Inge Podbrecky | Bundesdenkmalamt Österreich (original) (raw)
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Papers by Inge Podbrecky
Römische historische Mitteilungen, 2014
In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Pal... more In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Palais Lützow-Fürstenberg, a neo-Renaissance Palace from 1870, was adapted, respecting the ancient building fabric and introducing Italian design on a top level. By installing new interior fittings, furniture and lightning, Ponti created a neoclassical yet modern spirit that unfortunately only survives in documentation, as the palace was sold in 1939 and subsequently remodeled. The essay also deals with relations and contacts in architecture between Italy and Austria in both countries' Fascist periods.
Römische Historische Mitteilungen, 2014
In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Pal... more In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Palais Lützow-Fürstenberg, a neo-Renaissance Palace from 1870, was adapted, respecting the ancient building fabric and introducing Italian design on a top level. By installing new interior fittings, furniture and lightning, Ponti created a neoclassical yet modern spirit that unfortunately only survives in documentation, as the palace was sold in 1939 and subsequently remodeled. The essay also deals with relations and contacts in architecture between Italy and Austria in both countries' Fascist periods.
Wiener Geschichtsblätter, 2020
Der Verein "Settlement", nach englischem Vorbild in der Verbesserung der Lebensumstände des Prole... more Der Verein "Settlement", nach englischem Vorbild in der Verbesserung der Lebensumstände des Proletariats engagiert, wurde auf Initiative von Marie Lang und Else Federn 1901 in Wien gegründet und von zahlreichen Familien des Wiener Großbürgertums unterstützt. "Settlement" bot Kurse und Tagesheimstätten, Kindergärten und Ferienaufenthalte für Kinder, Weiterbildung, Lesestuben, Musik und Theater und Räume für geselliges Beisammensein an einem Standort in Wien-Ottakring, einem dichtbesiedelten Arbeiterbezirk. Der Verein verstand sich als unpolitisch und überkonfessionell, anders als eine zweite, ähnliche Initiative, die kurzfristig in Wien-Brigittenau existierte und für jüdische Zuwanderer intendiert war.
Die Mitglieder und Unterstützerinnen des "Settlement", darunter viele der Sozialdemokratie nahestehende Personen und Familien, hatten engen Kontakt zur künstlerischen Elite, so dass Josef Hoffmann, Heinrich Tessenow, der damals am Bauhaus lehrende Anton Brenner und andere KünstlerInnen der Wiener Avantgarde für die Aktivitäten des "Settlement" gewonnen werden konnten. Von ihrer Wiener Entwurfstätigkeit für den Verein hat kaum etwas überlebt. Im Text wird u.a. ein bisher unbekannter Entwurf von Heinrich Tessenow thematisiert.
Österreichische Zeitschrift für Kunst und Denkmalpflege, LXXIV, Heft 3/4, 2020
From Salon to Living Room. The Genesis of the Viennese Single-Family Home. This article examines ... more From Salon to Living Room. The Genesis of the Viennese Single-Family Home.
This article examines functions, structures, demands and designs of the the single-family home in the late 19th and early 20th century in Austria. Four theses are put forward: firstly, the single-family house was the product of a fusion of villa and workers'dwellings traditions; secondly, its central feature consisted in the invention of the modern living room, i.e. the concentration of numerous functions within only one large family room; thirdly, it was the result of an attitude of restriction,shifting the focus from representation to private well-being; and fourthly, this development came to an end around 1930. The penetration of bourgeois ideals of living into non-bourgeois milieusplays an important role in this dxevelopment. Th e significance of the general formal reduction that resulted from the arrival of Moderism is also adressed in this context.
Österreichische Zeitschrift für Kunst und Denkmalpflege, LXXIII, 2019
From 1933 to 1938, Austria was subject to an authoritarian and German national regime that tried ... more From 1933 to 1938, Austria was subject to an authoritarian and German national regime that tried to establish a new national Austrian identity. Discursivization of architecture was high up on the regime's agenda but failed to function as a means of political communication - not only because of the regime's inability to establish a comprehensive semantic system. This paper presents several examples from Austro-Fascist Vienna.
Design Dialogue: Jews, Culture and Vienna Modernism / Design Dialog: Der jüdische Beitrag zur Wiener Moderne., 2018
Quite a few radical typological and functional innovations were introduced by the little-known Wa... more Quite a few radical typological and functional innovations were introduced by the little-known Wassermann House in Vienna. The building, designed by Oskar Strnad for the writer Jakob Wassermann in 1914/15, is one of the most important single-family dwellings of early Viennese Modernism. Chronologically, it follows the Scholl and Strauss houses designed by Strnad-Frank-Wlach, Strnad’s Hock house in Grinzing and Adolf Loos’ Horner and Scheu houses . Strnad’s deconstruction and recontextualisation of traditional motifs created a new architectural language that ironically and psychologically evokes memories of the Classical without specifying them precisely. The living room is located at the end of a long and varied axis of movement, leading from the garden gate through the front garden, up to and right through the house. In this way, Strnad anticipated Josef Frank’s famous essay „Das Haus als Weg und Platz” (1931) well in advance.
Riegl's text, dating back to 1903 and establishing Alterswert, traces of aging on momuments as an... more Riegl's text, dating back to 1903 and establishing Alterswert, traces of aging on momuments as an easily comprehensible sign of their taking part in an everlasting cycle of creation and decay, as one of the crucial qualities of historical monuments, seems to work fine with pre-modern or early modern artefacts. But what about modern architecture that aimed at preserving a status of eternal youth ? This article puts Alterswert on the test.
Gottfried Semper's Vienna Kaiserforum, conceived in 1869, is one of the central features of Vienn... more Gottfried Semper's Vienna Kaiserforum, conceived in 1869, is one of the central features of Vienna's Ringstraße. Connecting the imperial palace to the urban renewal area of the Vorstadt, it not only is a site of Habsburg dynastic memorials but also a spatial continuum to be perceived by physical movement, not culminating in but emanating from the imperial palace. Semper's political, symbolic and iconographic concept of an imperial space is explored on the premise of his own contemporary writings that define not only architecture, but also space as governed by the"Princip der Bekleidung".
When Vienna's major urban renewal project, the Ringstraße, was initated in 1857, art historian an... more When Vienna's major urban renewal project, the Ringstraße, was initated in 1857, art historian and conservator Rudolf von Eitelberger contributed substantial arguments to the project. Together with his friend Heinrich von Ferstel, he suggested the Ringstraße zone be filled with single-family dwellings, modeled both on English examples and on the Central European small-town middle-class house that combined dwellings and workshops. This was accompanied by a social theory on the benefits of family property, thus presenting an alternative to modern 19th century Metropolis.
In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Pal... more In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Palais Lützow-Fürstenberg, a neo-Renaissance Palace from 1870, was adapted, respecting the ancient building fabric and introducing Italian design on a top level. By installing new interior fittings, furniture and lightning, Ponti created a neoclassical yet modern spirit that unfortunately only survives in documentation, as the palace was sold in 1939 and subsequently remodeled. The essay also deals with relations and contacts in architecture between Italy and Austria in both countries' Fascist periods.
From Red Vienna's inter-war council blocks to the1970s highrises and beyond : Identities, changes... more From Red Vienna's inter-war council blocks to the1970s highrises and beyond : Identities, changes, permanencies and renovation stategies.
The Austrian Institute in Rome, designed by architect Karl Holey in 1935, was supposed to combine... more The Austrian Institute in Rome, designed by architect Karl Holey in 1935, was supposed to combine Austrian identity and Roman Genius loci. One of the few official buildings carried out during the so-called Austro-Fascist period (1933/34-1938), it was a product of political and ideological co-operatioon between the fascist regimes of Austria and Italy. This paper is the first detailed study of the building's semantic qualities.
For pictures, please see print Version.
Architecture in Vienna after World War II: An overview.
Römische historische Mitteilungen, 2014
In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Pal... more In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Palais Lützow-Fürstenberg, a neo-Renaissance Palace from 1870, was adapted, respecting the ancient building fabric and introducing Italian design on a top level. By installing new interior fittings, furniture and lightning, Ponti created a neoclassical yet modern spirit that unfortunately only survives in documentation, as the palace was sold in 1939 and subsequently remodeled. The essay also deals with relations and contacts in architecture between Italy and Austria in both countries' Fascist periods.
Römische Historische Mitteilungen, 2014
In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Pal... more In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Palais Lützow-Fürstenberg, a neo-Renaissance Palace from 1870, was adapted, respecting the ancient building fabric and introducing Italian design on a top level. By installing new interior fittings, furniture and lightning, Ponti created a neoclassical yet modern spirit that unfortunately only survives in documentation, as the palace was sold in 1939 and subsequently remodeled. The essay also deals with relations and contacts in architecture between Italy and Austria in both countries' Fascist periods.
Wiener Geschichtsblätter, 2020
Der Verein "Settlement", nach englischem Vorbild in der Verbesserung der Lebensumstände des Prole... more Der Verein "Settlement", nach englischem Vorbild in der Verbesserung der Lebensumstände des Proletariats engagiert, wurde auf Initiative von Marie Lang und Else Federn 1901 in Wien gegründet und von zahlreichen Familien des Wiener Großbürgertums unterstützt. "Settlement" bot Kurse und Tagesheimstätten, Kindergärten und Ferienaufenthalte für Kinder, Weiterbildung, Lesestuben, Musik und Theater und Räume für geselliges Beisammensein an einem Standort in Wien-Ottakring, einem dichtbesiedelten Arbeiterbezirk. Der Verein verstand sich als unpolitisch und überkonfessionell, anders als eine zweite, ähnliche Initiative, die kurzfristig in Wien-Brigittenau existierte und für jüdische Zuwanderer intendiert war.
Die Mitglieder und Unterstützerinnen des "Settlement", darunter viele der Sozialdemokratie nahestehende Personen und Familien, hatten engen Kontakt zur künstlerischen Elite, so dass Josef Hoffmann, Heinrich Tessenow, der damals am Bauhaus lehrende Anton Brenner und andere KünstlerInnen der Wiener Avantgarde für die Aktivitäten des "Settlement" gewonnen werden konnten. Von ihrer Wiener Entwurfstätigkeit für den Verein hat kaum etwas überlebt. Im Text wird u.a. ein bisher unbekannter Entwurf von Heinrich Tessenow thematisiert.
Österreichische Zeitschrift für Kunst und Denkmalpflege, LXXIV, Heft 3/4, 2020
From Salon to Living Room. The Genesis of the Viennese Single-Family Home. This article examines ... more From Salon to Living Room. The Genesis of the Viennese Single-Family Home.
This article examines functions, structures, demands and designs of the the single-family home in the late 19th and early 20th century in Austria. Four theses are put forward: firstly, the single-family house was the product of a fusion of villa and workers'dwellings traditions; secondly, its central feature consisted in the invention of the modern living room, i.e. the concentration of numerous functions within only one large family room; thirdly, it was the result of an attitude of restriction,shifting the focus from representation to private well-being; and fourthly, this development came to an end around 1930. The penetration of bourgeois ideals of living into non-bourgeois milieusplays an important role in this dxevelopment. Th e significance of the general formal reduction that resulted from the arrival of Moderism is also adressed in this context.
Österreichische Zeitschrift für Kunst und Denkmalpflege, LXXIII, 2019
From 1933 to 1938, Austria was subject to an authoritarian and German national regime that tried ... more From 1933 to 1938, Austria was subject to an authoritarian and German national regime that tried to establish a new national Austrian identity. Discursivization of architecture was high up on the regime's agenda but failed to function as a means of political communication - not only because of the regime's inability to establish a comprehensive semantic system. This paper presents several examples from Austro-Fascist Vienna.
Design Dialogue: Jews, Culture and Vienna Modernism / Design Dialog: Der jüdische Beitrag zur Wiener Moderne., 2018
Quite a few radical typological and functional innovations were introduced by the little-known Wa... more Quite a few radical typological and functional innovations were introduced by the little-known Wassermann House in Vienna. The building, designed by Oskar Strnad for the writer Jakob Wassermann in 1914/15, is one of the most important single-family dwellings of early Viennese Modernism. Chronologically, it follows the Scholl and Strauss houses designed by Strnad-Frank-Wlach, Strnad’s Hock house in Grinzing and Adolf Loos’ Horner and Scheu houses . Strnad’s deconstruction and recontextualisation of traditional motifs created a new architectural language that ironically and psychologically evokes memories of the Classical without specifying them precisely. The living room is located at the end of a long and varied axis of movement, leading from the garden gate through the front garden, up to and right through the house. In this way, Strnad anticipated Josef Frank’s famous essay „Das Haus als Weg und Platz” (1931) well in advance.
Riegl's text, dating back to 1903 and establishing Alterswert, traces of aging on momuments as an... more Riegl's text, dating back to 1903 and establishing Alterswert, traces of aging on momuments as an easily comprehensible sign of their taking part in an everlasting cycle of creation and decay, as one of the crucial qualities of historical monuments, seems to work fine with pre-modern or early modern artefacts. But what about modern architecture that aimed at preserving a status of eternal youth ? This article puts Alterswert on the test.
Gottfried Semper's Vienna Kaiserforum, conceived in 1869, is one of the central features of Vienn... more Gottfried Semper's Vienna Kaiserforum, conceived in 1869, is one of the central features of Vienna's Ringstraße. Connecting the imperial palace to the urban renewal area of the Vorstadt, it not only is a site of Habsburg dynastic memorials but also a spatial continuum to be perceived by physical movement, not culminating in but emanating from the imperial palace. Semper's political, symbolic and iconographic concept of an imperial space is explored on the premise of his own contemporary writings that define not only architecture, but also space as governed by the"Princip der Bekleidung".
When Vienna's major urban renewal project, the Ringstraße, was initated in 1857, art historian an... more When Vienna's major urban renewal project, the Ringstraße, was initated in 1857, art historian and conservator Rudolf von Eitelberger contributed substantial arguments to the project. Together with his friend Heinrich von Ferstel, he suggested the Ringstraße zone be filled with single-family dwellings, modeled both on English examples and on the Central European small-town middle-class house that combined dwellings and workshops. This was accompanied by a social theory on the benefits of family property, thus presenting an alternative to modern 19th century Metropolis.
In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Pal... more In 1935, Gio Ponti designed the interior of the new Italian Cultural Institute in Vienna. The Palais Lützow-Fürstenberg, a neo-Renaissance Palace from 1870, was adapted, respecting the ancient building fabric and introducing Italian design on a top level. By installing new interior fittings, furniture and lightning, Ponti created a neoclassical yet modern spirit that unfortunately only survives in documentation, as the palace was sold in 1939 and subsequently remodeled. The essay also deals with relations and contacts in architecture between Italy and Austria in both countries' Fascist periods.
From Red Vienna's inter-war council blocks to the1970s highrises and beyond : Identities, changes... more From Red Vienna's inter-war council blocks to the1970s highrises and beyond : Identities, changes, permanencies and renovation stategies.
The Austrian Institute in Rome, designed by architect Karl Holey in 1935, was supposed to combine... more The Austrian Institute in Rome, designed by architect Karl Holey in 1935, was supposed to combine Austrian identity and Roman Genius loci. One of the few official buildings carried out during the so-called Austro-Fascist period (1933/34-1938), it was a product of political and ideological co-operatioon between the fascist regimes of Austria and Italy. This paper is the first detailed study of the building's semantic qualities.
For pictures, please see print Version.
Architecture in Vienna after World War II: An overview.
Wiener Jugendstil, 2019
An illustrated guidebook to Fin-de-Siècle Vienna architecture, comprising five routes to importan... more An illustrated guidebook to Fin-de-Siècle Vienna architecture, comprising five routes to important buildings of the period, plus an introduction to the subject. Buildings get analyzed and contextualized following the principles of cultural history. With maps and index.
Route 1: Wagner, Stadtbahn, pavilions , Brücke über die Zeile, Länderbank and Wienzeile apartment houses; Gessner, Vorwärts Verlag; Marmorek, Rüdigerhof; Plecnik, Haus Langer; Olbrich, Secession; Loos, Café Museum, Goldman and Salatsch house, Manz bookshop; Ohmann, Burggarten greenhouse; Fabiani, Artaria house, Laske, House Zum weißen Engel; Hackhofer, Hohe Brücke, et al.
Route 2: von Matsch, Ankeruhr; Plecnik, Zacherlhaus; Loos, American Bar, Knize shop; Wagner, Postsparkasse; Ohmann, quais in the Stadtpark; Fabiani, Haus Portois & Fix, et al.
Route 3: Wagner, Hofpavillon; Plecnik, Haus Weidmann; Lichtblau, Schokoladenhaus; Ohmann/Hackhofer, Villa Schopp; Hoffmann, Villa Primavesi; Loos, Haus Scheu, Haus Steiner, Haus Strasser, Haus Rufer; Oerley, Villa Wustk; Plecnik, Haus Langer, et al.
Route 4: Schönthal, Villa Vojcsik; Wagner, Villas I and II, Kirche Am Steinhof; Steinhof hospital; Lupus Pavillon at Wilhelminenspital; Plecnik, Heiliggeistkirche, et al.
Route 5: Josef Hoffmann, villas at the Hohe Warte, Haus Knips; Gebrüder Mayreder, Zacherl factory, et al.
Forschungen und Beiträge zur Wiener Stadtgeschichte, Band 61, Hg. S.C. Pils, 2020
This book is investigating the architecture of Austro-fascism, seizing power in 1933 after a parl... more This book is investigating the architecture of Austro-fascism, seizing power in 1933 after a parliamentary crisis and lasting until the socalled "Anschluss" in 1938. With the help of the Catholic Church, the executive forces, Mussolini and the paramilitarian Heimwehr forces and promoting a one-party authoritarian state, Austro-fascism was anti-democratic, antiparliamentarian, anti- socialist but also anti-Nazist while trying to position Austria as the second and better German state in Europe, relying on the support of the middle class and imposing a new Austrian patriotism based upon glorification of the Habsburg past and the alpine landscape.
Architecture was an important part of the political discourse, but, also due to the postwar ignorance of the period, the built heritage of"Black Vienna" has become unrecognizable and invisible within Vienna's cityscape. This brought me to the question Austrian scholar F. Achleitner asked in 1981: "Is there any such thing as Austro-Fascist architecture?" My book is analyzing the architectural production of the time within the framework of architectural language, unwanted heritage, and modern conservativism in fascist regimes of the 1930s. There is an Austro-fascist architecture, but as those in power failed to assign meaning to her vocabulary, her language cannot be read an understood any more.
Please note: Only hard copy, no file available.
Adolf Loos als Kulturkritiker und Lebensreformer: Eine interdisziplinäre Annäherung. Design, Ha... more Adolf Loos als Kulturkritiker und Lebensreformer: Eine interdisziplinäre Annäherung.
Design, Handwerk und Ornament, Kleidung und Be-Kleidung, "Kultur", Stil, Wohnen und Lebensreform sind nur einige der Themen, die Adolf Loos zeitlebens beschäftigt haben. Darüber hinaus hat er in zahlreichen Vorträgen und pointiert formulierten Essays noch viele weitere Fragen der Alltagskultur behandelt. Dieser Themenvielfalt versucht das vorliegende Buch gerecht zu werden, das in interdisziplinärer Zusammenarbeit entstanden ist und u.a. auch den Umkreis bzw. die "Schule" des Adolf Loos thematisiert, sich mit seiner Freundschaft zu Arnold Schönberg auseinandersetzt, sein Engagement in der Siedlerbewegung bearbeitet und den Kontext des Gerichtsprozesses von 1928 erforscht. Nicht zuletzt wird Loos auch als Schriftsteller gewürdigt.
Inhalt
Einleitung - Leben mit Loos oder der Kontext als Korrektiv
Hermann Czech: Adolf Loos. Widersprüche und Aktualität
Manfred Russo: Hätte Loos adidas getragen? Eine Designethik zwischen Aristoteles und Dandyismus
Elana Shapira: Tailored Authorship. Adolf Loos and the Ethos of Men's Fashion
Adolf Loos/Heinz Frank: Die Herrenmode
Rainald Franz: Der Kulturbegriff bei Adolf Loos.Ein Vordenker der "Erweiterung"?
Sigurd Paul Scheichl: "Im Zweifel wende man sich an mich." Verfahrensweisen der Selbststilisierung in Loos' publizistischer Prosa
Anders V. Munch: In welchem Stil sollen wir leben? Adolf Loos über Kulturkritik, Stil und Lebensformen
Inge Podbrecky: Das Andere für alle. Adolf Loos und die Siedlerbewegung
Anne-Katrin Rossberg: Loos' Frauenzimmer
Klaralinda Ma: Der "Fall" Loos
Susana Zapke: Adolf Loos - Arnold Schönberg. Wie sich das Äußere aus dem Inneren ergibt. Chronik einer geistigen Interaktion
Iris Meder: "In der Kärntnerbar, in Cabarets und Nachtlokalen". Loos, Strnad, Frank, Hoffmann und ihre Schüler
Markus Kristan: Adolf Loos bittet zu Tisch
Walter Schübler: "Gedanken im Abort bei Betrachtung meiner Exkremente". Adolf Loos' Philippika gegen die Wiener Küche
Please note: Only hard copy, no file available.
From 1919 to 1934, Vienna was governed by the Social Democratic Party that implemented a revoluti... more From 1919 to 1934, Vienna was governed by the Social Democratic Party that implemented a revolutionary political agenda embracing social care, health care, cultural and educational politics and an enormous construction program that provided more than 61.000 flats in easily recognizable blocks, the so-called "Gemeindebauten" (community blocks). These not only comprised apartments but also common spaces such as meeting halls, kindergardens, parks, libraries and laundries, thus working for a better future based on the hopes and principles of Austro-Marxism. This book, conveived as a guidebook, visits the repective sites that still are important landmarks both in the history and in the urban texture of the city.
Please note: Only hard copy, no file available.
FAlter City Walks, 8, 2005
Vienna Interiors, 19th and 20th century. A guidebook.
Draft: From Vienna to Weimar, 2021
This draft paper derives from a presentation held during the "Gestalterinnen"-Symposium at the MA... more This draft paper derives from a presentation held during the "Gestalterinnen"-Symposium at the MAK in Vienna in September 2021. Maria Cyrenius, Sofie Korner, Anny Wottitz, Friedl Dicker, Ola Okuniewska and Margit Téry-Adler, some of them educated at the Wiener Kunstgewerbeschule, all of them students at Johannes Itten's private art school in Vienna, followed their teacher to Weimar Bauhaus in 1919 to continue their training. Coming from different backgrounds and educations, the experience of abstraction lead to diverse results and careers illustrated in this paper.