century onwards. There is less direct evidence for painted façades from the fifteenth and sixteenth centuries, and only small traces still survive. From the time of the Ringstraße frescoes and sgraffiti have undergone conservation, in recent decades combined with increasingly scientific examination and precise documentation. Major issues in urban conservation within Vienna include the disruption of its skyline by the construction of speculative tall commercial buildings

Correspondence to: Dr. Manfred Koller, University of Applied Arts Vienna, Oskar Kokoschka Platz 2, 1010 Vienna, Austria. Email: [email protected]

© The International Institute for Conservation of Historic and Artistic Works 2013 Received August 2012; revised paper accepted March 2013 DOI 10.1179/2047058413Y.0000000087 Studies in Conservation 2013 VOL. 58 NO. 3 159 Koller The decorative in urban Vienna

close to protected areas (which include the World Heritage Sites of Schönbrunn designated in 1996, and the city with the Ringstraße and Belvedere, designated in 2001), reduced context for historic façades due to the preservation of the façade but not the interior construction (façadism), expanding the elevation with additional storeys, and aggressive confrontation from new façades made from steel and glass.

Keywords: Vienna, Townscape, Buildings, Urban furnishing, Roofs, Façades, Ornamentation

Tradition and transformation of ornaments steps to be taken to preserve historic decorative fea- Urban civilization is one of the oldest manifestations tures in a modern capital like Vienna in balance with of human culture. Its history has been widely studied contemporary construction. in terms of its origins and development, regarding Extraordinary contributions to understanding the places, structures, and functions chosen for with their development and meaning of ornament in the ground plans, spatial organization, and individual history of art were made by two Viennese scholars. buildings. Specific ornaments, ornamental styles, and Alois Riegl (1858–1905) was curator of textiles in the decorative compositions are commonly attributed to Museum of Applied Arts, and the first general conser- the applied and the fine arts. For architectonic vator for monuments. He analysed how the old façades and interiors ornamental decorations are Egyptian lotus became the Greek palmette and was often erroneously regarded as secondary, and not combined in many variations with the dynamic coherent with nor essential to the built structure. Greek wavescroll, through both tradition and trans- That is in some way true, but they are nevertheless of formation (Riegl, 1893), see Supplementary Fig. A definitive importance for the visual aspect of single http://dx.doi.org/10.1179/2047058413Y.0000000087.S1. buildings, architectonic ensembles and even more so Ernst Gombrich (1909–2001) emigrated to London in for urban sites as a whole. 1936 after his studies in Vienna. He explained, in the A historic city can be viewed as a work of art created footsteps of Riegl, how the individual psychological throughout history. Cities are created over different perception of ornament is depending on a common periods in a symbiosis of tradition and innovation. ‘language’ of architecture and decoration. This The basic rules of building were developed in anti- enables us to understand and distinguish different quity, and terms and principles were codified in ten forms and patterns (Gombrich, 1982). books on architecture from the first century CE by Vitruvius. These principles gained new importance Terminology of decorative principles from the fifteenth to the early twentieth centuries. Occidental philosophy and aesthetics are based on the They included order, ornament, and decoration in thinking of the Greeks 2500 years earlier, and its architecture, and the design of landscapes from the interpretation and mediation by the Latin culture of ecological perspective. Similarly, all formal elements the Roman empire. In parallel the antique influenced of buildings from the ground plan of the whole city development in the crafts and arts. After a more with its streets and public spaces to that of buildings, covert transmission of both through the medieval façades, roofs, surface decoration, and structures period, European culture from the Italian Renaissance before the application of shorter-lived colour onwards again explored its ancient roots, transforming schemes, compose the urban decorative ensemble. them into the sequence of common styles and individual At present we are suffering from an extremely rapid interpretations we know from the history of art and worldwide convergence of building techniques and architecture (Kruft, 1991, pp. 72–79). trends, due to globalization of the world economy and the dominance of western civilization. Order Uniformity in individual towns and habitats is a poss- The Greek term kosmos (Gatzemeier & Ebert, 1976) ible consequence, which can only be balanced by has Indo-Germanic roots linked to the term order regional and local by-laws for retaining historic struc- (Meinhardt et al., 1984). Its prior meanings covered tures and preserving their characteristic functional and military, social, and public order (Plato, Aristoteles), visual character. I shall try to demonstrate this individ- rules for the universe against the natural emptiness ual character as an example of the decorative prin- of the chaos, or for the balance of the universe by ciples and aspects of my home town Vienna, through the principle of harmony, with human beings seen as two thousand years of history. I shall discuss problems part of it. But in the philosophy of Epicure and the in the preservation of architectonic and artistic values Stoics, man became a microcosmos in himself. within her ornamental cosmos from town planning to Medieval philosophy and theology retained both single buildings, and on to the decorative design of meanings of kosmos – for the universe and for adorn- details and the colours of the townscape. Finally I ment. The latter changed in modern languages to cos- shall highlight present opportunities and necessary metics as a mere superficial embellishment.

160 Studies in Conservation 2013 VOL. 58 NO. 3 Koller ThedecorativeinurbanVienna

The latin word ordo means (military) rank and file, is mentioned together with beauty, called venustas unit, rule and order. In his handbook on architecture (Fensterbusch, 1964, p. 294 [VIII/151, 20]). It should (around 25 BCE) Vitruvius had already used ordo further include the naturalis decor (decor coming for the different styles as well, which he described as from nature) by building on healthy sites and accord- developing from the male doric to the female ionic to ing to the best natural (ecological) conditions: bed- the third order called corinthian (Fensterbusch, 1964, rooms or libraries should receive sunlight from the p. 172 [IV/1]). But the different orders of columns east, bathrooms and winter rooms from the south- and temples he collectively called genus west, while picture galleries should have even light (Fensterbusch, 1964, p. 168 [I/1,18]). from the north (Fensterbusch, 1964, pp. 40–43 [II/ 13,23–14,11]). Ornament From Greek and Latin etymology and the defi- The Latin word ornare in Vitruvius’ handbook corre- nitions of ornament and decoration in later sources sponds with the English adorn (German: schmücken, and languages (Irmscher, 1984) we learn that its French: orner, Italian: ornare). He called ornamenta essence is much broader than the mere formal embel- the embellishments on a building which architects lishment of surfaces. It has to do with being handsome like to design (Fensterbusch, 1964, p. 24 [I/4,6]) – on in accordance with a certain meaning or expression, a temple mainly for the architrave (Fensterbusch, and with general aesthetic representation in the sense 1964, p. 26 [I/5,10], p. 278 [VI/143, 24]), the gable of order (natural or man-made), harmony, and beauty. (Fensterbusch, 1964, p. 334 [VII/173, 13]), and the columns (Fensterbusch, 1964, p. 174, [IV/88,8]). But The decorative order in the cityscape with the term ornare painted decorations are also These Vitruvian principles were a suitable instrument included (Fensterbusch, 1964, p. 334 [V/174, 2,5]). for colonization, and they spread throughout the In Vitruvius’ fourth book the origins of the various Roman empire from the first century onwards. In orders of columns and their adornments are described. that period Romans settled south of the Danube and The ornamental systems of triglyphs, mutuli, and den- became neighbours of the German tribes on the north- ticuli on stone doric and ionic temples came from the ern banks of the river, organizing the provinces of imitation of earlier timber constructions Noricum and Pannonia with fortified military camps (Fensterbusch, 1964, p. 176 [IV/89, 90]). It is of inter- like Vindobona (Vienna) and some larger cities like est to learn that Vitruvius called for entablatures Carnuntum (c. 70 km to the east) or Aquincum without ornamenta, to save laborious work and make (Budapest). Vienna’s earliest layout, a rectangle with the building less expensive (Fensterbusch, 1964, rounded corners, can still be seen in the city map p. 230 [VII/118,15]). He often used ornare when dis- (Fig. 1). The Roman camp was sited on an area with cussing the furnishing of the interiors of buildings in an elevation of 10–15 m, between the natural borders his seventh book on architecture (Fensterbusch, formed by the banks of Danube at the north and 1964, p. 230 [VII/166,2]). creeks to the east and west, and was secured to the south by a moat (which later became the area called Decoration Graben). So we already find within Roman Finally we have to inquire for the linguistic sources Vindobona Vitruvius’ ordinatio, with good proportions and meanings of decoration and decorative, which are and symmetry, together with the naturalis decor pro- often taken to be synonymous. The meaning of the vided by a well-protected site. Latin verb decorare is in fact very close to ornare, After the Dark Ages and migration in the eleventh but in a more general way. Metaphorically it also century, the region of Vienna became part of the means to celebrate and signify a person. But for the Carolingian east marches, when Bajuvarian- cultivated Romans the adjective decorus suggested Germanic settlers mixed with the relics of a local more immaterial qualities such as decency, gratitude, Celtic population. From 1156 onwards Vienna devel- and even brilliance. Vitruvius used the term decor as oped into a princely residence, first of the one of his six main principles of his aesthetic guidelines Babenberger dukes until 1246 and from 1278 to 1919 for architecture: Ordinatio, Dispositio, Eurythmia, for the Habsburg dynasty. Symmetria, Decor, and Distributio (Fensterbusch, 1964, p. 36 [II/11, 10–25]). According to Vitruvius Ground plan or horizontal urban pattern decor means the perfect outlook of a building The Medieval town – named civitas in 1137 – was without defect and made in an appropriate manner subject to municipal law from 1221 and basically and style. Distributio means economy in the use of kept the Roman ground plan with its main traffic resources and methods of construction. In Vitruvius’ routes, but with new public spaces and quarters proposals for various functions of a building decor around it. The Medieval fortification was an encom- stands often for good taste, adequacy, or dignity and passing stone wall with battlements and tower gates,

Studies in Conservation 2013 VOL. 58 NO. 3 161 Koller The decorative in urban Vienna

this ‘green halo’ survived (Schröder & Sternath, 2005, p. 59, see Supplementary Fig. B http://dx.doi.org/ 10.1179/2047058413Y.0000000087.S2). The main subsequent alterations to the Viennese decorative ground plan were due to secularization under Emperor Joseph II (1780–1790). Many monas- teries were dissolved, cemeteries surrounding the churches in the city were abolished, and the bastions were opened for public access. But the most impressive change to the urban ornamental was affected by the will of Emperor Franz Joseph II, after 1857 when the fortifications were demolished. The 600-m wide Glacis – until then kept free for military defence – was transformed to the new Ringstraße. A competition overseen by Rudolf Eitelberger prepared a boulevard with five angles running around the centre, accompanied by great symmetric blocks of housing, public buildings, and gardens at both sides (Wagner- Rieger, 1969; Podbrecky, 2002). Outside the suburbs a second road, called the Gürtel (belt), was opened in 1873 as a substantially larger outer circle, in place of earthen defensive walls from 1703. Here, a metro line was built around the town from 1895 to 1902 (Banik-Schweitzer, 1978; Veigl, 2005). After 1975, Figure 1 Aerial view of the inner city with the ground plan of this became integrated with the enlarged underground the Roman fort Vindobona indicated (reproduced from (lines 4 and 6). Expansion to the north followed the Kronberger, 2009). great regulation of the meandering river Danube from 1871 to 1875. The creation of the Ringstraße as shown on the Schotten altarpiece from 1469. After was a consequence of a more liberal society and the first Turkish defeat in 1529 the simple walls were economy during the Neo-Absolutistic period, and adapted to a more modern system of defences, with mirrors the situation in France and Germany. It 12 bastions and seven gates, which enclosed the enabled new urban development for Vienna, which inner city until the second half of the nineteenth became a model for many other central and eastern century, when they were demolished (Jeitler, 2010). European capitals (Klein, 2008). These fortifications gave Vienna, like most post- It inspired the Viennese architect Camillo Sitte Medieval European cities, a star-shaped outline. In (1843–1903) to write here the first book in German its central position was (and is until today) St on urban planning (Sitte, 1889; Kruft, 1991, Stephen’s cathedral at the confluence of six streets pp. 365–367). He claimed to learn from the beauty (Fig. 2). of the old Stadtbilder (visual impression of towns) The second victory over the Turks in 1683 stimu- and he underlined the importance of open spaces lated not only the renovation of private and govern- and their relationship to public monuments and build- ment buildings within the city, but also the creation ings. Sitte’s approach to historic towns as works of art of gardens with palaces to replace the burnt-out was quite opposite to Haussmann’s surgical cutting of suburbs. For their protection a much larger outer for- boulevards into the old Paris, connected with the tification wall had to be created in a hurry in 1703 appropriation and destruction of many historic against the threatened invasion of the so-called houses. Sitte pled for the continuity of property, Kuruzzen. A detailed survey was required, undertaken liberal integration of buildings for different social by Italian engineers Anguissola and Marinoni and levels, and industrial production. But when describing printed in 1706. They later taught at the military the historical beauty of old spaces and quarters he was academy. The layout of these gardens developed as a not aware that in Italy there had existed since the four- halo with a semicircle of rays leading out of the enclosed teenth century regulations for town planning, the so- city, well documented in a series of engravings mainly by called Ufficiali del Ornato (offices for beauty) Salomon Kleiner, and 1759–1760 in the wonderful (Braunfels, 1982). This was still in effect for Venice panoramic paintings by Bernardo Bellotto, now in the during the nineteenth century (Schrammel, 1998). In Kunsthistorisches Museum of Vienna. Yet only in the northern countries from the sixteenth to twentieth cen- area of Prince Eugen’s Belvedere has a small part of turies Bauordnungen (building codes) were, in some

162 Studies in Conservation 2013 VOL. 58 NO. 3 Koller ThedecorativeinurbanVienna

Figure 2 Right half from the 1609 bird’s-eye view of Vienna by Jacob Hoefnagl, Wien Museum (reproduced from Tietze, 1931, p. 176). ways, complementary. Under the Austrian Monarchy and colour (Wolf & Schmid, 1930). In Vienna, even a ‘central commission for the research and preser- after the destruction caused by the two world wars vation of monuments’ was founded in 1850 to docu- during the twentieth century, historical structures ment historic buildings and to care for necessary were retained and the losses were reconstructed as restoration. However, legislation for their protection far as possible. could only be established in 1923 by the new republic of Austria with the establishment of the Elevation or vertical composition Bundesdenkmalamt (Federal Office for the Protection Authors like Enea Silvio Piccolomini (who later of Monuments). Municipal building regulation from became Pope Pius II) around 1450 and Hans Sachs 1930 still stated that the exterior appearance of new in 1567 mentioned the local proverb about the exist- buildings should not disturb the harmonious features ence of two Viennas, a superterranean and a subterra- of the local Stadtbild in respect to form, material, nean one, because of the deep and wide cellars (Tietze,

Studies in Conservation 2013 VOL. 58 NO. 3 163 Koller The decorative in urban Vienna

1924). This was substantiated by recent archaeological construction a few hundred metres behind the Upper research (Buchinger et al., 2002). Images from the Belvedere should not, according to the planners, early fifteenth century (Albrechtsaltar c. 1440, disturb the perspective of Prince Eugen’scastle, Schottenaltar 1469) show a skyline dominated by whereas independent visualizations cast serious doubts church towers with gothic spires, and the hills of the (Karasz, 2005). Another tower planned within the Vienna woods behind. Since 1433 the highest point panorama of the World Heritage Site of Schönbrunn of the city (indeed in Europe) had been the spire of is at the moment not under active discussion. St Stephan’s cathedral at 137 m. The height of 1 profane towers like those of the Court’s residence Development of building in Vienna was far below those of the churches, which in case The first Medieval houses were made from wood, with of fire and defence assumed profane functions too. a wooden framework. Stone walls were used only for This hierarchy was intentionally maintained until the the fortification, which also incorporated parts of the twentieth century, when the tower of the new town Roman gates. Only churches, the new court building, hall on the Ringstraße built in 1872–1883 by and some private houses had stone walls. Brickwork Friedrich von Schmidt, then responsible for the cathe- was first mentioned in 1276, and around 1300 a brick- dral too, was limited to 100 m (Wagner-Rieger, 1970, maker was also recorded (Kühnel, 1975/76, p. 29). pp. 188–191). Also, the neo-Gothic tower of the One hundred and fifty years later Enea Silvio Donaufeld parish church (1904–1914, north of the Piccolomini stated that great and comfortable private Danube) had to stop at the same height. Early industry houses were mostly built from ‘stone’ with vaulted was proud to build a factory chimney 137 m high in entrance halls and stoves for heating (Kühnel, 1975/ 1841 (Wagner-Rieger, 1970, p. 81, ref. 32). 76, p. 30). The best impression of the late Medieval Medieval houses in the town were up to three storeys gable-ended houses with two or three storeys is pro- high, and were raised to five during the eighteenth vided by a 1609 engraving by Jacob Hoefnagl. The century. The new buildings on the Ringstraße were length of their ground plan was more than double given a second ground floor (called Mezzanin) which their width and their cellars reached two or three together with attic rooms integrated into the roof levels below ground, as revealed by recent building brought a further increase in the elevation of buildings. research (Buchinger et al., 2002). During the seven- The 14-storey-high apartment house near the former teenth and eighteenth centuries, frequently two or Imperial Court (Herrengasse 6–8) was built in 1932 three of these small houses were integrated behind a and is still today called Hochhaus, although it was sur- new façade by adding one or two floors on top to passed in 1953 by the 20 floors of the so-called Ring provide more space. This was often needed because tower (Schottenring). However, it is only since 1973 the Court required temporarily rooms for guests that the disruption of Vienna’s skyline started with when the owner had no privilege for exemption. A the building of the towers of the UNO-city (120 m) good example is the existing house in Tuchlauben 19 on the northern bank of the river by the Austrian where the first two stories preserve two fourteenth- architect Staber. In the international competition of century houses inside, one of which has important 1969 he was placed fourth (first was César Pelli, wall paintings, uncovered in 1980–1981 (Höhle et al., second a British team who designed a gentle hill, 1982). Here this accommodation exemption was much better adapted to the level riverside). After this granted in 1716. wrong decision (according to Vitruvius’ criterion of The consolidation of Medieval single houses into natural decor) this place was to be developed as a larger units allowed for more representative façades new downtown area but was plagued with problems and altered the gable-fronts to a horizontal cornice caused by the strong prevailing winds. The and roofline; larger town-houses could thus assume Millenium tower by Peichl and Podrecca at 202 m fol- ornaments from noble palaces. During the sixteenth lowed in 2000 on the other side of the river. When the century many courtyards were provided with Italian- city of Vienna became a World Heritage Site in 2001, a influenced open arcades, which, however, were closed central area and the so-called buffer area were established a hundred years later due to the severe climate, and (Wehdorn et al., 2004) (cf. see Supplementary Fig. B in some cases reopened again in recent decades, like http://dx.doi.org/10.1179/2047058413Y.0000000087.S2). the house Stampa, Bäckerstraße 7 (Buchinger et al., Subsequent public discussions were engendered by the 2002, pp. 499–505; Bundesdenkmalamt, 2008, erection of office blocks quite close to its borders. p. 451, ill. 452) or the Hofburg-Stallburg and Above the underground station Wien-Mitte ablock Amalienhof (Koller, 1997a). planned to rise to 100 m was reduced to 70 m by the 1Further information may be found at: architecture, buildings, and cultural efforts of ICOMOS-Austria and the intervention of sites of Vienna: www.kulturgut.wien.at; Austrian Bundesdenkmalamt: UNESCO (Fig. 3). The new quarter with 90 m high www.bda.at (evidence on federal listed historical monuments in Vienna, and current projects for research and conservation); and initiative on blocks around the new central station currently under protection of monuments: www.idms.at.

164 Studies in Conservation 2013 VOL. 58 NO. 3 Koller ThedecorativeinurbanVienna

Figure 3 Railway station Wien Mitte, and model of new tower buildings built close to the World Heritage Site since 2001 (reproduced from Die Presse, 21 February 2002, p. 13).

The first residence of the Habsburg dynasty was internal central heating system (Tietze, 1924, p. 122). a square fortress with four towers in the corners A project for its conservation is now on the way. close to the south wall of the city, which is now After the revolution of 1848 three barracks were the subject of an EU research project on court erected in a strategic position (in particular the residences (www.courtresidences.eu). Its irregular Arsenal, behind the Upper Belvedere) using a similar appearance with different wings and open spaces building type with a regular plan of connected rec- illustrates the development of the residence from tangular courts, but with tower-like elevated corners the fourteenth to the late nineteenth century, (Fig. 4). This concept was frequently used by the archi- because several plans for ideal regulations tects of the Ringstraße Ludwig Förster, Theophil (mainly from the eighteenth and nineteenth centuries) Hansen, Friedrich Schmidt, and Heinrich Ferstel for were all left unfinished (Holzschuh-Hofer & Beseler, blocks of public and private building such as the 2008). Academy of Fine Arts, Parliament House, the Town Regular courtyards with corridors and surrounding Hall, University, a house on Schottenring 20–26 rooms not only formed the typical ground plans for (Wagner-Rieger, 1970, pp. 173–221, ill. 14,16,17). A larger monasteries (cf. the Jesuit convent, or similar configuration was chosen in the 1920s and Klosterneuburg abbey near Vienna) but also for bar- 1930s for the social housing programme racks. This model was then adapted for larger struc- Gemeindebauten concentrating on the outer districts tures like the first public hospital from 1784 – at that time with a largely blue-collar population. (Allgemeines Krankenhaus) replacing older houses for Three hundred and eighty-two units were built invalids and the poor, after the Emperor Joseph II between 1919 and 1934, which became ‘a town itself had seen the Hotel de Dieu in Paris (Skopec & spread over the remaining town’ (Tietze, 1931, Gröger, 2002, see Supplementary Fig. C http://dx.doi p. 392). It was the last phase of this historical planning . org/10.1179/2047058413Y.0000000087.S3). Around tradition in the urban architecture of Vienna and had 1990 this was changed to a campus for Vienna’s uni- great influence (Mang & Mang-Frimmel, 1980). After versity but the historical structures were well main- 1960 local continuity gave way to individual modern- tained (Rizzi, 1992, ill. 210). Unique for Vienna is ism, under international influences. the architecture parlante (Philipp, 2006, p. 271) of the round tower for insane patients (Narrenturm), erected The decorative element in public spaces 1783 behind the last courtyard by French-born After the general description of Vienna’s urban devel- Isidore Canevale with a rusticated exterior and opment in its horizontal and vertical figurations we

Studies in Conservation 2013 VOL. 58 NO. 3 165 Koller The decorative in urban Vienna

Figure 4 Model of the inner city enlarged by the Ringstraße with its buildings and parks 1857–1890, Wien Museum. Photo M. Koller.

may now focus on constitutive elements, from large Joseph II, 1842 Franz I, 1847 Archduke Karl, 1860 structures down to several typical details of the Prince Eugen, and 1874 Maria Theresia). whole decorative pattern which makes up a capital Monuments to famous musicians or poets were like Vienna. added at least in the planning of the Ringstraße (Beethoven 1874, Schiller 1875, Goethe 1895, and Open spaces and streets Mozart 1896). Technically, the Baroque monuments The larger open spaces of the Medieval town were were of marble, the fountain statues by Donner of until 1230 formed in parallel with the establishment lead, and the works after 1795 of bronze. The eques- of a new residence, parish church, or convent. These trian monuments by Franz Anton Zauner 1795 on places served as centres for markets (Am Hof) and the Josephsplatz and Anton Fernkorn 1847 on the public functions such as justice (Hoher Markt) and Heldenplatz became famous due to their excellent are still in existence. In the Baroque period the three casting techniques (Koller, 2009). These landmarks main open spaces were distinguished by great figura- maintain their dominant position today, whereas tive votive columns in the centres, dedicated to the their religious and political background have been Virgin (Am Hof of 1646), the Trinity (Graben of largely forgotten: they have become urban ornaments. 1692, also called plague column, 18 m high), and to In reaction to the reforms initiated by Emperor St Joseph (Hoher Markt of 1712). They were regularly Joseph II (1780–1790) old churches were separated used, illuminated, and frequented by religious and from their encircling cemeteries, and still-empty dynastic events, such as the three pillars of faith of public spaces were filled with monumental sculpture. the Habsburgian pietas Austriaca (Polleross, 1998). In 1792 the release of the space around St Stephan’s The first monument erected by the municipality in was documented perfectly by two engravings. This 1737 was the fountain of Providentia on the Neuer opening for the public determined the future of the Markt (new market) by Raffael Donner. It was fol- city centre, and it stimulated decorative representation lowed after 1795 by five dynastic figurative monu- on façades in neighbouring streets. New open spaces ments in the places of the old and new Court (1795 were created with the planning of the Ringstraße after

166 Studies in Conservation 2013 VOL. 58 NO. 3 Koller ThedecorativeinurbanVienna

1857. The Emperor ensured that they were created the wheels of passing cars are still kept in the along with new public buildings such as the Town Griechengasse. Hall, the Court Theatre, and the Opera House. The asymmetric Heldenplatz with its two equestrian statues grew out of the largest project for an imperial Street furniture forum after a design by Gottfried Semper and Carl Visual evidence of historic street furniture in open Hasenauer in1869 on the main battlefield from 1683, spaces for lighting, railings, and lavatories dates only south of the old Court. It was left unfinished due to from the second half of nineteenth century onwards the First World War and the end of the monarchy (Wehdorn, 1979; Dehio Wien I, 2003, pp. 963–964). (Kudriovsky, 2010). Furthermore six public parks There are several cast iron wall brackets for street- became integrated between blocks in the Ringstraße, lamps reminiscent of the first gas lighting which was which itself was made into a walk with four parallel operated until 1910 by competing local and English lines of deciduous trees. The species were changed companies. Electric lighting was introduced in 1903 after 1880 from Ailanthus and plane to domestic lime, and the tramways were electrically powered. The nega- elm, and maple which proved to be better adapted to tive aesthetics created by the overhead contact wires the local climate. An initial idea to plant only trees of caused public debates, but they were finally installed a small pyramidal shape to make façades easier to see even on the Ring and the Mariahilferstraße. Several was dropped (Masanz & Nagl, 1996). free-standing historical iron candelabra with glass At the end of the nineteenth century competition cylinders are recent reconstructions, as are the adver- regarding new metropolitan concepts emerged between tising pillars – called Litfaßsäulen after the inventor expanding capitals in central Europe (Blau & Platzer, from Berlin (Am Hof, Stock-im Eisenplatz). 1999). These concepts, described between 1895 and Historical candelabra for lighting designed by the 1905, endangered the narrow and irregular historical respective architects are still to be found at the front pattern of the inner city of Vienna. In order to speed of Parliament House (cast bronze), the Town Hall, up traffic one side of the street would have been enlarged and Opera House (cast iron) and the University by demolishing existing historical buildings. New open (stone). In the area of the Court new lighting concepts spaces and boulevards would have destroyed great have been adapted to the historic situation (Kupf, parts of the old city (Kassal-Mikula et al., 1999/2000). 1997). More decorative standing lamps are integrated But due to resistance from the Central Commission into the monumental iron railings running along the and engaged (art) historians, this so-called ‘regulation Ringstraße: around the Kunst- and Naturhistorisches of roads’ was prevented (Zaloziecki, 1914) and many Museum designed by Carl Hasenauer and nearly of the irregular twisted lanes still exist. Nevertheless, pro- 1 km long along the Heldenplatz and the Imperial resi- minent historic houses were replaced by new ones, partly dence 1864 after a design by Moritz Löhr. The cast by means of an enlarged ‘copy’ of the previous building iron of the latter came from Blansko in Moravia and (cf. 1896 the Renaissance Regensburgerhof, Lugeck 4, its original purple colour and gilding was recently documented in a painting by Franz Poledne 1897, reconstructed, but only near the central gate (Koller, Vienna Museum). 1997a, b, pp. 535–536) (see Supplementary Fig. D http://dx.doi.org/10.1179/2047058413Y.0000000087.S4). These railings were true landmarks separating the Paving areas of the Court from those of the municipality, Paving on roads and open spaces was changed almost which are still separately administered today, the totally in the second half of the twentieth century to former by the federal government, the latter by the the current surfaces, which are made of asphalt. town council. Since the fourteenth century cobblestones of local Finally a few historical lavatories should be men- sandstone were mentioned for the great open spaces tioned, underground on city open spaces, and at pave- as well as for small lanes (Kühnel, 1975/76, p. 33). ment level in the parks along the Ringstraße. The only In 1450 Enea Silvio Piccolomini described paving older facility, from the seventeenth century, is in the made of hard stones in Vienna (Kühnel, 1975/76, Obizzipalais, now a museum for clocks (Buchinger p. 30). The paving was subsequently renewed in 1777 et al., 2002, p. 480). A 1905 Liberty-style WC on the and 1826 with cubes of granite and lasted until the Graben can be accessed by decorative stairways. 1960s (Paul, 1910, p. 128). Expensive ornamental Technical equipment for WCs had been produced stonework patterns can only be found indoors, like since the late nineteenth century by Wilhelm Beetz the marble floor in St Charles’ church made before GmbH in Vienna and Budapest. These historical lava- 1730. But even larger yards in the city were surfaced tories are listed as technical monuments and have been with sand and gravel until recently. Medieval curb- restored as such (Wehdorn & Georgeacopol- stones to prevent damage to the walls of houses from Winischhofer, 1984, pp. 5–6).

Studies in Conservation 2013 VOL. 58 NO. 3 167 Koller The decorative in urban Vienna

Decorative roofs, chimneys, and symbolic from wrought-iron leaves crowning the 1898 Joseph ornaments Maria Olbrich Secession building. The roof was Now we will observe the appearance of single build- burnt in 1945, and no remains could be found, but a ings from the top down, and the characteristics of report from the opening in 1898 stated ‘Gilding with their historical decorative elements. three stripes’! During the last restoration 15 years ago we could not visualize this description until archi- Towers and roofing tect Krischanitz zoomed details from old photographs Of Medieval towers only the two gothic stone spires of to reveal the typical Liberty-style pattern of three con- St Stephan’s cathedral and of the church Maria am gruent oval circles, which were then reconstructed Gestade with tracery and foliage survived. However, (Kapfinger & Krischanitz, 2003). their upper sections are now copies using the original Architectonically and visually prominent chimneys technique, made during 1863–1864 and 1890–1894, are rare in the urban panorama of Vienna. Exeptional respectively. Other Medieval church towers have are the two 38-m-high flues designed by Theophil acquired later Italian-inspired helmets like those of Hansen for the Parliament House, with ionic columns the Baroque era. They were again changed to Neo- with capitals made from gilded cast iron gothic spires during the nineteenth century, partly (Bundesdenkmalamt, 2008, p. 454, ill. 554) and the made from iron (St Augustin). The Baroque domes painted and gilded smoke-stack of the 1990 heating of St Peter, St Charles, and the Church of the plant in Spittelau by Friedensreich Hundertwasser. Visitation are covered with copper sheeting, like the mansard roofs of the Upper Belvedere, and the Symbolic ornaments domes of the court buildings at Michaelerplatz from We must not forget an important group of decorative 1733 to 1892, here with ornamental gilding work. entities which carry a religious or political message. Generally Medieval and Baroque roofs were pro- There are gilded crosses on top of the church towers. tected with rectangular terracotta tiles, sometimes On churches with imperial patronage the crosses with joint patterns made from lime plaster. Examples stand above a gilded copy of the Habsburg family of the products from local tile-works can be seen in crown, now in the imperial treasury (Karlskirche, the Viennese tile museum (www.ziegelmuseum.at). Votivkirche, Stiftskirche, Universitätskirche). This Glazed coloured roof tiles on St Stephan’s have a con- crown from 1602 is even present on top of the lanterns tinuous tradition back to the thirteenth century in the iron railings around the imperial district along (Romanesque towers) and were renewed for the huge the Ringstraße and on the door-handles of the new saddleback roof above the naves in 1856, and again wing of the Hofburg. Another symbol frequently after war damage in 1945. Roofs on the great buildings found since the sixteenth century is the gilded chain along the Ringstraße included for the first time here of the Golden Fleece Order, mainly connected with grey and black slate. The Votivkirche in French cathe- the coat of arms of members of the Habsburg family dral style has a geometric black and grey pattern, for as displayed on the portal to the Schweizerhof in the which a schematic underdrawing was applied to the Court, erected 1552 under Emperor Ferdinand timberwork below. The octagonal domes of the great I. The elements of this chain represent the museums have rounded elements of slate fixed Burgundian heritage of the Habsburgs since between ribs of profiled zinc. Much ornamental Emperor Maximilian I. The linked symbols of the gilding work on the roofs had been nearly forgotten flint and the fire iron are shown not only in the enta- and 100 years later could be restored again. In 1869 blature of the outer and inner portals of the the architect Heinrich Ferstel built a Neo- Schweizerhof but are also repeated as political orna- Renaissance palace for Archduke Ludwig Viktor ment in the masonry surrounds of all the windows in (Schwarzenbergplatz 1), which features a round bay this oldest part of the Viennese court. They served as corner topped with a copper roof just where the a ‘personal logo’ for Ferdinand I and symbolize the Ringstraße changes direction. There I found in 1984 owner of this imperial residence as protector of traces of the first ornamental gilding. After its church and Christianity and rescuer of Europe – reconstruction in 2002 the roof again presents a during Ferdinand’s reign the Muslim Turks were brilliant sight-line for those moving along the road defeated for the first time in 1529 on the outskirts of (Supplementary Fig. E, a and b http://dx.doi.org/ Vienna (Holzschuh-Hofer & Beseler, 2008, 10.1179/2047058413Y.0000000087.S5 and http://dx. pp. 650–653, ill. 752, 757–768). doi.org/10.1179/2047058413Y.0000000087.S6). Ferstel The double-headed eagle represents the Holy further stressed the ridge of the saddle-shaped roof Roman Empire of the Habsburgs. Coats of arms both here and on the Votivkirche by a horizontal made of stone or metal with respective crownings on iron lattice with gilded tracery. Another example of the gables or above the doors of palaces declare lost ornamental roof gilding was the famous sphere noble owners. On public monuments they indicate

168 Studies in Conservation 2013 VOL. 58 NO. 3 Koller ThedecorativeinurbanVienna the different reigns of the founder, such as those of 1891 with dark reddish and grey polished granite Austria, Bohemia, and Hungary on the plague which is well preserved today. After 1890 Otto column in the Graben dedicated by Leopold Wagner introduced white marble, combined with I. Another ornamental symbol with a personal iron framing for his noble metro stations message consists of the initials of the owners on (Karlsplatz), or geometric marble slabs fixed with façades and gates. In the seventeenth century they metal dowels and heads from aluminium composed were integrated, for example like ‘LI’ for Leopold I of decorative patterns (Postsparkasse, Kirche Am in the 1683 copper cross with double-headed eagle Steinhof: Lehne, 1999). on St Stephan’s spire (now in the Vienna Museum). For the façades of the public buildings along the Among the ornaments of the wooden doors of the Ringstraße limestone or white marble (Parliament Reichskanzlei in the Court stands ‘CC’ for Emperor House) became the material of choice. The results of Charles VI. Entangled into the ornament on iron competitions were approved by the commission after gates ‘E’ and ‘S’ in the Belvedere gardens represent highly elaborated models from gypsum with all orna- the patron Prince Eugen from Savoya ments in a scale of 1:2 for lifesize sculptures or 1:20 (Supplementary Fig. F http://dx.doi.org/10.1179/204 for buildings or parts thereof. The damaged model 7058413Y.0000000087.S7) and ‘FJI’ represents Franz for the dome of the Kunsthistorisches Museum Joseph I on the new wing of the court. underwent conservation, but losses due to long storage were retained (Koller, 1997b, ill. 544) Decorative façades in Vienna (Supplementary Fig. G, a and b http://dx.doi.org/ The French word façade comes from the Latin facies 10.1179/2047058413Y.0000000087.S8 and http://dx. (face), which early townships in central Italy trans- doi.org/10.1179/2047058413Y.0000000087.S9). Some ferred to facciata for characterizing the entrance smaller model figures are made from wax and elevation of a building (Braunfels, 1982). Façades are painted white. These original gypsum models were essential for the identification of a building, much originally intended to be kept for later purposes of like a face is for a person. Therefore façades became restoration. But after several changes of storage predestined for adornment. rooms, out of 1200 models only about half have survived in the cellars of the court. Masonry Soon after 1900 Adolf Loos (1870–1933), son of a Stone façades were rare in Vienna. Local caves in the stonecutter from Brno, preferred extraordinary Vienna woods produced fine sandstone, and since coloured marble from Greece for shop entries and Roman times limestone had been quarried in the for the lower façades of his first house built in Leitha mountains 40 km to the east. The Romans 1909–1911 in front of the Hofburg, eschewing any introduced square stones with an embossed surface applied decoration (Czech & Mistelbauer, 1976). for their fortifications (Kronberger, 2009, p. 31). Like Otto Wagner he introduced equal height for all Similar embossing was used in the gate towers of the upper floors, while previously different heights had Medieval town and the first Hofburg from the late thir- indicated the different social positions of the people teenth century (Mitchell, 2010, ill. 33, 34). Other living there. In practice the visible marble of the Medieval stone buildings were mainly the churches. Looshaus corresponds to the antique technique of Baroque churches and palaces used diluvial limestones incrustation, which served to hide a simple structure from Lower Austria for static and decorative parts or from bricks with a more prestigious material sculptures only, and reddish lime marbles from (Supplementary Fig. H, a and b http://dx.doi.org/ Salzburg for the masonry or cartouches of noble 10.1179/2047058413Y.0000000087.S10 and http://dx. doors. Both stones were provided by shipping on the doi.org/10.1179/2047058413Y.0000000087.S11). In Danube. At the construction of the Ringstraße many 1908 Loos designed the entry of the ‘American Bar’ public buildings received exterior façades of limestone, which is still in use (in the Kärntner Durchgang), which came originally from Lower Austria and later with Greek marble, glass mosaic and brass, and in from Istria, from which transport became easy after the same year he gave his famous lecture ‘Ornament 1870 on the new southern railway from Triest: the as a crime’ (Sarnitz, 2003, pp. 84–89). Loos excepted Opera House, Court Theatre, Town Hall, University, therein the tatooed Papua natives, but after further and the museums for art and natural history evolution of culture he considered that tatoos would (Kieslinger, 1972). But on most of the inner façades only belong to criminals or the degenerate. masonry was imitated by various plasterwork tech- Consequently the extinction of ornaments from items niques. Polished marble on the Ringstraße was intro- of daily use was for him an act of evolution. To the sur- duced by Theophil Hansen for the Parliament House prise of the society, two Maori natives tattooed on (1871–1883). The building for New York’s Equitable their facies and bodies had already come to Vienna Assurance company near St Stephan’s followed in on board the imperial frigate Novara in 1859–1860

Studies in Conservation 2013 VOL. 58 NO. 3 169 Koller The decorative in urban Vienna

(Sauer, 2010). From 1893 to 1996 Loos was in the ornaments were first used in 1847 for the former USA and surely became familiar with Louis Rothschild palace (Renngasse 4) by Ludwig Förster. Sullivan’sessay‘Ornament in Architecture’ which pro- Theophil Hansen and Otto Wagner preferred this posed in 1892 to dispense with architectonic ornaments material to imitate plain masonry with imprinted rec- for some time (Kruft, 1991 p. 420). Presumably tangular joints, and for drawn profiles. Its character- unknown for him was the ‘architectoftherevolution’ istic light yellow-brown colour made no additional Nicolas Ledoux in Paris, who quoted in his treatise on paint layer necessary. Good examples can be seen in architecture from 1804: ‘Ornamental details are without the Kulissendepot (depository for opera-scenes, moral value and fatigue the eye … ’ (Ledoux, 1804, Lehargasse 6) by Gottfried Semper and Carl p. 89; Stoloff, 1977, p. 108). Hasenauer (1873) (Supplementary Fig. I, a and b http://dx.doi.org/10.1179/2047058413Y.0000000087.S12 Lime plaster and stucco and http://dx.doi.org/10.1179/2047058413Y.0000000087. Yet from the thirteenth century to the 1960s the main S13) and the Epstein palace by Hansen (1871) next to material for façades in Vienna was not stone but coat- the parliament building, both conserved authentically ings of lime plaster, with increasing amounts of cement in 2000 and 2004–2005 (Baatz et al., 2005, binders after the mid-nineteenth century. Different pp. 142–155). In contrast, several new washes on treatments of these plasters provided decorative relief modern white smooth plasters no longer possess on the surfaces: traces made by working tools, and their intended clarity (the metro stations and the fine or rough structures. The latter were made by stip- Secession building). pling or incrustation with little stones. Imitation of square stones treated alla rustica had been known Brickwork since Roman times, for use on basements or pillars. Façades with intentionally exposed brickwork in Alla rustica facings with stippled plasters are found Vienna were used more for factories or barracks, but mainly from the seventh century, whereas the grainy rarely for public or residential buildings. It was the incrustations on plain walls are typical for eighteenth- architect Heinrich Ferstel who introduced visible to nineteenth-century façades (Koller, 1997a, p. 532, bricks and terracotta ornaments on his Ringstraße table 2). Façades from around 1700 by architects like buildings. His new museum and school for the arts Fischer von Erlach or Hildebrandt have perfectly and crafts from 1866 to 1873 (Österreichisches smooth plasters with a thin layer of pure lime Museum für Kunst und Industrie, Kunstgewerbeschule) reinforced with fibres on top. Lime technique was were the first ones on the continent after the Victoria even used for stucco ornaments and flat reliefs like and Albert Museum in London (Wagner-Rieger, those on Prince Eugen’s Belvedere. In 1836 the archi- 1970, pp. 182–184). They were stimulated by Rudolf tect Ludwig Förster introduced the Italian marmorino von Eitelberger’s visit to the third of the world exhibi- from Venice to Vienna (Förster, 1836). Around 1900 tions in London, in 1862. He was the first professor of this at least inspired – together with international art history at the University of Vienna and also experiments for the revival of antique Roman plasters became director of the new museum. At this time the in the United States and in Europe – architects like new movement for ornamental design, in reaction to Otto Wagner and Adolf Loos to use whitish, neoclassic purism, was spreading from England smooth, marble-like lime-bound wallplaster, which (stimulated by the world exhibitions in London in avoided the need for paint. The final step in anti-dec- 1851 and 1862) and culminated in the instructive orative perfection achieved with plain whitish plaster The Grammar of Ornament (Jones, 1856). This publi- can be seen on the façades of the house designed cation like most of the other earlier and later printed 1926–1928 by the philosopher Ludwig Wittgenstein pattern books was collected in the library of this (with Paul Engelmann) for his sister Margaret Austrian Museum for Art and Industry, later called Stoneborough (Kapfinger, 1984). Its sophisticated the Museum for Applied Arts, as a working tool for technical details of metal window framings and verti- new and high-quality design for the crafts and industry. cally sliding metal shutters sprang from technical Collections and library are now available to consult novelties (not yet studied in detail) introduced during online on this museum’s website (www.mak.at). The the building of the Ringstraße. well-preserved façades of Heinrich Ferstel’s buildings for these institutions show yellow and red brickwork Roman cement with black painted joints combined with basement After 1850 Roman cements became a widespread and square quoins made from limestone. But in alternative to lime plaster. These are currently addition they demonstrate the revival of traditional being studied across Europe, with coordination historic decorative techniques such as sgraffito, reliefs from Austria (Veigl, 2002, 2009; Bayer et al., 2011) in glazed terracotta and Venetian glass mosaics. (www.rocare.eu). In Vienna cast Roman cement Decorative elements of terracotta for application

170 Studies in Conservation 2013 VOL. 58 NO. 3 Koller ThedecorativeinurbanVienna onto façades had been produced since 1869 by Rabbits’, with scenes of a distorted world where Heinrich Drasche’s company Wienerberger rabbits rule over men. Before demolition in 1737 it Ziegelfabrik after the design of leading architects was documented by Salomon Kleiner in a precise (Wehdorn, 1979) (www.wienerberger.at – today the drawing, now in the Vienna Museum (Tietze, 1924, leading international company producing brick-based p. 83). Figurative painted façades returned only on materials for the building trade). The appearance of per- buildings of the Ringstraße with fresco paintings fection on this visible brickwork is due to precisely pro- (Academy of Fine Arts, south façade) or sgraffito dec- filed joints, which in addition could be painted (Arsenal, orations (rear of the University, inner courts of the art Museum of Applied Arts, Greek Orthodox cathedral). history museum), which have recently been restored. The new building of the older Academy of Fine Arts, For the seventeenth and eighteenth centuries, tech- after a design by Theophil Hansen (1872–1877), came nical examination has revealed harmonious mono- soon after and had its own programmatic adornment: chrome or two-colour compositions with bright stone stone, Roman cement plaster, terracotta sculpture, and colours, which agrees well with paintings of the citys- fresco painting. cape made from 1759 to 1760 by Bernardo Bellotto, Otto Wagner recommended glazed tiles or mosaics now exhibited in the Museum of Art History (Koller, with ornamental effects in his manifesto Modern 2011). The emperors refused any loud colouring for Architecture, which together with his buildings influ- the court, which upheld the tradition of noble restraint enced development within central Europe (Wagner, in stone hues. Most palaces of the nobility and many 1895; Kruft, 1991, pp. 367–369; Moravánsky, 1993). private houses all the way to the suburbs followed Best known are his house on Linke Wienzeile 40 this example, like those in the Spittelberggasse (close from 1899 with floral majolica from the behind the museum quarter). For the late eighteenth Wienerberger company and the shop, atelier, and resi- century Neoclassic monochromy was typical up to dential building for Portois & Fix, Ungargasse 59–61, the pure lead white and oil-based paint on the doric by his disciple Max Fabiani (1900), covered with stone temple in the Volksgarten, designed by Pietro a geometric composition with yellow-green tiles Nobile (1823) for Antonio Canova’s sculpture of (Lehne & Kalmár, 2002 pp. 30, 33, 54). Sadly, most Theseus, restored in 2011. Monochrome yellow ochre of the interesting warehouses on the Kärntnerstraße was typical for the Biedermeier period, until the revo- or Mariahilferstraße built after 1865 with decorative lution of 1848. With the making of the Ringstraße metal elements in their glassfronts were destroyed in leading architects tried to realize the ideals of the Second World War, or later (Lehne, 1990). Materialbau, showing unpainted surfaces of bricks and stone or using stone-like plaster, such as Roman The colours of Vienna cement or marmorino, mentioned above in connection Finally, some brief reflections on the decorative role of with architects such as Hansen, Ferstel, Schmidt, or colour in Vienna’s historical architecture are in order. Wagner. But on the other hand contemporary research Examination would verify the fifteenth-century pic- and discussions have raised awareness of polychromy tures we have mentioned. In the fourteenth- and fif- in ancient and medieval architecture (writings by teenth-century St Stephan’s cathedral and private Gottfried Semper and others: Kruft, 1991 houses, yellow ochre and grey stone colours (with pp. 355–361; Philipp, 2006 p. 322). Decorative paint- white or red squares and lines) and darker quoins ings in red, blue, yellow and with gildings were recently were found, for which uncovered areas reveal evidence examined and conserved on façades by Theophil visible today (Tuchlauben 19, Kleeblattgasse 5). The Hansen (the Parliament House, south façade) and historical German terms for ‘stone colour’ or ‘brick Carl Titz (Klein-Palais, Dr Karl Lueger Platz 2) colour’ in fact mean the particular colours of real (Supplementary Figs. A; J, a, b, c http://dx.doi.org/ stones or bricks which the builder had in mind, and 10.1179/2047058413Y.0000000087.S14, http://dx.doi. the terms were used until the end of nineteenth org/10.1179/2047058413Y.0000000087.S15, http://dx. century (Koller, 2003). Therefore the predominant doi.org/10.1179/2047058413Y.0000000087.S16). stone colour changed when new types of stones came Around 1900 Vienna favoured the pairing of white in fashion, as can be documented on the façades of and gold (e.g. J.M. Olbrich’s Secession of 1898, Otto the imperial Court (Koller, 1997a, pp. 528–532). Wagner’s metro stations and church on Steinhof During the sixteenth century dark grey was favoured, (1907), iron bridges, and the iron glasshouse in the which has recently been restored in the courtyard of gardens of the Court). Colouring for the municipal the Imperial Riding School (Holzschuh-Hofer & social housing blocks, designed by renowned archi- Beseler, 2008). tects between the two world wars, was influenced by Very few illusionistic wall paintings on façades of the expressionistic emphasis on pure colours spread late Gothic and Renaissance houses have survived. by the German architect Bruno Taut. Technically The most interesting one was the so-called ‘House of they used coloured cement plasters (see the German

Studies in Conservation 2013 VOL. 58 NO. 3 171 Koller The decorative in urban Vienna

patent for Terranova by Mang, 1980; Klein, 1999) with • international: world heritage sites such as the castle grey, yellow ochre, or dark red pigments, as can be and park of Schönbrunn have been designated since seen in the huge Karl Marx Hof, 1996, and the central area since 2001, yet UNESCO Heiligenstädterstraße 82–92, built 1926–1933. has no jurisdiction over them (Wehdorn et al., 2004) After 1945 until the 1960s and 1970s many historis- (Fig. 5). tic façades were purified of all ornament and reduced Essential for the conservation and possible restor- to bare greyish plaster. Against this tristesse and the ation of the urban decorative in Vienna is the preser- rejection of ornament in modern architecture the vation of the ground plan together with the spatial Viennese painter Friedensreich Hundertwasser arrangement of the historic town and its listed built described his philosophy for radical natural living and artistic monuments. This is more or less fully and building in a manifesto Los von Loos (Away accepted by now. The current reduction of traffic in from Loos, see Hundertwasser, 1983 pp. 174–179). the city and pedestrianizing of historic quarters, He created many buildings with irregular forms, partly with reconstruction of the historical furnishing, organic or fantastic decorations, and multi-coloured or the restoration of traditional coffee-houses with paints. Plants and trees are integrated into windows, municipal support, are highly acceptable to both balconies, and roofs. His works are not only attrac- inhabitants and tourists. tions for tourists in Vienna (Hunderwasserhaus and Principally we need more public information, as Hunderwassermuseum:3,Löwengasse 41–43, built well as fundamental discussions about possible 1985) but in Austria and Germany too (Magdeburg alternatives, mainly in relation to the introduction of and Darmstadt). The problems of their future conser- ever higher buildings which disrupt views of the his- vation are still an open question. torical townscape. Conservation of old buildings and During the last few decades examinations of historic integration of contemporary architecture is the façades made by the Bundesdenkmalamt and later by central problem of every urban ensemble, from the independent conservators have revealed a rich variety whole town, to local areas, down to single junctions of materials and colours on the historic surfaces of or roads. Selecting the right proportions between Vienna’s built architecture (Koller, 2007). both in height and mass requires a clear concept Restorations have followed, with craftsmen specifically from town planners. trained through courses organized by the At present, good facilities are provided for historic Bundesdenkmalamt at the ex-Carthusian monastery and scientifically based examination and authentic in Mauerbach, near Vienna, which since 1980 has conservation of single façades and historic monu- served as a work station and documentation site for ments, with all their details. Due to intense effort the authentic conservation of historic buildings over five-year studies (masters level) for technology (Krist & Neubarth, 1997, 1999). and conservation on both universities of the arts in Vienna, professional specialists are available for any work carried out, and there is good cooperation Problems and perspectives of urban between experienced architects and specialized crafts- conservation men (Krist & Griesser-Stermschegg, 2011). Most pro- Living towns like Vienna have at every period to find a jects now are carefully prepared, carried out new balance between their history, present needs, and economically through pre-planning competitions, future perspectives, in regard to characteristic ornamen- and are supervised by the experts of the tation. That is the fundamental difference compared to Bundesdenkmalamt. But preventive conservation single art objects kept in a museum. For the last 20 and monitoring once a project has been finished are years a battle has been ongoing between recent, often still under-developed. speculative, urban developments and the cultural and Authentic preservation of historic buildings and social engagement of citizens and experts, despite the their façades was for a long time accepted only for existence of local and federal laws. But in political works before about 1850. But 90% of the existing terms, these are often weak instruments for protection urban architecture in Vienna is of later date: about and appropriate preservation, if the owners are not 50% from the period of historicism until 1914, and willing. The legal instruments are: about 40% from the last hundred years. For a long • municipal: building regulations and the definition of period the rich ornamental façades in neo-Gothic protected areas known as Schutzzonen (Pal & and neo-Renaissance to neo-Baroque styles were not Wehdorn, 1992) assessed, and art historical research in this area was • protection and care of monuments with historical, artistic, or cultural value by the federal office for lacking (Frodl-Kraft, 1976). Therefore many façades ‘ ’ monuments (Bundesdenkmalamt) (the current list of were purified to plain and naked walls with only buildings can be seen at www.bda.at/service/down traces of prior decoration left. An even worse compro- loads/denkmalverzeichnis) mise is the so-called ‘façadism’, where only the old

172 Studies in Conservation 2013 VOL. 58 NO. 3 Koller ThedecorativeinurbanVienna

Figure 5 World Heritage Site of Vienna: city, Ringstraße and Belvedere 2001: red denotes central zone, blue denotes the buffer zone (reproduced after Wehdorn et al., 2004). façade is kept as the historic frontage of a new struc- a contemporary perspective on its conservation, res- ture built behind. This has occurred in a few cases toration, and reconstruction, based on the evidence even in the centre of the city, for example the former from historical and technical research and documen- Grand Hotel of 1861 (Kärntner Ring 9), or the tation. The future conservation of Vienna’s historical Medievial-Baroque Hochholzerhof (Tuchlauben 5). urban decorative, however, is not only a matter of tech- Another problem which now urgently requires a sensi- nically perfect and thoroughly ethically conservation. tive solution is the extension of offices or apartments It needs above all approval within the whole of into the roofs of buildings. Finally we must question society, to create favourite conditions and engender the calculated contrast between historic structures public support for our work. Critical and experienced and those with new materials and design. Can visitors like those from the worldwide community of Hogarth’s principle of variety from The Analysis of the International Institute for Conservation could be Beauty (Hogarth, 1753) be adopted too for the decon- of help there, and they are always welcome. structed decorations of today? Might the titanium- based wing by Hans Hollein (2003) at the entrance References of the world-famous graphic collection of the Baatz, W., Brenner, W., Dahm, F., Gattringer, C., Hamann, B., Albertina be regarded for a contemporary ornamental Höhle, E., Klein, E., Moser, L., Neubauer, B., Riff- Podgorschek, C. & Woltron, U. 2005. Das Palais Epstein. accent in contrast to the restored old façade behind? Geschichte, Restaurierung, Umbau. Wien: Löcker. Or wasn’t Vitruvius right when he said that less orna- Banik-Schweitzer, R. 1978. Liberale Kommunalpolitik in Bereichen der technischen Infrastruktur Wiens. In: F. Czeike, ed. Wien in mentation could save money too? Or perhaps der liberalen Ära, Wien (Forschungen und Beiträge zur Wiener Vitruvius was only a humourless writer who hated Stadtgeschichte 1: Verein für Geschichte der Stadt Wien), Wien: Berichte der Geologischen Bundesanstalt, pp. 91–119. ornament! Bayer, K., Gosselin, C., Hilbert, G. & Weber, J. 2011. I am sorry that I could not fully define the preser- Microstructure of Historic and Modern Roman Cements to Understand their Specific Properties. In: A. Mauko, T. Kosec, vation process in my title. But I have tried to analyse T. Kopar & N. Gartner, eds. Proceedings of the 13th the complexities of the urban pattern of Vienna from Euroseminar on Microscopy Applied to Building Materials.

Studies in Conservation 2013 VOL. 58 NO. 3 173 Koller The decorative in urban Vienna

Ljubljana: ZAG, Slovenian National Building and Civil Koller, M. 2003. ‘Steinfarbe’ und ‘Ziegelfarbe’ in der Architektur Engineering Institute, pp. 2–3. und Skulptur vom 13. bis 19. Jahrhundert. Restauro,1–3: Blau, E., & Platzer, M., eds. 1999. Mythos Großstadt. Architektur und 32–9, 123–29, 188–93. Stadtbaukunst in Zentraleuropa 1890–1937. München: Prestel. Koller, M. 2007. Towards a Methodology of Architectural Braunfels, W. 1982. Stadtbaukunst in der Toskana, 5th ed. Berlin: Paint Research. Experiences in Austria and Central Europe. Gebr. Mann. In: L. Bregnhoi, H. Hughes, J. Lindbom, T. Olstad & Buchinger, G., Mitchell, P. & Schön, D. 2002. Hausforschung in der E. Verweij, eds. International Conference on Architectural Wiener Innenstadt. Österreichische Zeitschrift für Kunst und Paint Research in Building Conservation. London: Archetype, Denkmalpflege, LVI(4): 369–534. pp. 175–81. Bundesdenkmalamt, ed. 2008. Denkmalschutz, Denkmalpflege, Koller, M. 2009. Zu Geschichte und Gegenwart der Denkmalforschung 2006–2007. Österreichische Zeitschrift für Metallrestaurierung in Österreich. In: M. Griesser-Stermscheg Kunst und Denkmalpflege, LXII: 449–78. & G. Krist, eds. Metallkonservierung, Metallrestaurierung. Czech, H. & Mistelbauer, H. 1976. Das Looshaus. Wien: Löcker & Geschichte, Methode, Praxis. Wien: Böhlau, pp. 25–56. Wögenstein. Koller, M. 2011. Zur Architekturfarbe im historischen Stadtbild an Dehio Wien, I-Innere Stadt 2003; Dehio Wien II. bis IX. und XX. den Beispielen der Freyung und des Dr Ignaz Seipel Platzes in Bezirk 1993; Dehio Wien X. bis XIX. und XXI. bis XXIII. Wien. Österreichische Zeitschrift für Kunst und Denkmalpflege, Bezirk 1996. Dehio-Handbuch der Kunstdenkmäler LXV: 414–36. Österreichs, ed. Bundesdenkmalamt. Wien: Berger. Krist, G. & Neubarth, K., eds. 1997. Architectural Surfaces: Fensterbusch, C., ed. 1964. Vitruvii de architectura libri decem. Conservation and Restoration of Plastered Façades. Wien: Darmstadt: Wissenschaftliche Buchgesellschaft pp. 72 (I/7,5), Bundesdenkmalamt (Arbeitshefte zur Baudenkmalpflege/ 200 (IV/8,14) – Nohl H. 1876, Index vitruvianus. [Reprinted Kartause Mauerbach). Darmstadt: Wissenschaftliche Buchgesellschaft]. Krist, G. & Neubarth, K., eds. 1999. Decorated Renders around 1900 Förster, L. 1836. Über die venezianische Marmortünche oder den in Europe (EU-Rendec). Wien: Bundesdenkmalamt Marmorin. Allgemeine Bauzeitung, 1: 183–84. (Arbeitshefte zur Baudenkmalpflege/Kartause Mauerbach). Frodl-Kraft, E., ed. 1976. Wiener Fassaden des 19. Jahrhunderts: Krist, G. & Griesser-Stermschegg, M., eds. 2011. Wohnhäuser in Mariahilf. Wien: Böhlau – Studien zu Konservierungswissenschaft und Restaurierung heute, Denkmalschutz und Denkmalpflege X (with complete catalo- Konservierungswissenschaft, Restaurierung, Technologie, 7. gue for the 6th district). Wien: Böhlau. Gatzemeier, M. & Ebert, R.K. 1976. In: J. Ritter & K. Gründer, Kronberger, M., ed. 2009. Vindobona: Das römische Wien. Wien: eds. Historisches Wörterbuch der Philosophie. Basel: Schwabe, Wien Museum. vol. 4, pp. 1167–76 Kruft, H.W. 1991. Geschichte der Architekturtheorie, 2nd ed. Gombrich, E. 1982. Ornament und Kunst. Schmucktrieb und München: Beck. Ordnungssinn in der Psychologie des dekorativen Schaffens, Kudriovsky, R. 2010. Der lange Weg zum Kaiserforum. Gottfried 2nd ed. Stuttgart: Klett & Cotta. Sempers und Carl Hasenauers Idealplanungen zum Ausbau Hogarth, W. 1753. The Analysis of Beauty. London. der Wiener Hofburg von 1867–1871. In: W. Telesko, Höhle, E.-M., Pausch, O. & Perger, R. 1982. Die Neidhart-Fresken R. Kudriovsky & A. Nierhaus, eds. Die Wiener Hofburg und im Haus Tuchlauben 19 in Wien. Österreichische Zeitschrift für der Residenzbau in Mitteleuropa im 19. Jahrhundert. Wien: Kunst und Denkmalpflege, XXXVI: 110–44. Böhlau, pp. 87–114. Holzschuh-Hofer, R. & Beseler, S. 2008. Nobles Grau-Gold. Kühnel, H. 1975/76. Die materielle Kultur Wiens im Mittelalter. Bauforschung am Schweizertor in der Wiener Hofburg. In: Wien im Mittelalter, 41. Wien: Sonderausstellung des Österreichische Zeitschrift für Kunst und Denkmalpflege, Historischen Museums der Stadt Wien, pp. 29–45 LXII: 643–70. Kupf, M. 1997. Die neue Beleuchtung im Volksgarten und auf dem Hundertwasser, F. 1983. Schöne Wege. Gedanken über Kunst und Heldenplatz. In: Steine sprechen, 108. Wien: Österreichische Leben. München: Deutscher Taschenbuch Verlag. Gesellschaft für Denkmal- und Ortsbildpflege, pp. 4–19. Irmscher, G. 1984. Kleine Kunstgeschichte des europäischen Ledoux, J.N. 1804. L’architecture considérée sous le rapport de l’art, Ornaments seit der frühen Frühzeit (1400-1900). Darmstadt: des moeurs et de la législation. Paris. Wissenschaftliche Buchgesellschaft. Lehne, A. 1990. Wiener Warenhäuser. Wien: Deuticke. Jeitler, M., Kurdiovsky, R. & Mader-Kratky, A., eds. 2010. Wiener Lehne, A. 1999. Architectural Surfaces in Vienna at the Turn of the Stadt- und Burgbefestigung. Österreichische Zeitschrift für Century. In: G. Krist & K. Neubarth, eds. Architectural Kunst und Denkmalpflege, LXIV(1–2): 5–223. Surfaces: Conservation and Restoration of Plastered Façades. Jones, O. 1856. The Grammar of Ornament. London. Wien: Bundesdenkmalamt (Arbeitshefte zur Kapfinger, O. 1984. Haus Wittgenstein. Eine Dokumentation. Wien: Baudenkmalpflege/Kartause Mauerbach), pp. 40–57. Botschaft von Bulgarien. Lehne, A. & Kalmár, J. 2002. Jugendstil Wien-Prag-Budapest. Wien: Kapfinger, O. & Krischanitz, A. 2003. General Restoration Pichler. 1985/86: The Conception of Renewal. In: Mang, K., & Mang-Frimmel, E., eds. c.1980. Kommunaler S. Koppensteiner, ed. Secession: Die Architektur.Wien: Wohnbau 1923–1934. Aufbruch, Ausstrahlung. Wien: Stadt Secession, pp. 116–34. Wien. Karasz, D. 2005. Vier Türme im Blickfeld Canalettos. Die Diskussion Masanz, M. & Nagl, M. 1996. Ringstraßenallee. Von der Freiheit zur um das Weltkulturerbe ‘Wien-Historisches Zentrum’ aus anthro- Ordnung vor den Toren Wiens. Wien: Forschungen und Beiträge pologischer Sicht. Steine sprechen, 130(May): 1–6. zur Wiener Stadtgeschichte 30. Kassal-Mikula, R., Purtscher, V., Haiko, P. & Tabor, J. 1999/2000. Meinhardt, H., Hübener, W., Herzog, R., Ordnung, R.J. & Das ungebaute Wien. Projekte für die Metropole 1800 bis 2000. Gründer, K., eds. 1984. Historisches Wörterbuch der Wien: Historisches Museum der Stadt Wien. Philosophie. Basel: Schwabe, vol. 6, pp. 1249–310. Kieslinger, A. 1972. Die Steine der Wiener Ringstraße. Ihre tech- Mitchell, P. 2010. Die Hofburg als Festung (13–16. Jahrhundert). nische und künstlerische Bedeutung (Die Wiener Ringstraße. Österreichische Zeitschrift für Kunst und Denkmalpflege, Bildeiner Epoche, vol. IV, ed. Wagner-Rieger R.). Wiesbaden: LXIV: 35–44. Steiner. Moravánsky, A. 1993. The Aesthetics of the Mask: The Critical Klein, D. 1999. Effective Use of Render Materials in Turn-of-the- Reception of Wagner’s Moderne Architektur and century Munich Architecture. In: G. Krist & K. Neubarth, Architectural Theory in Central Europe. In: H.F. Mallgrave, eds. Architectural Surfaces: Conservation and Restoration of ed. Otto Wagner: Reflections on the Retainment of Modernity. Plastered Façades. Wien: Bundesdenkmalamt (Arbeitshefte Santa Monica: The Getty Center for the History of Art and zur Baudenkmalpflege/Kartause Mauerbach), pp. 24–39. the Humanities, pp. 199–239. Klein, D. 2008. Wiener Architektureinflüsse in den Städten der Pal, D. & Wehdorn, M. 1992. Schutzzonen in Wien, Rückblick und Donaumonarchie. Wiener Geschichtsblätter, 63(3): 31–63. Perspektiven. Österreichische Zeitschrift für Kunst und Koller, M. 1997a. Die Fassaden der Wiener Hofburg. Erforschung Denkmalpflege, XLVI: 173–81. und Restaurierung 1987–1997. Österreichische Zeitschrift für Paul, M. 1910. Technischer Führer durch Wien. Wien, p. 128. Kunst und Denkmalpflege, LI: 535–6, ill. 672–74. Philipp, K.J. 2006. Das Reclam Buch der Architektur. Stuttgart: Koller, M. 1997b. Zur Restaurierung der Ringstraßenmodelle in Reclam. Wien. Österreichische Zeitschrift für Kunst und Podbrecky, I. 2002. Rudolf von Eitelberger und die Ringstraße. Denkmalpflege, LI: 401–7. Wiener Geschichtsblätter, 57: 89–106.

174 Studies in Conservation 2013 VOL. 58 NO. 3 Koller ThedecorativeinurbanVienna

Polleross, F. 1998. ‘Pro Deo et Pro Popolo’: Die barocke Stadt als Tietze, H. 1924. Alt-Wien in Wort und Bild. Wien: Anton Schroll, Gedächtniskunstwerk am Beispiel von Wien und Salzburg. pp. 11, 16. Barockberichte,18/19: 149–68. Tietze, H. 1931. Wien. Wien-Leipzig: Hans Epstein, p. 392. Riegl, A. 1893. Stilfragen. Grundlegungen zu einer Geschichte der Veigl, C. 2002. Ornament und Bassena. Wiener Geschichtsblätter, Ornamentik. Wien. 57(4): 291–304 Rizzi, W.G. 1992. Zur Nutzungsproblematik spezifisch städtischer Veigl, C. 2005. Wiener Stadtbahn: Dorischer Stil überformt Objekte. Österreichische Zeitschrift für Kunst und Eisenbahngotik. Wiener Geschichtsblätter, 60(1): 38–57. Denkmalpflege, XLVI: 163–70, ill.21.0. Veigl, C. 2009. Ornamente für die Ewigkeit. Wiener Sarnitz, A. 2003. Adolf Loos. Köln: Taschen. Geschichtsblätter, 64(1): 18–55. Sauer, G. 2010. Die österreichische Novara-Expedition und das Wagner, O. 1895. Moderne Architektur. Wien. [4th edition under Tätowieren als Kunstform bei den Maori Neuseelands. new title Die Baukunst unserer Zeit, reprinted Wien 1979]. Mitteilungen der Gesellschaft für vergleichende Kunstforschung Wagner-Rieger, R., ed. 1969–1980. Die Wiener Ringstraße – Bild in Wien 62(1). einer Epoche. 11 vols. Wiesbaden: Steiner. Schrammel, S. 1998. Architektur und Farbe in Venedig, 1866–1914. Wagner-Rieger, R. 1970. Wiens Architektur im 19. Jahrhundert. Berlin: Gebr. Mann Verlag. Wien: Österreichischer Bundesverlag, pp. 188–91. Schröder, A. & Sternath, M.L., eds. 2005. Rudolf von Alt, Wehdorn, M. 1979. Die Bautechnik der Wiener Ringstraße. In 1812–1905. Wien: Brandstätter. R. Wagner-Rieger, ed. Die Wiener Ringstraße – Bild einer Sitte, C. 1889. Der Städtebau nach seinen künstlerischen Grundsätzen Epoche. Wiesbaden: Steiner, vol. XI. mit besonderem Bezug auf Wien: ein Beitrag zur Lösung moder- Wehdorn, M. & Georgeacopol-Winischhofer, U. 1984. Die ner Fragen der Architektur und monumentalen Plastik unter Baudenkmäler der Technik und Industrie in Österreich. Wien: besonderer Beziehung auf Wien. Wien [Tr. English New York: Böhlau, vol. 1, pp. 4–5. Random House 1965]. Wehdorn,M.,Schwarz,M.&Hayder,S.2004.Wien. Ein Skopec, M. & Gröger, H., eds. 2002. Anatomie als Kunst: Stadtführer durch das Weltkulturerbe der Unesco. Wien: Anatomische Wachsmodelle des 18. Jahrhunderts im UNESCO. Josephinum in Wien. Wien: Brandstätter. Wolf, R. & Schmid, H. 1930. Die Bauordnung für Wien. Wien: Stoloff, B. 1977. L’affaire Claude-Nicolas Ledoux. Autopsie d’un Österreichische Staatsdruckerei, p. 167. mythe. Bruxelles-Liege [Tr. German 1983 Braunschweig- Zaloziecki, W.S. 1914. Wiener Strassenregulierung. Mitteilungen der Wiesbaden: Mardaga, Vieweg & Sohn]. k.k. Zentral-Kommission für Denkmalpflege,XIII(1/12):249–55.

Studies in Conservation 2013 VOL. 58 NO. 3 175