Österreichische Zeitschrift für Kunst und Denkmalpflege LXXVII, Heft 1
Symposium Josef Hoffmann 2022
Nummer:
LXXVII
Jahrgang:
2023
Heft:
1
1. Auflage, 2024
Im Rahmen der Ausstellung „Josef Hoffmann. Fortschritt durch Schönheit“ des Museums für angewandte Kunst (MAK) fand am 17. und 18. März 2022 ein internationales Symposium statt, bei dem auch ein Teil der Denkmalpflege gewidmet war. Der vorliegende Band stellt die Verschriftlichung dieser Sektion unter Einbeziehung zusätzlicher thematisch passender Beiträge dar.
Nach einleitenden Gedanken zum Verhältnis von Denkmalpflege und Moderne in Österreich (Paul Mahringer) folgt ein Beitrag von Inge Podbrecky über die Josef-Hoffmann-Rezeption und entsprechende Unterschutzstellungen. Axel Hubmann schildert die Restauriergeschichte des Sanatoriums Purkersdorf und Sylvia Schönolt gibt Einblicke in restauratorische Befundungen und Bauvorhaben an Hoffmann-Villen in Wien. Geraldine Klever behandelt den denkmalpflegerischen Umgang mit dem Landhaus Ast am Wörthersee, einem Gesamtkunstwerk Josef Hoffmanns, und Rainald Franz schreibt über die Villa Gyula Pikler in Budapest.
Es folgen kunsthandwerkliche Beiträge zu den patentierten Kraus-Stahlfenstern in der damaligen Tschechoslowakei (Henrieta Moravčíková) und zur Familien- und Unternehmensgeschichte der Rahmen- und Leistenfabrik Max Welz vom Historismus, über Hoffmann und die Wiener Werkstätte bis zur Nachkriegszeit (Markus Kristan). Der Band endet mit einem Artikel von Inge Podbrecky zu Hugo Gorge, einem ebenfalls beachtenswerten Architekten der Moderne.
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Inhaltsverzeichnis
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Autor:innen / Herausgeber:innen
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Schlagworte
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Einleitende Gedanken zum Verhältnis der Denkmalpflege zur Moderne in Österreich
Paul Mahringer
Seite 9 - 10 | doi: https://doi.org/10.1553/oezkd2023-01s9
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Unterschutzstellungen als Diskurselemente. Zur Rezeption von Josef Hoffmann im Denkmalschutz
Just like images and written sources or any other kinds
of media, historical buildings document the past. They
can therefore contribute valuable information about various
topics as part of the discourse. This text explores
Josef Hoffmann’s buildings in connection with the date
of their designation as protected monuments and the
justification for granting them this status. As well as
providing insights into the control of the narrative (i.e.
who decides what counts as a historical monument? Is
there a social consensus?), this also tells us about the
respective context and stage of art and architectural
history at various points in time. Josef Hoffmann’s work
is particularly well suited to an investigation of this kind;
born in 1870, Hoffmann achieved cult status among
designers with his major works in the 1900s, which
means that the history of his reception can be traced
back several decades by way of publications, exhibitions
and memberships, as well as through restorations
and designations of protected status.
Schlagworte:
Inge Podbrecky
Seite 11 - 20 | doi: https://doi.org/10.1553/oezkd2023-01s11
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Sanatorium Westend, Hoffmann-Pavillon. Bau- und Besitzgeschichte, Wertigkeit, Restaurierung
Built by Josef Hoffmann between 1904 and 1906, the
pavilion of the Westend Sanatorium was already considered
a definitive example of architecture at the time
of its construction. In terms of the radical modernity of
its design language and with the use of state-of-the-art
materials, it is up there with other equally trailblazing
buildings of its time. This article explores the pavilion’s
significance within architectural development, the
eventful history of its ownership and the loss of much
of the original furnishings, the threat of deterioration,
the building’s recent use and external and internal restoration,
and the challenges and problems associated
with restoring the structure to its original condition as
closely as possible.
Schlagworte:
Axel Hubmann
Seite 21 - 27 | doi: https://doi.org/10.1553/oezkd2023-01s21
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Einblicke in restauratorische Befundungen und Bauvorhaben an Hoffmann-Villen in Wien
This article provides a number of insights into recent
monument conservation appraisals and measures carried
out on villas designed by Josef Hoffmann in Vienna’s
19th district, Döbling. Located in the northwest of
Vienna, this leafy district is home to numerous privately
owned villas, including the villas described in the article,
which were all built between 1910 and 1914. A complete
renovation of Villa Ast on the Hohe Warte has been
underway since 2021; the windows and facades of Villa
Bernatzik were repaired in 2022; and various appraisals
and structural measures have been carried out on individual
buildings in the Kaasgraben villa colony since
2010. Although the renovation work on the facades and
windows in the villas presented here have one major
point in common, each villa has its own unique characteristics
and the needs of residents have to be taken
into consideration. The objective, from the perspective
of the Austrian Federal Monuments Office (Bundesdenkmalamt),
is both to preserve Josef Hoffmann’s
work in a historically appropriate way and to ensure
that the villas can continue to be used for decades to
come. The cases outlined are intended to exemplify the
many varied tasks and challenges that characterise the
everyday work of monument conservation.
Schlagworte:
Sylvia Schönolt
Seite 28 - 33 | doi: https://doi.org/10.1553/oezkd2023-01s28
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Landhaus Ast am Wörthersee. Zum denkmalpflegerischen Umgang mit einem Gesamtkunstwerk Josef Hoffmanns
The country house near Lake Wörther occupies a
special place within Josef Hoffmann’s oeuvre. As well
as being responsible for the project commissioned by
Viennese concrete producer Eduard Ast in 1923/24,
Hoffmann was also in charge of a conversion and an
extension of the building in 1934 under its second
owner, Friedrich Meyer. While attractions such as the
first flat roof on a country house building, a seven-arch
reinforced concrete pergola and an exposed concrete
relief by sculptor Anton Hanak make clear reference
to the first owner in terms of the use of materials, the external appearance of property is today chiefly characterised
by interventions made by Hoffmann during
the 1930s. Much of the surviving interior by Hoffmann
was also designated a protected monument as part of
the process dedicated to the protection of monuments
between 1978 and 1983. Since then, the aim pursued
jointly by the monument owners and monument conservators
has been to ensure the long-term preservation of
this “total work of art”, as this article demonstrates by
drawing upon the restoration work carried out to date.
Schlagworte:
Geraldine Klever
Seite 34 - 44 | doi: https://doi.org/10.1553/oezkd2023-01s34
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Ein Musterbau der frühen Wiener Moderne in Budapest. Josef Hoffmann und die Errichtung der Villa Gyula Pikler
“Seismographs” of his stylistic development as an
architect, Josef Hoffmann’s villas stand out from the
rest of his oeuvre. Buildings that combine features
of the English country house style with elements of
Biedermeier or vernacular architecture contrast with
urban villas like the one designed for Gyula Pikler in
Budapest. Executed by Karl Brauer and Lipot Weil, this
villa was built in 1909/10 and is the only building to
have been designed by Hoffmann in Hungary. Photos
and preserved plans reveal a building that epitomises
Josef Hoffmann’s creative style in modern villa construction.
It is a total work of art that came to fruition
by drawing upon all the possibilities provided by the
newly established Wiener Werkstatte. A major overhaul
based on a restoration concept coordinated with
experts in the conservation of early modern structures
may be able to save this building – the only one of its
kind in Hungary – for modern architectural history. An
exhibition organised by the Museum of Applied Arts
(Iparműveszeti Muzeum) in Budapest in 2022 laid the
foundation for this project.
Schlagworte:
Rainald Franz
Seite 45 - 50 | doi: https://doi.org/10.1553/oezkd2023-01s45
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Patentierte Kraus-Stahlfenster. Erfolg und Niedergang?
The steel-framed windows by Kraus were among the
most important innovations and formative elements
of the avant-garde in former Czechoslovakia. They
were invented by Bratislava-based architect Friedrich
Weinwurm in collaboration with metalworking
company proprietor Armin Krausz. These windows,
with their narrow steel frames, were characterised by
an unusual opening method, as the individual panels could be closed horizontally by moving them along the
slide rails built into the metal frame. The sophisticated
system of air vents in the upper part of the frame is also
worthy of mention. These windows were first used in
Bratislava in 1928, then patented and mass produced at
Rosice Mining Company in Brno. The article describes
the development and the technical parameters of the
window, its successful entry into production, and the
end of its manufacture. The possibilities for sustainable
steel window renovation are also discussed.
Schlagworte:
Henrieta Moravčíková
Seite 51 - 56 | doi: https://doi.org/10.1553/oezkd2023-01s51
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Die Rahmen- und Leistenfabrik Max Welz. Historismus – Wiener Werkstätte – Nachkriegszeit
The history of the Max Welz frame and mouldings
factory goes back over several generations of the
Welz family, spanning several stylistic epochs, not to
mention several different professions. A decisive turn
in the history of the family and the company came
with the founding of the company in 1870, when Max
Welz’s father, Johann Welz, established a gilding and
framing company in Vienna’s Neubau district. From
1900 onwards, Max Welz turned the establishment into
the most important company of its kind in Austria. The
collaboration with some of the most important artists of
the Wiener Werkstatte, including Josef Hoffmann, Dagobert
Peche, Otto Prutscher and Oswald Haerdtl, was
crucial to the company’s success. In 1923 the company
was divided into two: in addition to the existing local
venue at Neudeggergasse 5, in Vienna’s 8th district,
a new production facility and showroom opened its
doors at Schottenfeldgasse 45, in Vienna’s 7th district.
When Max Welz died in 1942, his daughter Henriette
took over the running of the company and succeeded
in securing major contracts in the post-World War II
period, including the reconstruction of the Vienna State
Opera and the Austrian Parliament Building. Her heirs
and descendants continue to run the company to this
day, albeit only nominally now.
Schlagworte:
Seite 57 - 71 | doi: https://doi.org/10.1553/oezkd2023-01s57
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„Funktionell und gefühlvoll“. Zwei Häuser von Hugo Gorge (1883–1934)
Born in Butovice in 1870, Hugo Gorge (d. 1934, Vienna)
is one of the lesser known architects from Josef Frank
and Oskar Strnad’s circle, but like them he is an important
representative of Viennese Modernism. The text centres on two of the most important buildings from
his slender body of work: a lodging house in Vienna’s
7th district and Gorge’s own detached house in Vienna’s
13th district. From around 1910 in Vienna, and for both
of these construction projects, there was a search
for new typologies that would take into account the
higher living standards of the time and do away with
nineteenth-century forms of representation in view
of the dramatic change in interiors and lifestyle after
World War I compared to the extravagant bourgeois
way of life that had dominated the nineteenth century.
The aim was to develop nothing short of a practical,
comfortable and cosy home for modern people, and
Gorge played a significant role in this process. His
buildings are prime examples of the fresh interpretation
of home environments and interiors in the context of
Viennese Modernism. The text also reports on Gorge’s
education and training, his competition projects, and
his furniture designs. Finally, the Gorge family’s history
of displacement is also discussed.
Schlagworte:
Inge Podbrecky
Seite 72 - 81 | doi: https://doi.org/10.1553/oezkd2023-01s72
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English Abstracts
Seite 82 - 84
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Verzeichnis der Autorinnen und Autoren
Seite 85 - 85
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Abbildungsverzeichnis
Seite 86 - 86
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Ausgabe:
978-3-7001-9649-5, E-Journal, digital, 09.04.2024
Ausgabe:
978-3-7001-9644-0, Zeitschriftenausgabe, broschiert, 09.04.2024
Auflage:
1. Auflage
Seitenzahl:
84 Seiten
Format:
29,5x21cm
Abbildungen:
zahlr. Farb- und s/w-Abbildungen
Sprache:
Deutsch
DOI (Link zur Online Edition):