Adolf Loos, Josef Hoffmann, and Otto Wagner have been widely acclaimed in recent celebrations of turn of the century Viennese art, architecture, and furniture design. But until now little has been known about the other architects who gave meaning to the term "Viennese style." This collection of drawings and sketches by Otto Wagner's three most gifted students provides a fascinating new source of documentary material on the early modern period. Published for the first time, the drawings include projects and executed designs ranging from apartment houses to villas, furniture, textiles and glassware, and achieve a graphic quality that has rarely been equaled.  Emile Hoppe, Marcel Kammerer, and Otto Schonthal were the outstanding students in Otto Wagner's special class at the Akademie in Vienna - the famous Wagnerschule - and upon graduation were invited to join his studio, where they collaborated on some of his most important projects before establishing their own firm in 1909. The works presented here mark a climax in Viennese architectural design in which a highly developed consciousness is combined with the structural and material innovations characteristic of the Wagnerschule. The drawings are noteworthy not only for their intrinsic qualities, but also as a rich source of inspiration and a refreshing vocabulary for contemporary architects and designers.  An extended essay by Iain Boyd Whyte on the three architects' development and practice accompany this exciting catalog of drawings. Whyte is a Lecturer at the University of Edinburgh and has written extensively on 20th-century German architecture, including the book The Crystal Chain Letters: Architectural Fantasies by Bruno Taut and His Circle.

Three Architects from the Master Class of Otto Wagner: Emil Hoppe, Marcel Kammerer, Otto Schonthal

Arts & Photography

Whyte, Iain Boyd

Hoppe, Emil

Kammerer, Marcel

Schonthal, Otto

Architecture

Mit Pr

Bruno Taut was the leading architectural theorist in Germany during the years 1914-1920. The architectural and social premises which he developed in this seminal period were to be of paramount importance in the subsequent development of modern architecture in Germany in the 1920s. The German example, in turn, was to become a model for the international modern movement. Whereas the history of the modern movement in architecture has generally been written in terms of functionalism, and the availability of materials and technology, Dr Whyte suggests that many of the roots of modern architecture were mystical and irrational, and were concerned less with function and purpose and more with millenarian dreams of the a society which might be achieved through the meditation of the architecture. The author also suggests that there were political reasons behind this type of architecture and why it failed to achieve its aim of improving the physical and social condition of society.

Bruno Taut and the Architecture of Activism (Cambridge Urban and Architectural Studies, Series Number 6)

Cambridge University Press

Emil Hoppe, Marcel Kammerer, Otto Schoenthal

Ernst,Wilhelm & Sohn,Verlag fur Architektur und Technische Wissenschaften Gmbh.,Germany

When the Forth Bridge opened on 4 March 1890 it was the longest railway bridge in the world and the first large structure made of steel. Crossing the wide Firth of Forth east of Edinburgh, it represents one of the greatest engineering triumphs of Victorian Britain, man’s victory over the intractable topography of land and water. Not surprisingly, such a vigorous rebuff of the natural order was condemned at the time by those late Victorians who resisted the march of technology, and William Morris described the Bridge as the »supremest specimen of all ugliness«. In response, Benjamin Baker insisted that its beauty lay in its functional elegance. Contrasting his masterpiece with the only comparable structure of the period, the Eiffel Tower, he concluded: »The Eiffel Tower is a foolish piece of work, ugly, illproportioned and of no real use to anyone.

John Fowler, Benjamin Baker, Forth Bridge: Opus 18

MacDonald, Angus

Photography & Video

Edition Axel Menges

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