1.
Vienna
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Vienna is the capital and largest city of Austria and one of the nine states of Austria. Vienna is Austrias primary city, with a population of about 1.8 million, and its cultural, economic and it is the 7th-largest city by population within city limits in the European Union. Today, it has the second largest number of German speakers after Berlin, Vienna is host to many major international organizations, including the United Nations and OPEC. The city is located in the part of Austria and is close to the borders of the Czech Republic, Slovakia. These regions work together in a European Centrope border region, along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city centre was designated a UNESCO World Heritage Site, apart from being regarded as the City of Music because of its musical legacy, Vienna is also said to be The City of Dreams because it was home to the worlds first psycho-analyst – Sigmund Freud. The citys roots lie in early Celtic and Roman settlements that transformed into a Medieval and Baroque city and it is well known for having played an essential role as a leading European music centre, from the great age of Viennese Classicism through the early part of the 20th century. The historic centre of Vienna is rich in architectural ensembles, including Baroque castles and gardens, Vienna is known for its high quality of life. In a 2005 study of 127 world cities, the Economist Intelligence Unit ranked the city first for the worlds most liveable cities, between 2011 and 2015, Vienna was ranked second, behind Melbourne, Australia. Monocles 2015 Quality of Life Survey ranked Vienna second on a list of the top 25 cities in the world to make a base within, the UN-Habitat has classified Vienna as being the most prosperous city in the world in 2012/2013. Vienna regularly hosts urban planning conferences and is used as a case study by urban planners. Between 2005 and 2010, Vienna was the worlds number-one destination for international congresses and it attracts over 3.7 million tourists a year. The English name Vienna is borrowed from the homonymous Italian version of the name or the French Vienne. The etymology of the name is still subject to scholarly dispute. Some claim that the name comes from Vedunia, meaning forest stream, which produced the Old High German Uuenia. A variant of this Celtic name could be preserved in the Czech and Slovak names of the city, the name of the city in Hungarian, Serbo-Croatian and Ottoman Turkish has a different, probably Slavonic origin, and originally referred to an Avar fort in the area. Slovene-speakers call the city Dunaj, which in other Central European Slavic languages means the Danube River, evidence has been found of continuous habitation since 500 BC, when the site of Vienna on the Danube River was settled by the Celts. In 15 BC, the Romans fortified the city they called Vindobona to guard the empire against Germanic tribes to the north
2.
Austrian Empire
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The Austrian Empire was an empire in Central Europe created out of the realms of the Habsburgs by proclamation in 1804. It was an empire and one of Europes great powers. Geographically it was the second largest country in Europe after the Russian Empire and it was also the third most populous after Russia and France, as well as the largest and strongest country in the German Confederation. Proclaimed in response to the First French Empire, it overlapped with the Holy Roman Empire until the dissolution in 1806. The Ausgleich of 1867 elevated Hungarys status and it became a separate entity from the Empire entirely, joining with it in the dual monarchy of Austria-Hungary. Changes shaping the nature of the Holy Roman Empire took place during conferences in Rastatt, on 24 March 1803, the Imperial Recess was declared, which reduced the number of ecclesiastical states from 81 to only 3 and the free imperial cities from 51 to 6. This measure was aimed at replacing the old constitution of the Holy Roman Empire, taking this significant change into consideration, the German Emperor Francis II created the title Emperor of Austria, for himself and his successors. In 1804 the Holy Roman Emperor Francis II, who was ruler of the lands of the Habsburg Monarchy, founded the Empire of Austria. In doing so he created a formal overarching structure for the Habsburg Monarchy, to safeguard his dynastys imperial status he adopted the additional hereditary title of Emperor of Austria. Hungarys affairs remained administered by its own institutions as they had been beforehand, thus under the new arrangements no Imperial institutions were involved in its internal government. The fall and dissolution of the Holy Roman Empire was accelerated by French intervention in the Empire in September 1805, on 20 October 1805, an Austrian army led by general Karl Mack von Leiberich was defeated by French armies near the town of Ulm. The French victory resulted in the capture of 20,000 Austrian soldiers, Napoleons army won another victory at Austerlitz on 2 December 1805. Francis was forced into negotiations with the French from 4 to 6 December 1805, the French victories encouraged rulers of certain imperial territories to assert their formal independence from the Empire. On 10 December 1805, the prince-elector Duke of Bavaria proclaimed himself King, finally, on 12 December, the Margrave of Baden was given the title of Grand Duke. In addition, each of these new countries signed a treaty with France, the Treaty of Pressburg between France and Austria, signed in Pressburg on 26 December, enlarged the territory of Napoleons German allies at the expense of defeated Austria. Certain Austrian holdings in Germany were passed to French allies—the King of Bavaria, the King of Württemberg, Austrian claims on those German states were renounced without exception. On 12 July 1806, the Confederation of the Rhine was established, comprising 16 sovereigns and this confederation, under French influence, put an end to the Holy Roman Empire. On 6 August 1806, even Francis recognized the new state of things and proclaimed the dissolution of the Holy Roman Empire, as he did not want Napoleon to succeed him
3.
Austria-Hungary
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The union was a result of the Austro-Hungarian Compromise of 1867 and came into existence on 30 March 1867. Austria-Hungary consisted of two monarchies, and one region, the Kingdom of Croatia-Slavonia under the Hungarian crown. It was ruled by the House of Habsburg, and constituted the last phase in the evolution of the Habsburg Monarchy. Following the 1867 reforms, the Austrian and the Hungarian states were co-equal, Foreign affairs and the military came under joint oversight, but all other governmental faculties were divided between respective states. Austria-Hungary was a state and one of the worlds great powers at the time. Austria-Hungary was geographically the second-largest country in Europe after the Russian Empire, at 621,538 km2, the Empire built up the fourth-largest machine building industry of the world, after the United States, Germany, and the United Kingdom. After 1878, Bosnia and Herzegovina was under Austro-Hungarian military and civilian rule until it was annexed in 1908. The annexation of Bosnia also led to Islam being recognized as a state religion due to Bosnias Muslim population. Austria-Hungary was one of the Central Powers in World War I and it was already effectively dissolved by the time the military authorities signed the armistice of Villa Giusti on 3 November 1918. The realms full, official name was The Kingdoms and Lands Represented in the Imperial Council, each enjoyed considerable sovereignty with only a few joint affairs. Certain regions, such as Polish Galicia within Cisleithania and Croatia within Transleithania, enjoyed autonomous status, the division between Austria and Hungary was so marked that there was no common citizenship, one was either an Austrian citizen or a Hungarian citizen, never both. This also meant that there were always separate Austrian and Hungarian passports, however, neither Austrian nor Hungarian passports were used in the Kingdom of Croatia-Slavonia-Dalmatia. Instead, the Kingdom issued its own passports which were written in Croatian and French and it is not known what kind of passports were used in Bosnia-Herzegovina, which was under the control of both Austria and Hungary. The Kingdom of Hungary had always maintained a separate parliament, the Diet of Hungary, the administration and government of the Kingdom of Hungary remained largely untouched by the government structure of the overarching Austrian Empire. Hungarys central government structures remained well separated from the Austrian imperial government, the country was governed by the Council of Lieutenancy of Hungary – located in Pressburg and later in Pest – and by the Hungarian Royal Court Chancellery in Vienna. The Hungarian government and Hungarian parliament were suspended after the Hungarian revolution of 1848, despite Austria and Hungary sharing a common currency, they were fiscally sovereign and independent entities. Since the beginnings of the union, the government of the Kingdom of Hungary could preserve its separated. After the revolution of 1848–1849, the Hungarian budget was amalgamated with the Austrian, from 1527 to 1851, the Kingdom of Hungary maintained its own customs controls, which separated her from the other parts of the Habsburg-ruled territories
4.
Karlsplatz Stadtbahn Station
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Karlsplatz Stadtbahn Station is a former station of the Viennese Stadtbahn. The buildings above ground on Karlsplatz are an example of Jugendstil architecture. These buildings were included in The Vienna Secession, as they followed many of the styles of that movement. These stations allowed Otto Wagner to achieve his goal of creating two modern axes of architecture in a city that was becoming one of the most modern cities of its time and these buildings went on to become the most modern monument of the modern city. Architectural critic and poet Friedrich Achleitner commented on the Stadtbahn stations as follows, the station was opened as Akademiestraße in 1899. When the Stadtbahn line was converted to U-Bahn in 1981, the station was scheduled to be demolished. However, as a result of public outcry, it was decided to keep the station buildings, both buildings were disassembled, renovated, and then reassembled two metres higher than their original location after completion of U-Bahn construction. One of the buildings is now used as a space by the Vienna Museum, with an U-Bahn entrance in its rear. ^ * Architecture in Austria in the 20th and 21st Centuries, ISBN 3-7643-7694-5 ^ * Borsi, Franco, and Ezio Godoli. New York, NY, Rizzoli International Publications, Inc.1986, ISBN 0-8478-0616-2 ^ * Arnanson, Harvard H. 3rd ed. Englewood Cliffs, NJ, Prentice Hall, Inc.1986
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Post Office Savings Bank, Vienna
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The Austrian Postal Savings Bank building is a famous modernist building in Vienna, designed and built by the architect Otto Wagner. The building is regarded as an important early work of architecture, representing Wagners first move away from Art Nouveau. It was constructed between 1904 and 1906 using reinforced concrete, the building houses the headquarters of the Österreichische Postsparkasse bank, formerly the k. k. It is located at Georg-Coch-Platz 2, in the first district Innere Stadt, up to eight stories high, the building occupies an entire city block. The massively simplified facade of the bank clearly owes something to classicism, Wagners key idea was to celebrate modern materials by developing new forms. The entire facade is covered with marble plates. These are attached to the brick structure with mortar and ornamented with iron bolts with aluminum caps. The buildings harmonious synthesis between form and functionality was highly acclaimed by critics, the metal rivets do not obstruct the facade but resemble decorative elements. The use of marble also makes the maintenance and cleaning of the very easy and inexpensive. The architect kept the design very minimalistic and simple, his aim was to convey the sense of a strong, impenetrable bank in which customers would know their money was safe. Only at the part of the exterior, near the roof, did Wagner add more elaborate decorations. These were sculpted by frequent Wagner collaborator and fellow Secessionist Othmar Schimkowitz, through the main entrance at Georg-Coch-Platz the visitor ascends a flight of stairs to the grand Kassenhalle, where customer services are located. The main hall is thus effectively on the first floor, the hall is designed like an atrium, with a large glass skylight allowing natural light to enter the heart of the building at all times. Natural light is not used only for reasons, but also to reduce the cost of electric lighting. Even the floor of the hall is constructed of glass tiles, allowing natural light to reach further down to the floor below. Wagner kept decoration in the hall to a constrained minimum, using only glass. The decorative effect is created by the simple but elegant use of the material itself, the frosted glass skylight is pierced by steel columns, their slim design making them as unobstructive to the falling light as possible. The hall is one of Otto Wagners most famous masterpieces, the buildings office space is divided according to the axis of the outside windows, again making use of natural light as much as possible
6.
Kirche am Steinhof
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Kirche am Steinhof, also called the Church of St. Leopold, is the Roman Catholic oratory of the Steinhof Psychiatric Hospital in Vienna, Austria. The building designed by Otto Wagner is considered one of the most important Art Nouveau churches in the world and it is located on a hillside below the Galitzinberg in the 14th Vienna district, Penzing. It has a status as part of the surrounding hospital. The great majority of the smaller details are the work of Otto Wagner himself. The statues on the two towers represent Saint Leopold and Saint Severin and are the work of the Viennese sculptor Richard Luksch. Unusually the church lies on a North-South axis, at the centre-top of the hospital complex, Otto Wagner incorporated numerous features specifically related to its function within an asylum, e. g. There were toilet facilities easily accessible within the church in case of patient need, originally the pews were of different widths to accommodate different categories of patient, calm / restless / disturbed. The floor is raked as in a theatre though not as steeply,26 centimetres, standing at the back the view to the altar is thus less obstructed. The central ceiling below the dome bears images relating to the four evangelists, the man for Matthew, the lion for Mark, the calf for Luke. Among the numerous saints attending the ceremony is Saint Dymphna the patron saint of those afflicted by epilepsy or mental illness, also visible is St. Clement Hofbauer or Clemens Maria Hofbauer, the patron saint of Vienna. The dome of the church is not visible from inside the building, even so, the church seats 800 people when full. The Church of St. Leopold, better known as the Kirche am Steinhof, was built during the construction of the Steinhof Psychiatric Hospital, on October 8,1907, the church was opened by Archduke Franz Ferdinand. The Archduke and Wagner were at odds on a variety of issues, but opinions regarding Wagners unusual design were varied. The most recent, and most extensive, restoration began in June 2000. All told,22 construction companies and 15 consultants worked on the restoration and their first undertaking was to completely re-gild the exterior dome using 2 kg of. 01mm-thin sheets of gold leaf. The base of the dome was renewed with copper sheets that, between 2002 and 2004, the entirety of the churchs 1, 800m² façade was replaced with 3000 plates of Carrara marble, each tile having been examined by ultrasound to ensure quality. The angelic and holy figures were removed and transported to a workshop where they were restored, construction began on the interior of the church in 2005. Among other projects, each of the mosaic windowpanes were glazed and remounted in a specially designed support structure, the windows, which have been valued at 5 million Euro, are now better protected from the elements and vandalism
7.
Rumbach Street synagogue
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The Rumbach Street synagogue is located in Belváros, the inner city of the historical old town of Pest, in the eastern section of Budapest. The synagogue in Rumbach Street was built in 1872 to the design of the Viennese architect Otto Wagner and it served the more conservative members of the Neológ community of Pest. It was built not as a replica of, but as an homage to the style of the octagonal. The synagogue sometimes hosts plays and photo exhibits*, there is some labeling of items in the synagogue many of which are in a state of ruin*. The Rabbi of the Rumbach Street synagogue was Rabbi Shloime Boruch Schmalhausen until the Holocaust, Synagogues built in the Moorish Revival style, Leopoldstädter Tempel, Vienna, Austria Central Synagogue, New York City, United States See Moorish Revival Synagogues for more examples. Moorish Style, Orientalism, the Jews, and Synagogue Architecture, Jewish Social Studies History Culture and Society. The Gozsdu Court in the Jewish Triangle and this article incorporates text from a publication now in the public domain, Gotthard Deutsch, Alexander Büchler. New York, Funk & Wagnalls Company, Jewish. hu - The Synagogue Triangle Kaufman, Rachelle Kaufman An American Jew in Budapest 2015 Media related to Rumbach Street Synagogue at Wikimedia Commons
8.
Wiener Stadtbahn
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The Wiener Stadtbahn was a public transportation system operated under this name from 1898 to 1989. Today, the Vienna U-Bahn lines U4 and U6 and the Vienna S-Bahn run on its former lines. The name derives from the usage of the term around the turn of the 19th/20th century to denote a full-scale railway in an urban area and it is not related to the usage of the term Stadtbahn in post-World War II Germany. The Stadtbahn is one of Viennas better-known examples of early Art Nouveau architecture, other preserved historical stations are the elevated stations along the Gürtel and in some of the suburbs. The Stadtbahn was built between 1894 and 1901 along with the regulation of the Wien River and the Danube Canal. Of the lines that were not built, two lines should have crossed the city, and one would have extended the Gürtel line along the southern Gürtel road to Südbahnhof railway station. These would have helped the Stadtbahn be an appealing and useful transportation system. When the lines opened, in four stages between 1898 and 1901, they failed to attract mass riders due to costs, affluent passengers were discouraged by dirt from engine smokestacks. While primarily a railway line, some trains continued on the mainlines to the north. In 1918, services came to a due to the coal shortage after World War I. Subsequently, the Wiental, Donaukanal, and Gürtel lines were leased by the city of Vienna and they were electrified and reopened in 1925 under the name Wiener Elektrische Stadtbahn. Under the new scheme, each line was assigned a single letter which could be combined with other letters to indicate the lines served. Also notable is line 18G, which was operated until 1945 and ran from Heiligenstadt to Gumpendorfer Strasse station, many stations and numerous sections of the lines were destroyed in World War II. Reconstruction of the lines took until 1955, and some of the stations were never rebuilt. In 1968 it was decided to integrate the Stadtbahn lines into the new subway system. Conversion of line WD to line U4 was completed in 1981, conversion of lines G, since then, the term Stadtbahn has disappeared from official use. A special type of engine, kkStB class 30, was designed by the Austrian engineer Karl Gölsdorf specifically for use on the Stadtbahn. The engine was optimized for quick acceleration, to suit the tight curves and steep inclines of the lines, and to emit a minimum of smoke, the passenger cars were 2-axle trailers that were rather freely based on a design by Otto Wagner
9.
Penzing (Vienna)
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Penzing is the 14th District of Vienna and consists of the boroughs of Penzing, Breitensee, Baumgarten, Hütteldorf and Hadersdorf-Weidlingau. In the west, it shares a border with Purkersdorf and Mauerbach, a large portion of the district is made up of greenery, including the Steinhof park, the Dehnepark and a portion of the Wienerwald. The famous Jugendstil architect Otto Wagner participated in the planning, the complex includes the Kirche am Steinhof, the Jugendstiltheater and a memorial site for Nazi crimes in medicine
10.
Constantin Lipsius
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Following his matriculation, Lipsius toured Italy, where he was fascinated by the architecture of Venice. French influences became marked in Lipsiuss later work and his participation in the 1866 competition for an Art Academy in Dresden exhibits several features that would appear in his final designs some twenty years later. Lipsiuss winning entry for the reconstruction of Leipzigs Johannis Hospital garnered him recognition as königliche Baurat. In the following decade, Lipsius continued to expand his work, in 1874 he was named president of the newly organized Union of Leipzig Architects and assumed directorship of the Baugewerkenschule. In 1877, Lipsius started his work on the preservation of Leipzigs Thomaskirche, J. S. Bachs church. Local preservation authority Heinrich Magirius has stated that Lipsiuss work was the most significant accomplishment of its kind in Saxony, with Nicolais death in 1881, Lipsius was named Professor of Architecture at the Dresden Academy. He received the commission to rebuild the Academy complex shortly after assuming his new academic post, the basis for much of the controversy was that the building, in both major design phases, was considered too large for the site. In addition, it was not deemed by many to be a reflection of the more delicate local Neo-Renaissance styles of Semper. Finally, the fact that the commission was given without the benefit of a public competition guaranteed no small amount of professional resentment, opinions, then as now, tend to be rather polarized. Some residents, for instance, still regard the unusual pleated parabolic glass dome, locally called the Lemon Press, but there can be little doubt that the design represented the most advanced architectural thinking of the early- to mid-1880s on the continent. Hence the bizarre glazed dome as a representation of an arbitrary and these ideas, which Lipsius based explicitly on the theories of Gottfried Semper, represent the first phase of architectural realism. Lipsius was a thoughtful and philosophically inclined architect and his students remembered him with enormous affection. Lipsius died, aged 61, in Dresden, after his death, Lipsius was succeeded as Professor of Architecture at the Academy by Paul Wallot, architect of the newly completed German Reichstag. Funerary Chapel for Baroness von Eberstein, Schönefeld,1855, ernst Keil Residence, Goldschmidtstraße 33, Leipzig, 1860–61. Frege Residence, Dörrienstrasse, Leipzig, n. d, Schloss Wetzelstein for Frege Family, Saalfeld, n. d. Mirror Hall in Schützenhaus, Leipzig,1876, café Felsche, Augustusplatz, Leipzig, n. d. Schloss Klein-Zschocher for Baron von Tauchnitz, Leipzig, n. d, mausoleum for Graf von Fabrice, Dresden, 1891–93. Exhibition Hall, Leipzig Applied Art Exhibition,1879, royal Art Academy and Exhibition Building, Dresden, 1883–1894 — Now Lipsius-Bau Church, Wachau, 1866-7 Johanniskirche, Gera, n. d
11.
Hans Auer
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Hans Wilhelm Auer was a Swiss-Austrian architect best known for his design of the Swiss Bundeshaus in Bern. Auers brilliant historical discussion of the triglyph comprised the basis for his own reflections on improving the state of contemporary architecture. Architectural realism enabled Auers generation to disengage from slavish imitation of historical forms, what we now regard as high modernist architectural theory was achieved by the next generation, although many of its conceptual foundations were grasped by the Architectural Realists of the 1880s. Hans Auer and the Morality of Architectural Space, in, Deborah J. Johnson and David Ogawa Seeing, a Essays on Eighteenth- to Twenty-First-Century Art in Honor of Kermit S. Champa, pp. 149–184. ISBN 0-8204-7084-8 Mallgrave, Harry F. Gottfried Semper, Modern Architectural Theory, A Historical Survey, 1673–1968. German Architectural Theory and the Search for Modern Identity, pp. 80–81, ISBN 0-521-48150-3 Architektonische Rundschau V, pl.80 + plans. Ein Beitrag zur Frage über den Zusammenhang ægyptischer mit dorischer Baukunst, ” Zeitschrift für bildenden Künste 15, 279-283, 322-325, Auer, Franz. “Der Einfluß der Construction auf die Entwicklung der Baustyle, ” Zeitschrift des österreichischen Ingenieur- und Architektenvereins 33, no. “Die Entwickelung des Raumes in der Baukunst, ” Allgemeine Bauzeitung 48, 65-68, “Moderne Stylfragen, ” Allgemeine Bauzeitung 50, 19-21, 25-27. “Die Quaderbossierung der italienischen Renaissance, ” Zeitschrift des österreichischen Ingenieur- und Architekten-Vereins 39, “Der Tempel der Vesta und das Haus der Vestalinnen am Forum Romanum, ” Denkschriften der kaiserlichen Akademie der Wissenschaften. Philosophisch-Historische Classe 36, 209-228 +8 pls, “Börsengebäude” in, Joseph Durm et al. Heft, Gebäude für die Zwecke des Wohnens, des Handels und Verkehrs, “Hans Wilhelm Auer, ” Sauer Allgemeines Künstler-Lexikon. Die Bildenden Künstler aller Zeiten und Völker, V,612, Hans Wilhelm Auer in, Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart II,243. “Die Bauten Hans Auers, ” Allgemeine Kunst-Chronik 11, no, “Über die Macht des Raumes in der Baukunst, “ Zeitschrift für Bauwesen 19, pp. 294–306. Die vertrackte Geschichte des Parlamentsgebäudes und seines Erbauers Hans Wilhelm Auer, 1847-1906
12.
Alfred Friedrich Bluntschli
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Alfred Friedrich Bluntschli was a Swiss architect and educator. Son of a legal scholar, Johann Caspar Bluntschli, A. F. One of their first successful commissions was for the layout of Viennas Zentralfriedhof in 1871, in 1876, Mylius and Bluntschli won an international competition for the new Hamburg City Hall, though it was not executed to their designs. In 1881, Bluntschli was called to assume the leadership of the Department of Architecture at the Polytechnikum, during his Zurich years, Bluntschli built a number of large private residences, several commissions for the Polytechnikum, and the delightful Enge Evangelical Church on the Zürichsee. Bluntschli was regarded internationally as a designer and a gifted teacher. When he died in 1930, his work had largely eclipsed by more stridently modern tendencies in the profession. Bluntschli Residence, Heidelberg,1866 Layout of Zentralfriedhof, Vienna,1871 Hotel Frankfurter Hof, Frankfurt am Main, mannheim Insurance Building, Frankfurt am Main,1882. Heyl Residence, Worms,1882 Chemistry Department, ETH Zurich, 1884-6
13.
Academy of Fine Arts Vienna
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The Academy of Fine Arts Vienna is a public art school of higher education in Vienna, Austria. In 1701 he was ennobled by Emperor Joseph I as Freiherr of the Empire, with his death in 1714, the academy temporarily closed. On 20 January 1725, Emperor Charles VI appointed the Frenchman Jacob van Schuppen as Prefect and Director of the Academy, hofakademie der Maler, Bildhauer und Baukunst. Upon Charles death in 1740, the academy at first declined, however during the rule of his daughter Empress Maria Theresa, a new statute reformed the academy in 1751. The prestige of the academy grew during the deanships of Michelangelo Unterberger and Paul Troger, in 1772, there were further reforms to the organisational structure. Chancellor Wenzel Anton Kaunitz integrated all existing art schools into the k. k. vereinigten Akademie der bildenden Künste, the word vereinigten was later dropped. In 1822 the art cabinet grew significantly with the bequest of honorary member Anton Franz de Paula Graf Lamberg-Sprinzenstein and his collection still forms the backbone of the art on display. In 1872 Emperor Franz Joseph I of Austria approved a statute making the academy the supreme government authority for the arts, a new building was constructed according to plans designed by the faculty Theophil Hansen in the course of the layout of the Ringstraße boulevard. On 3 April 1877, the building on Schillerplatz in the Innere Stadt district was inaugurated. In 1907 and 1908, young Adolf Hitler, who had come from Linz, was denied admission to the drawing class. He stayed in Vienna, subsisting on his allowance. Soon he had withdrawn into poverty and started selling amateur paintings, mostly watercolours, during the Austrian Anschluss to Nazi Germany from 1938–1945, the academy was forced to heavily reduce its number of Jewish staff. After World War II, the academy was reconstituted in 1955 and it has had university status since 1998, but retained its original name. It is currently the only Austrian university that doesnt have the university in its name. The Academy currently has about 900 students, almost a quarter of which are foreign students and its faculty includes stars such as Peter Sloterdijk. 110,000 volumes and its etching cabinet has about 150,000 drawings, the collection is one of the biggest in Austria, and is used for academic purposes, although portions are also open to the general public. Official website website of the Media Server Study in Austria, A Guide
14.
Jugendstil
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Art Nouveau is an international style of art, architecture and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants. English uses the French name Art Nouveau, according to the philosophy of the style, art should be a way of life. For many well-off Europeans, it was possible to live in an art nouveau-inspired house with art nouveau furniture, silverware, fabrics, ceramics including tableware, jewellery, cigarette cases, artists desired to combine the fine arts and applied arts, even for utilitarian objects. By 1910, Art Nouveau was already out of style and it was replaced as the dominant European architectural and decorative style first by Art Deco and then by Modernism. Art Nouveau took its name from the Maison de lArt Nouveau, in France, Art Nouveau was also sometimes called by the British term Modern Style due to its roots in the Arts and Crafts Movement, Style moderne, or Style 1900. It was also sometimes called Style Jules Verne, Le Style Métro, Art Belle Époque, in Belgium, where the architectural movement began, it was sometimes termed Style nouille or Style coup de fouet. In Britain, it was known as the Modern Style, or, because of the arts and crafts movement led by Charles Rennie Mackintosh in Glasgow, as the Glasgow style. In Italy, because of the popularity in Italy of designs from Londons Liberty & Co department store, in the United States, due to its association with Louis Comfort Tiffany, it was often called the Tiffany style. In Germany and Scandinavia, a style emerged at about the same time, it was called Jugendstil. In Catalonia the related style was known as Modernisme, in Spain as Modernismo, Arte joven, in Russia, it was called Modern, and Jugendstil, and Nieuwe Kunst in the Netherlands. Some names refer specifically to the forms that were popular with the Art Nouveau artists, Stile Floreal in France, Paling Stijl in the Netherlands. The new art movement had its roots in Britain, in the designs of William Morris. Early prototypes of the include the Red House of Morris. In France, the style combined several different tendencies, in architecture, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc, a declared enemy of the historical Beaux-Arts architectural style. For each function its material, for each material its form and this book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, and Antoni Gaudí. The French painters Maurice Denis, Pierre Bonnard and Édouard Vuillard played an important part in integrating fine arts painting with decoration, I believe that before everything a painting must decorate, Denis wrote in 1891. The choice of subjects or scenes is nothing and it is by the value of tones, the colored surface and the harmony of lines that I can reach the spirit and wake up the emotions
15.
Gustav Klimt
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Gustav Klimt was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, Klimts primary subject was the female body, and his works are marked by a frank eroticism. In addition to his works, which include allegories and portraits. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art, early in his artistic career, he was a successful painter of architectural decorations in a conventional manner. He subsequently accepted no more commissions, but achieved a new success with the paintings of his golden phase. Klimts work was an important influence on his younger contemporary Egon Schiele, Gustav Klimt was born in Baumgarten, near Vienna in Austria-Hungary, the second of seven children—three boys and four girls. His mother, Anna Klimt, had an ambition to be a musical performer. His father, Ernst Klimt the Elder, formerly from Bohemia, was a gold engraver, all three of their sons displayed artistic talent early on. Klimts younger brothers were Ernst Klimt and Georg Klimt, Klimt lived in poverty while attending the Vienna School of Arts and Crafts, where he studied architectural painting until 1883. He revered Viennas foremost history painter of the time, Hans Makart, Klimt readily accepted the principles of a conservative training, his early work may be classified as academic. In 1877 his brother, Ernst, who, like his father, would become an engraver, the two brothers and their friend, Franz Matsch, began working together and by 1880 they had received numerous commissions as a team that they called the Company of Artists. They also helped their teacher in painting murals in the Kunsthistorisches Museum in Vienna, Klimt began his professional career painting interior murals and ceilings in large public buildings on the Ringstraße, including a successful series of Allegories and Emblems. In 1888 Klimt received the Golden Order of Merit from Emperor Franz Josef I of Austria for his contributions to murals painted in the Burgtheater in Vienna and he also became an honorary member of the University of Munich and the University of Vienna. In 1892 Klimts father and brother Ernst both died, and he had to assume responsibility for his fathers and brothers families. The tragedies also affected his vision and soon he would move towards a new personal style. Historians believe that Klimt with the nuda veritas denounced both the policy of the Habsburgs and the Austrian society, which ignored all political and social problems of that time. In the early 1890s Klimt met Austrian fashion designer Emilie Louise Flöge who was to be his companion until the end of his life and his painting, The Kiss, is thought to be an image of them as lovers. He designed many costumes she created and modeled in his works, during this period Klimt fathered at least fourteen children
16.
Joseph Maria Olbrich
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Joseph Maria Olbrich was an Austrian architect and co-founder of the Vienna Secession. Olbrich was born in Opava, Austrian Silesia, the child of Edmund. He had two sisters, who died before he was born, and two brothers, John and Edmund. His father was a confectioner and wax manufacturer who also owned a brick works. Olbrich studied architecture at the University of Applied Arts Vienna and the Academy of Fine Arts Vienna and these included the Prix de Rome, for which he traveled in Italy and North Africa. In 1893, he started working for Otto Wagner, the Austrian architect, in 1897, Gustav Klimt, Olbrich, Josef Hoffmann and Koloman Moser founded the Vienna Secession artistic group. Olbrich designed their exhibition building, the famous Secession Hall, which became the movements landmark, in 1899, Ernest Louis, Grand Duke of Hesse, founded the Darmstadt Artists Colony, for which Olbrich designed many houses and several exhibition buildings. Olbrich gained Hessian citizenship in 1900 and was appointed to a professorship by the Grand Duke, in 1903, he married Claire Morawe. In the following years, Olbrich executed diverse architectural commissions and experimented in applied arts and he designed pottery, furniture, book bindings, and musical instruments. His courtyard and interiors at the St. Louis Worlds Fair won the highest prize at the exhibition, at the time, the St. Louis Post-Dispatch wrote of his pavilion, The interior decorators of the United States are now talking about the Olbrich Pavilion. It is already indicated as one of the things at the Worlds Fair which will leave a permanent mark upon American life and he was subsequently appointed corresponding member of the American Institute of Architects. His architectural works, especially his exhibition buildings for the Vienna, shortly after his daughter Mariannes birth on July 19,1908, Olbrich died from leukemia in Düsseldorf on August 8, aged 40
17.
Josef Hoffmann
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Josef Hoffmann was an Austrian architect and designer of consumer goods. Hoffmann was born in Pirnitz / Brtnice, Moravia, Austria-Hungary and he studied at the Higher State Crafts School in Brno / Brünn beginning in 1887 and then worked with the local military planning authority in Würzburg, Germany. Thereafter he studied at the Academy of Fine Arts Vienna with Karl Freiherr von Hasenauer and Otto Wagner, in Wagners office, he met Joseph Maria Olbrich, and together they founded the Vienna Secession in 1897 along with artists Gustav Klimt, and Koloman Moser. Beginning of 1899, he taught at the Kunstgewerbeschule, now University of Applied Arts Vienna, with the Secession, Hoffmann developed strong connections with other artists. He designed installation spaces for Secession exhibitions and a house for Moser which was built from 1901-1903, with the banker Fritz Wärndorfer and the artist Koloman Moser he established the Wiener Werkstätte, which was to last until 1932. Hoffmanns style eventually became sober and abstract and it was limited increasingly to functional structures. In 1906, Hoffmann built his first great work on the outskirts of Vienna, compared to the Moser House, with its rusticated vernacular roof, this was a great advancement towards abstraction and a move away from traditional Arts and Crafts and historicism. This project served as a precedent and inspiration for the modern architecture that would develop in the first half of the 20th century. It had the clarity, simplicity, and logic that foreshadowed Neue Sachlichkeit and this masterpiece of Secession Style, was an example of Gesamtkunstwerk, replete with murals in the dining room by Klimt and four copper figures on the tower by Franz Metzner. In 1907, Hoffmann was co-founder of the Deutscher Werkbund, after World War II, he took on official tasks, that of an Austrian general commissioner with the Venice Biennale and a membership in the art senate. Some of Hoffmanns domestic designs can still be found in production today, originally produced in silver the range is now produced in high quality stainless steel. Another example of Hoffmann’s strict geometrical lines and the theme is the iconic Kubus Armchair. Designed in 1910, it was presented at the International Exhibition held in Buenos Aires on the centennial of Argentinean Independence known as May Revolution, Hoffmanns constant use of squares and cubes earned him the nickname Quadratl-Hoffmann. Although he said little to his students, Hoffmann was an esteemed and admired teacher. He tried to bring out the best in each member of his class by means of challenging assignments, and Gladys Aschermann and Louise Brigham. German designer Anni Schaad was another of his students, Le Corbusier was offered a job in his office, Schiele was helped financially and Kokoschka was given work in the Wiener Werkstätte. Hoffmann had voted for the union of Austria with Germany and, following its use by the British Government from 1945 to 1955 it was demolished. Hoffmann died in Vienna, aged 85, the critical reception of Hoffmann’s oeuvre has faithfully mirrored the changing tastes and ideologies in the history of 20th-century architecture
18.
Koloman Moser
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Born in Vienna, he studied at the Wiener Akademie and the Kunstgewerbeschule, where he also taught from 1899. His designs in architecture, furniture, jewellery, graphics, Moser drew upon the clean lines and repetitive motifs of classical Greek and Roman art and architecture in reaction to the Baroque decadence of his turn-of-the-century Viennese surroundings. In 1901/1902, he published a portfolio titled Die Quelle of elegant graphic designs for such things as tapestries, fabrics, in 1904, he created the Apse mosaic and glass windows for the Kirche am Steinhof in Vienna. In 1905, together with the Klimt group, he separated from the Vienna Secession, the same year, he married Editha Mautner von Markhof, the daughter to one of Austrias great industry fortunes. In 1907 Moser, due to conflicts and as his plans for reorganising the Werkstätte werent realised. Koloman was one of the designers for Austrias leading art journal Ver Sacrum and this art journal paid great attention to design and was designed mainly by Moser, Gustav Klimt and Josef Hoffmann. His design for the cover of one edition of the art journal was later plagiarized by well known street artist and designer, on the reverse of the coin, the Koloman Moser stained glass window over the main entrance can be seen. In the centre of the window is God the Father seated on a throne, the window is flanked with a pair of bronze angels in Jugendstil style, originally designed by Othmar Schimkowitz. Each plate was double sided, with a design on one side. It sold for a record price of $12,600. Koloman Moser, Master of Viennese Modernism, catalog of the Kolo Moser exhibition in the Leopold Museum. Paris, Editions de la Réunion des musées nationaux, media related to Koloman Moser at Wikimedia Commons Wiener Werkstätte Koloman Moser at WOKA Koloman Moser article in cosmopolis. ch Biography, Literature and Works by Koloman Moser
19.
Vienna Secession
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The Vienna Secession was an art movement formed in 1897 by a group of Austrian artists who had resigned from the Association of Austrian Artists, housed in the Vienna Künstlerhaus. This movement included painters, sculptors, and architects, the first president of the Secession was Gustav Klimt, and Rudolf von Alt was made honorary president. Its official magazine was called Ver Sacrum, the Vienna Secession was founded on 3 April 1897 by artists Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich, Max Kurzweil, Wilhelm Bernatzik and others. Although Otto Wagner is widely recognised as an important member of the Vienna Secession he was not a founding member, the Secession artists objected to the prevailing conservatism of the Vienna Künstlerhaus with its traditional orientation toward Historicism. The Berlin and Munich Secession movements preceded the Vienna Secession, which held its first exhibition in 1898, the group earned considerable credit for its exhibition policy, which made the French Impressionists somewhat familiar to the Viennese public. The 14th Secession exhibition, designed by Josef Hoffmann and dedicated to Ludwig van Beethoven, was especially famous, a statue of Beethoven by Max Klinger stood at the center, with Klimts Beethoven frieze mounted around it. The Klimt frieze has been restored and can be seen in the gallery today, in 1903, Hoffmann and Moser founded the Wiener Werkstätte as a fine-arts society with the goal of reforming the applied arts. On 14 June 1905 Gustav Klimt and other artists seceded from the Vienna Secession due to differences of opinion over artistic concepts, unlike other movements, there is not one style that unites the work of all artists who were part of the Vienna Secession. The Secession building could be considered the icon of the movement, above its entrance was placed the phrase Der Zeit ihre Kunst. Secession artists were concerned, above all else, with exploring the possibilities of art outside the confines of academic tradition and they hoped to create a new style that owed nothing to historical influence. In this way they were much in keeping with the iconoclastic spirit of turn-of-the-century Vienna. The Secessionist style was exhibited in a magazine that the group produced, called Ver Sacrum, along with painters and sculptors, there were several prominent architects who became associated with the Vienna Secession. During this time, architects focused on bringing purer geometric forms into the designs of their buildings, even though they had their own type of design, the inspiration came from neoclassical architecture, with the addition of leaves and natural motifs. The three main architects of this movement were Josef Hoffmann, Joseph Maria Olbrich, and Otto Wagner, in 1898, the groups exhibition house was built in the vicinity of Karlsplatz. Designed by Joseph Maria Olbrich, the building soon became known simply as the Secession. The secession building displayed art from other influential artists such as Max Klinger, Eugène Grasset, Charles Rennie Mackintosh. Otto Wagners Majolika Haus in Vienna is a significant example of the Austrian use of line, other significant works of Otto Wagner include The Karlsplatz Stadtbahn Station in Vienna, and Austrian Postal Savings Bank in Vienna. Wagners way of modifying Art Nouveau decoration in a classical manner did not find favour with some of his pupils who broke away to form the Secessionists, one was Josef Hoffmann who left to form the Wiener Werkstätte
20.
Karl Ehn
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Karl Ehn was a Viennese architect and city planner. Ehn apprenticed under Otto Wagner, began working for the Vienna City Administration in 1908 and it is estimated that Ehn designed a total of 2,716 flats during his career. Initially his designs were informed by the English Garden City movement as shown by his commission at Hermewiese. His most notable single design remains the colossal Karl Marx-Hof, the largest and best example of public housing built during the Socialist Red Vienna movement. According to Joseph Rykwert, Ehn continued to serve the city through the Anschluss in 1938, ehns work in Vienna includes, Hermeswiese Lindenhof project Bebelhof Karl Marx-Hof, Heiligenstadt Adelheid-Popp-Hof Media related to Karl Ehn at Wikimedia Commons
21.
Max Fabiani
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Together with Ciril Metod Koch and Ivan Vancaš, he introduced the Vienna Secession style of architecture in Slovenia. Fabiani was born to father Antonio Fabiani, a Friulian latifondist from Paularo of Bergamasque ancestry, and mother Charlotte von Kofler, a Triestine aristocrat of Tyrolean origin. He grew up in a cosmopolitan environment, besides Italian, the language of his family, and Slovene. He came from a family that could afford to provide a good education for its 14 children. He attended elementary school in Kobdilj, and the German- and Slovene-language Realschule in Ljubljana and he later moved to Vienna, where he attended architecture courses at the Vienna University of Technology. After earning his degree in 1889, a scholarship enabled him to travel for three years to Asia Minor and through most of Europe and he was married and had two children, his son Lorenzo Fabiani was an agronomist and journalist. On 15 May 1921 - less than a year after the burning of the Slovenian National Hall in Trieste, the reason why he joined the party and his political activity in the following years remain unclear and controversial. In late 1935, Fabiani accepted the nomination for mayor of his native Štanjel by the Fascist regime and he remained mayor during World War II, using his knowledge of German language and his cultural acquaintances to convince the German troops to spare the village from destruction. His house and archive was also burnt down, in 1944, Fabiani relocated back to Gorizia, where he lived until his death on August 12,1962. A widely circulated but false story regarding Fabiani is that the young Adolf Hitler once briefly worked in his firm in Vienna. Upon returning to Vienna, he joined the studio of the architect Otto Wagner on Wagners personal invitation, during this period he did not only concentrate his interests on design, but also cultivated his vocation as town planner and passionately devoted himself to teaching. Fabianis first large-scale architectural project was the plan for the Carniolan capital Ljubljana. Fabiani won a competition against the historicist architect Camillo Sitte, and was chosen by the Ljubljana Town Council as the urban planner. One of the reasons for this choice was Fabiani was considered by the Slovene Liberal Nationalists as a Slovene, second reason was that he knew Ljubljana better than Sitte and prepared really good and modern plan. Fabiani also created the plan for Bielsko in Poland. In 1902, these two urban plans won him the first honorary doctorate in the field of planning by the University of Vienna in Austria-Hungary. In 1984, in Vienna Simmering, Fabiani Street was named after him, since 2008, the Slovenian highest award for best achievements in urban planning is named after him
22.
Rudolph Schindler (architect)
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Although he worked and trained with some of its foremost practitioners, he often is associated with the fringes of the modern movement in architecture. Reyner Banham said he designed as if there had never been houses before, rudolf Michael Schindler was born on September 10,1887, to a middle-class Jewish family in Vienna, Austria. His father was a wood and metal craftsman and an importer, for unknown reasons, his family changed their surname from Schlesinger to Schindler in 1901. Schindler was most influenced by professor Carl König, despite the presence of other famous professors such as Otto Wagner and particularly. Most notably, in 1911, he was introduced to the work of Frank Lloyd Wright through the influential Wasmuth Portfolio, Schindler also met his lifelong friend and rival Richard Neutra at the university in 1912, before completing his thesis project in 1913. At one point, they and their wives shared an office and living structure that Schindler designed as his home. In Vienna, Schindler acquired experience in the firm of Hans Mayr and Theodore Mayer, working there from September 1911 to February 1914. Schindler then moved to Chicago to work in the firm of Ottenheimer, Stern, and Reichert, accepting a cut in pay to be in that progressive American city, which was the home of Frank Lloyd Wright. He found New York City, which he visited along the way, to be crowded, unattractive, Chicago was more appealing to him, however, with less congestion and providing access to the architectural work of Henry Hobson Richardson, Louis Sullivan, and Frank Lloyd Wright. Schindler continued to contact with Wright, writing letters despite his limited English. He finally met him for the first time on December 30,1914, Wright had little work at this stage, was still plagued by the destruction of Taliesin and the murder of his mistress earlier that year, and did not offer Schindler a job. Schindler continued work at OSR, keeping himself occupied with trips and study, Wright was able to hire Schindler after obtaining the commission for the Imperial Hotel in Tokyo, a major project that would keep the architect in Japan for several years. Schindlers role was to continue Wrights American operations in his absence, in 1919, Schindler met and married Pauline Gibling and in 1920 Wright summoned him to Los Angeles to work on the Barnsdall House. He and his wife were one of the living in the communal structure. He also started to take on projects of his own. During this time, fractures started to appear in the Schindler-Wright relationship, Schindler complained, with some validity, of being underpaid and exploited. As well as his affairs, he was running Frank Lloyd Wrights businesses. As Schindler was applying for a Los Angeles license to practice architecture in 1929, Wright, however, refused to validate these claims
23.
Charles Rennie Mackintosh
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Charles Rennie Mackintosh was a Scottish architect, designer, water colourist and artist. His artistic approach had much in common with European Symbolism and his work, alongside that of his wife Margaret Macdonald, was influential on European design movements such as Art Nouveau and Secessionism. He was born in Glasgow and died in London, Mackintosh grew up in the Townhead and Dennistoun areas of Glasgow, and he attended Reids Public School and the Allan Glens Institution. He changed the spelling of his name from McIntosh to Mackintosh for unknown reasons, as his father did before him, confusion continues to surround the use of his name with Rennie sometimes incorrectly substituted for his first name of Charles. The modern use of Rennie Mackintosh as a surname is also incorrect and he was never known as such in his lifetime, signatures took various forms including C. R. Mackintosh and Chas. Upon his return, he resumed work with the Honeyman & Keppie architectural practice where he started his first major architectural project and he was engaged to marry his employers sister, Jessie Keppie. Around 1892, Mackintosh met fellow artist Margaret Macdonald at the Glasgow School of Art, Margaret and Charles married on 22 August 1900. MacNair and Frances also married the previous year, the group worked collaboratively and came to be known as The Four, and were prominent figures in Glasgow Style art and design. In 1904, after he had completed several successful building designs, Mackintosh became a partner in Honeyman & Keppie, when economic hardships were causing many architectural practices to close, in 1913, he resigned from the partnership and attempted to open his own practice. Mackintosh lived most of his life in the city of Glasgow, located on the banks of the River Clyde, during the Industrial Revolution, the city had one of the greatest production centres of heavy engineering and shipbuilding in the world. As the city grew and prospered, a response to the high demand for consumer goods. Industrialized, mass-produced items started to gain popularity, along with the Industrial Revolution, Asian style and emerging modernist ideas also influenced Mackintoshs designs. When the Japanese isolationist regime softened, they opened themselves to globalisation resulting in notable Japanese influence around the world, Glasgows link with the eastern country became particularly close with shipyards building at the River Clyde being exposed to Japanese navy and training engineers. Japanese design became more accessible and gained great popularity, in the old western style, furniture was seen as ornament that displayed the wealth of its owner and the value of the piece was established according to the length of time spent creating it. In the Japanese arts furniture and design focused on the quality of the space, at the same time a new philosophy concerned with creating functional and practical design was emerging throughout Europe, the so-called modernist ideas. The main concept of the Modernist movement was to develop ideas and new technology, design concerned with the present. Heavy ornamentation and inherited styles were discarded, even though Mackintosh became known as the ‘pioneer’ of the movement, his designs were far removed from the bleak utilitarianism of Modernism. His concern was to build around the needs of people, people seen, not as masses, Mackintosh took his inspiration from his Scottish upbringing and blended them with the flourish of Art Nouveau and the simplicity of Japanese forms
24.
Louis Sullivan
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Louis Henry Sullivan was an American architect, and has been called the father of skyscrapers and father of modernism. Along with Wright and Henry Hobson Richardson, Sullivan is one of the trinity of American architecture. Form follows function is attributed to him although he credited the origin of the concept to an ancient Roman architect, in 1944, he was the second architect in history to posthumously receive the AIA Gold Medal. Louis Henry Sullivan was born to a Swiss-born mother, née Andrienne List, and he learned that he could both graduate from high school a year early and bypass the first two years at the Massachusetts Institute of Technology by passing a series of examinations. Entering MIT at the age of sixteen, he studied architecture there briefly, after one year of study, he moved to Philadelphia and took a job with architect Frank Furness. The Depression of 1873 dried up much of Furnesss work, at that point Sullivan moved on to Chicago in 1873 to take part in the building boom following the Great Chicago Fire of 1871. He worked for William LeBaron Jenney, the architect credited with erecting the first steel frame building. After less than a year with Jenney, Sullivan moved to Paris and he returned to Chicago and began work for the firm of Joseph S. Johnston & John Edelman as a draftsman. Johnston & Edleman were commissioned for the design of the Moody Tabernacle, in 1879 Dankmar Adler hired Sullivan. A year later, Sullivan became a partner in the firm and this marked the beginning of Sullivans most productive years. Adler and Sullivan initially achieved fame as theater architects, while most of their theaters were in Chicago, their fame won commissions as far west as Pueblo, Colorado, and Seattle, Washington. After 1889 the firm known for their office buildings, particularly the 1891 Wainwright Building in St. Louis. Prior to the century, the weight of a multistory building had to be supported principally by the strength of its walls. The development of cheap, versatile steel in the half of the nineteenth century changed those rules. America was in the midst of social and economic growth that made for great opportunities in architectural design. A much more urbanized society was forming and the society called out for new, the mass production of steel was the main driving force behind the ability to build skyscrapers during the mid-1880s. By assembling a framework of steel girders, architects and builders suddenly could create tall, slender buildings with a strong, the rest of the building elements—walls, floors, ceilings, and windows—were suspended from the skeleton, which carried the weight. This new way of constructing buildings, so-called column-frame construction, pushed them up rather than out, the steel weight-bearing frame allowed not just taller buildings, but permitted much larger windows, which meant more daylight reaching interior spaces
25.
Nussdorf weir and lock
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The Nussdorf weir and lock are works of hydraulic engineering located in the Viennese suburb of Nussdorf at the point where the Donaukanal leaves the Danube. The weir and lock in Nussdorf are commonly confused with one another, the weir and lock are located behind the Nussdorf station of the Emperor Franz Joseph Railway. Although they are named after a suburb in the 19th district of Vienna, Döbling, they fall within the jurisdiction of the 20th district. The Schwimmtor remained in service until World War I and was scrapped in 1945. The weir and lock in Nussdorf and the Kaiserbadwehr were the hydraulic engineering works that were ever realised as part of the plan to create a harbour in the Donaukanal. Two further weir and lock arrangements had been envisaged near the Ostbahnbrücke, the construction of the weir and lock was necessary to protect the new developments on the canal from floods and ice, but also to maintain sufficient water in the canal so that ships could pass. Wilhelm von Engerth’s Schwimmtor provided satisfactory protection from floating ice, in particular because of the need to protect the tributary canals built along the Donaukanal, it was essential that the level of water in the canal did not rise by more than 80 centimetres. The Nussdorf weir was built between August 1894 and 1899, the walls were finished in 1897 and the steel construction was mounted by August 1898. The administration building and the magazine followed in 1899. It features imposing columns topped with lions made of bronze and these lions are the work of Rudolf Weyr and were later the model for the logo of Gräf & Stift, an Austrian automobile producer. The weir passed its first test in 1899, when the land on the Donaukanal was successfully protected from flooding, the needle dam was replaced with a modern segment weir during improvements carried out on Vienna’s defenses against flooding between 1971 and 1975. The new weir featured barriers that could be lowered to the bottom of the canal, between 2004 and 2005, the Nussdorf power station was built downstream of the weir and lock without any visible changes to the historical appearance of the area. The power station’s 12 turbines produce around 28 gigawatt hours per year, the Schemerlbrücke, also known as Löwenbrücke, is named after Josef Schemerl Ritter von Leytenbach, k. k. Hofrat and Hofbauratsdirektor, who developed the first plans to regulate the Danube in 1810, according to the “Amtliches Wiener Straßenverzeichnis –16. Aktualisierte Auflage”, the bridge appears as the “Schemmerlbrücke”, the inscription on one of the pylons refers to it as the “Schemerlbrücke”. Different maps of the city of Vienna name the bridge either “Josef von Schemerl-Brücke” or “Schemerlbrücke” and it thus seems that this is the correct name. The truss bridge was built between 1894 and 1898 and its span measures 49 metres, arching over both the 40-metre wide canal and the 9-metre wide towpath. The Schemmerlbrücke was however also needed for the weir machinery, in April 1945, the Schemmerlbrücke, along with the other bridges over the Donaukanal, was intentionally rendered unusable
26.
Budapest
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Budapest is the capital and most populous city of Hungary, one of the largest cities in the European Union and sometimes described as the primate city of Hungary. It has an area of 525 square kilometres and a population of about 1.8 million within the limits in 2016. Budapest became a single city occupying both banks of the Danube river with the unification of Buda and Óbuda on the west bank, the history of Budapest began with Aquincum, originally a Celtic settlement that became the Roman capital of Lower Pannonia. Hungarians arrived in the territory in the 9th century and their first settlement was pillaged by the Mongols in 1241–1242. The re-established town became one of the centres of Renaissance humanist culture by the 15th century, following the Battle of Mohács and nearly 150 years of Ottoman rule, the region entered a new age of prosperity, and Budapest became a global city after its unification in 1873. It also became the co-capital of the Austro-Hungarian Empire, a power that dissolved in 1918. Budapest was the point of the Hungarian Revolution of 1848, the Hungarian Republic of Councils in 1919, the Battle of Budapest in 1945. Budapest is an Alpha- global city, with strengths in arts, commerce, design, education, entertainment, fashion, finance, healthcare, media, services, research, and tourism. Its business district hosts the Budapest Stock Exchange and the headquarters of the largest national and international banks and it is the highest ranked Central and Eastern European city on Innovation Cities Top 100 index. Budapest attracts 4.4 million international tourists per year, making it the 25th most popular city in the world, further famous landmarks include Andrássy Avenue, St. It has around 80 geothermal springs, the worlds largest thermal water system, second largest synagogue. Budapest is home to the headquarters of the European Institute of Innovation and Technology, the European Police College, over 40 colleges and universities are located in Budapest, including the Eötvös Loránd University, Central European University and Budapest University of Technology and Economics. Budapest is the combination of the city names Buda and Pest, One of the first documented occurrences of the combined name Buda-Pest was in 1831 in the book Világ, written by Count István Széchenyi. The origins of the names Buda and Pest are obscure, according to chronicles from the Middle Ages, the name Buda comes from the name of its founder, Bleda, brother of the Hunnic ruler Attila. The theory that Buda was named after a person is also supported by modern scholars, an alternative explanation suggests that Buda derives from the Slavic word вода, voda, a translation of the Latin name Aquincum, which was the main Roman settlement in the region. There are also theories about the origin of the name Pest. One of the states that the word Pest comes from the Roman times. According to another theory, Pest originates from the Slavic word for cave, or oven, the first settlement on the territory of Budapest was built by Celts before 1 AD
27.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
28.
Internet Archive
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The Internet Archive is a San Francisco–based nonprofit digital library with the stated mission of universal access to all knowledge. As of October 2016, its collection topped 15 petabytes, in addition to its archiving function, the Archive is an activist organization, advocating for a free and open Internet. Its web archive, the Wayback Machine, contains over 150 billion web captures, the Archive also oversees one of the worlds largest book digitization projects. Founded by Brewster Kahle in May 1996, the Archive is a 501 nonprofit operating in the United States. It has a budget of $10 million, derived from a variety of sources, revenue from its Web crawling services, various partnerships, grants, donations. Its headquarters are in San Francisco, California, where about 30 of its 200 employees work, Most of its staff work in its book-scanning centers. The Archive has data centers in three Californian cities, San Francisco, Redwood City, and Richmond, the Archive is a member of the International Internet Preservation Consortium and was officially designated as a library by the State of California in 2007. Brewster Kahle founded the Archive in 1996 at around the time that he began the for-profit web crawling company Alexa Internet. In October 1996, the Internet Archive had begun to archive and preserve the World Wide Web in large quantities, the archived content wasnt available to the general public until 2001, when it developed the Wayback Machine. In late 1999, the Archive expanded its collections beyond the Web archive, Now the Internet Archive includes texts, audio, moving images, and software. It hosts a number of projects, the NASA Images Archive, the contract crawling service Archive-It. According to its web site, Most societies place importance on preserving artifacts of their culture, without such artifacts, civilization has no memory and no mechanism to learn from its successes and failures. Our culture now produces more and more artifacts in digital form, the Archives mission is to help preserve those artifacts and create an Internet library for researchers, historians, and scholars. In August 2012, the Archive announced that it has added BitTorrent to its file download options for over 1.3 million existing files, on November 6,2013, the Internet Archives headquarters in San Franciscos Richmond District caught fire, destroying equipment and damaging some nearby apartments. The nonprofit Archive sought donations to cover the estimated $600,000 in damage, in November 2016, Kahle announced that the Internet Archive was building the Internet Archive of Canada, a copy of the archive to be based somewhere in the country of Canada. The announcement received widespread coverage due to the implication that the decision to build an archive in a foreign country was because of the upcoming presidency of Donald Trump. Kahle was quoted as saying that on November 9th in America and it was a firm reminder that institutions like ours, built for the long-term, need to design for change. For us, it means keeping our cultural materials safe, private and it means preparing for a Web that may face greater restrictions
29.
University of Bologna
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The University of Bologna, founded in 1088, is the oldest university in continuous operation. It was the first place of study to use the term universitas for the corporations of students and masters which came to define the institution, located in Bologna, as of 2013, the Universitys crest carries the motto Alma mater studiorum and the date A. D.1088. The University has about 85,500 students in its 11 schools and it has campuses in Ravenna, Forlì, Cesena and Rimini and a branch center abroad in Buenos Aires. It also has a school of excellence named Collegio Superiore di Bologna, an associate publisher of the University of Bologna is Bononia University Press S. p. A. The date of its founding is uncertain, but believed by most accounts to have been 1088 and these students then hired scholars from the city to teach them. In time the various nations decided to form an association, or universitas—thus. The foreign students in Bologna received greater rights, and collective punishment was ended, there was also collective bargaining with the scholars who served as professors at the university. By the initiation or threat of a student strike, the students could enforce their demands as to the content of courses, the professors could also be fined if they failed to finish classes on time, or complete course material by the end of the semester. A student committee, the Denouncers of Professors, kept tabs on them, Professors themselves were not powerless, however, forming a College of Teachers, and securing the rights to set examination fees and degree requirements. Eventually, the city ended this arrangement, paying professors from tax revenues, until modern times, the only degree granted at that university was the doctorate. Higher education processes are being harmonised across the European Community, nowadays the University offers 101 different Laurea or Laurea breve first-level degrees, followed by 108 Laurea specialistica or Laurea magistrale second-level degrees. After the Laurea one may attain 1st level Master, after second-level degrees are attained, one may proceed to 2nd level Master, specialisation schools, or doctorates of research. A new department of Latin History was added in 2015, on 25 April 1951 the first issue of the review was published in Bologna. In a short time, il Mulino became one of the most interesting points in Italy for the political and cultural debate. Editorial activities evolved along with the review, in 1954, the il Mulino publishing house was founded, which today represents one of the most relevant Italian publishers. In addition to this were initiated research projects, that led, in 1964. In the 2016-17 THE World University Rankings the University of Bologna was ranked in the worlds top 250 universities
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Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
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Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
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Union List of Artist Names
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The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
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National Diet Library
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The National Diet Library is the only national library in Japan. It was established in 1948 for the purpose of assisting members of the National Diet of Japan in researching matters of public policy, the library is similar in purpose and scope to the United States Library of Congress. The National Diet Library consists of two facilities in Tokyo and Kyoto, and several other branch libraries throughout Japan. The Diets power in prewar Japan was limited, and its need for information was correspondingly small, the original Diet libraries never developed either the collections or the services which might have made them vital adjuncts of genuinely responsible legislative activity. Until Japans defeat, moreover, the executive had controlled all political documents, depriving the people and the Diet of access to vital information. The U. S. occupation forces under General Douglas MacArthur deemed reform of the Diet library system to be an important part of the democratization of Japan after its defeat in World War II. In 1946, each house of the Diet formed its own National Diet Library Standing Committee, hani Gorō, a Marxist historian who had been imprisoned during the war for thought crimes and had been elected to the House of Councillors after the war, spearheaded the reform efforts. Hani envisioned the new body as both a citadel of popular sovereignty, and the means of realizing a peaceful revolution, the National Diet Library opened in June 1948 in the present-day State Guest-House with an initial collection of 100,000 volumes. The first Librarian of the Diet Library was the politician Tokujirō Kanamori, the philosopher Masakazu Nakai served as the first Vice Librarian. In 1949, the NDL merged with the National Library and became the national library in Japan. At this time the collection gained a million volumes previously housed in the former National Library in Ueno. In 1961, the NDL opened at its present location in Nagatachō, in 1986, the NDLs Annex was completed to accommodate a combined total of 12 million books and periodicals. The Kansai-kan, which opened in October 2002 in the Kansai Science City, has a collection of 6 million items, in May 2002, the NDL opened a new branch, the International Library of Childrens Literature, in the former building of the Imperial Library in Ueno. This branch contains some 400,000 items of literature from around the world. Though the NDLs original mandate was to be a library for the National Diet. In the fiscal year ending March 2004, for example, the library reported more than 250,000 reference inquiries, in contrast, as Japans national library, the NDL collects copies of all publications published in Japan. The NDL has an extensive collection of some 30 million pages of documents relating to the Occupation of Japan after World War II. This collection include the documents prepared by General Headquarters and the Supreme Commander of the Allied Powers, the Far Eastern Commission, the NDL maintains a collection of some 530,000 books and booklets and 2 million microform titles relating to the sciences
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Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
listen); 13 July 1841 – 11 April 1918) was an Austrian architect and urban planner, known for his lasting impact on the appearance of his home town Vienna, to which he contributed many landmarks.
