NOTE TO USERS This reproduction is the best 'copy available UMr ARCHITECTURE AND URBAN CULTURATION mm: GUTEELIED SEMPER AND On0WAGNER C. Brent Epp Graduate Program in Art History Submitted in partial fulfilment of the requirements for the degree of Werof Arts Faculty of Graduate Studies The UiÜversity of Western Ontario London, Ontario Augusf 1999 O C.Brent Epp 1999 Natlonal tibrary Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services senrices bibliographiques 395 wetrigmt smm 395. nie wciui~gtoc~ OttawaON KIAW OitawaûN KIAONQ Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distntbute or seIl reproduire, prêter, distncbuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. 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Through an -on ofGotdEed Semper's Art History Museum (Kimsthistorisches Museum) in Vi- and andous ofOtto Wagner's works, this thesis explores the emer&ence of architectural modemkm in Vie- Rather than identifjring a ~eKa&ed "moderm'sm," 1examine the materiai and discursive practices of Semper and Wagner as stnitegïes almed at negotiating the intensts of cuitmal producers with those holding other politid interests in Autria and Vienna The transition nom bistoncism to modem-sm, and all the difficulties in understandùg tbis p*odwith these terms. can more propedy be understood in reiatîon to the la~gershifts Ïn power ttist occuned as Vienna grew as an uhncentre- Semper d Wagaer each 6edthe* interests as cultural producers in the balance ofpower at Minent moment* ThW works can be seen to reproduce this balance of power in and tbrough cuitrirally stmctioned, inban architectural fom ICeywords Architecture, Urban Studies, Saciology of- Gottfried Semper, Otto Wagner, Vienna r wish to thank my supeirvlsupeirvlsor,Bridget Elüott, for her generous patience .ad advice. Table of Contents page Abstmct and Keywords Acknowledgements Table of Contents List of Plates List of Appendices Introduction Part 1 Gottfried Semper: Siting Cultural Legitïmacy 1. Austnan Art Hïstory and Semper's Theory 2. The Art History Museum Part II 3. Otto Wagner: Confionting Urban Society Conclusion: Thinlang with Histones of Practice Bibiiography Plates Appendices Vita View fiom Karlslorche ofthe Glacis. A1tand St Stephan's cathedral, Plans of Vienna, 1857 and 1887. Royal Znsti*tute of British Architects, Transadiom. S.S. 4 (1888). Rïngstrasse, showing the ParIiament, Rathaus, University, and (Hof)burg Theater, c- 1888. Gottfkied Semper and Car1 von Hasenauer, bird'seye perspective of the Naîurai and Art Hïstory Muse- aud expanded Hofburg (together formuig the Ka&erfonan), 1869. Hemgasse, near the Hofburg with the Palais Lichtenstein, c. 19 1 1. GoWed Semper, penpective of the Zwinger courtyard with the Art Gallery and Hoftheater, 11842. Christian Gottlob Hammer, north side of the Dresden HoAheater (18354, GottiEed Semper, architect), waterc010w, c. 1845. Gottfried Semper and Car1 von Hasemuer, view of the Art History Museum, Viema, 1869-91. From ZeischijZfur Bildeiicie Km,1892. GoeedSemper and Car1 von Hasenauer, Art Aitstory Museum, 1896-9 1. Entran~e~Vili011. Gottfried Semper and Cdvon Hasenauer, Arî History Mm, 1896-9 1. Right corner pvilion Official annomcement of the Ringstrasse plan, 1860. Theophii Hansen, design for the Hofinuseen, cornpetition project, 1867. Heinrich Ferstel, design for the HofÎnuseen, competition project, 1867. Moritz Ldhr, design for the Hofinuseen, competition project, second stage, 1867. Cari von Hasenauet, design for the Hofinuseen, cornpetition pmj- 1867. Gottfki Semper, preIimmary plan for the HoAheaterf hesden, with wtltlection to Zwhger, 1835- Goeed Semper, pIiminary perspective ofthe HoAheater, Dresd~resdea, 1835- Gotmed Semper, plan of the Zwinger courtyard with the Art Gailery located as an extension of the east wing 1841. Rudoif von Alt, Kaïserforum,witercolour, LâfZ Girard and Rehlander, coloured drawlng of the Kaiserforum for the Worfd Exhiiition of 1873- T. MayerhoEer, KUllSfhistoriscbes Museum, Lithograph, c. 1900. ûtto Wagner* Miethaus. Schottenring 23,1880. Otto Wagner, Miethaus, Rathausstrasse 3,188 1- ûtto Wagner* Miethaus, Stadiongasse 6 & 8, 1883. Otto Wagner, Miethaus, Stadiongasse 6 & 8, vestibule, 1883. Otto Wagner, Miethaus, Stadiongasse 6 & 8, ground plan of& br7 1883, Otto Wagner, Fespfutz vor dmBwgthore, drawing for the festival celebrating the emperor's dver wedding anniversaryt 1879. otto Wagoer, entry Baldachin for Princess Stephanie ofBelgiimi. 188 1. Otto Wagner, Ho~villionon the Wienîabïe of the Stadtbhnear Schiznbrunn, l896fW- Otto Wagner, nrSt Vina Wagner, Hütteldorf, 1888. ûtto Wagner, detail of Majolikahaus, Linke Wienzeile 40, haidesign, 1898, Otto Wagner, Vienna, an example of big city regdation divided into districts by ring and radial roads, I91 1. Otto Wagnert site plan ofthe projected tweaty-sec~nd-ct of Vie~1118,1911. Otto Wagner, T,ew of the Lufkntnm (open air centre) of the fhre twenty-second district of Vienaa, 1911. Otto Wagner, PostsperLasse (Postal Sa* Bank), Vienna, 1904-06. Main entrante- Otto Wagner, Lupus Sanatorium, Stiftung 19 10-13. Main entrancece Otto Wagner, mawing for the Monument to Kultur in fiont of the proposed Kaiser FmJosef Stadt Museum, 1909. Otto Wagner, perspective view of Kaiser Fnmz-Joseph Stadt Museum, main building with reception pavjlion, 1903. Otto Wagner, -*ve view of the Karlskirche and Kaiser Fm-Joseph Stadt Museum on the Karlsplaîz, 1903. Otto Wagner, perspective viewof the Ferdinandsbrücke, first competition design, 1905. ûtto Wagner, perspective view of the Ferdiriandsisrücke, bridge pier with column and Stadtbahn station gailery, 1896. Detail of plate 44. List of Appendku Appendix 1: Iconography ofthe Art History Museum Viemm Appendix 2: Permissions and Copyright Act, -on 29. 180 Copyright Act, Section 29: Fair Dealinp. 181 Permission for repmductiom KunsthbtonSChes Museum, Wien 182 Permission for reproduction: Institut fin Geschichte und Theorie der Architektur, Semper Archiv, EM-Zurich, 183 Introduction One of the diffrculties of studying modemism as an historical phenornemm is that for ail the emphasis it places on progres, the new, and breaks wïth the pas?, it remains difficult to descrii when exactly it began As such it is dso di811cdt to talk about some practices as fiaing entirely into the category of modemïsrn, when it is a category wnstantly king redefïned by competlng discourses that give it various shapes- The phenomewn of the emergence of modemism in Vienna is the porrticdar subject of Car1 Schorske's book Fin-deSide Vienncr, whkh has becorne a landmark for subsequent literature on the perïod in Vie- incladùig minemllieAs AUen Janik notes, Schorske's book provided a working paradgm around which other works have crystallized (4). in other words, imtead of providing a series of narratives of loosely cormecteci even& as did other earlier works on Vienne, Schorske's book helped explain the problem of why Viemese modemkm appeareà ui the shape that it did The thesis diat organkes Fin-deSiècte VYiemneeds to be demihere in some detail. Schorske sees a «>mmon shiA towards an ahistorical culture stemming fiom a crisis in nuieteenth-centmy Iiberal cultureeThe crisis can be seen as the result of a series ofevents. h 1848 politicai upheaval spread across Europe, but in Austria, revolutionary activities were short-lived Despite a few temporary victories liberalism was u~tGnate1y defeated by imperid forces. By 1860, a co13Stitutid regime was put in place, however, not on the strength of A-~~ll iiism,but instead more or less by deniutf at the han& of extemal politicai forces. in the 1860s and 1WOs, while the liberas shared their power with the aristocracy, their &ai bewas relatively small, beuig made up pharily of middleclass Germaas and German Jews of the inban centres. Theu growth increased, however, and by the 1880% Liberal hegemony was king challengeci by various emerging groups: amoag them, anti-Semitic ChrisbsbanSocials and PanGennans, socialists and Slavic natioaalists. The strongest political organization among these groups, at lest in Vienna., was the Christian Social party, up until 1907 a strictly municipal party- Its platform coosisted of strongiy Catholic clericaiism and municipal socialism. Its popdarity was greatest among the petite bourgeoisie who had elected both the par& and elected h mayorai candidate Karl Lueger in 1895. Due to resistance on a number of fionts, Lueger was not ratifIed as mayor until two years later in 1897. The Christian Socials represented "al1 that was anathema to classical Ii'beraiism" (6). We the breakdown of the hird stronghold in public office was nrst felt in the municipal goverriment, by 1900 the likrals were largely defated on the parliamentary Eont by a number of emergïng demmas movements: -stian, d-Semitic, sociaIïst, and natiosali* (5-6)- The political events ofthe last haE ofthe nineteentb centary made themseIves Mt