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146 Fig. 4 architectonical work“ (Schmarsow 1894: 21), also in its psychological dimension. The connection to Strnad‘s and Frank‘s stress on temporality in the articulation of the path through the building and the definition of static space through clearly recognizable limits is evident. Like Schmarsow, Sitte too advocates the thesis of a „concavity of art“ (Schmarsow 1894: 21): it is the perception of objects arranged concavely around the eye that generates the impression of space. Frank transfers Sitte‘s urbanistic concept of space-shaping and path definition to the house itself as „street and square“ (Frank 1931: 316), following Leon Battista Alberti‘s ‚domus minima civitas‘. The duality of rest and movement, statics and dynamics, implemented in the notion of „street and square“, is significant for Frank‘s work in the first place. The same can be said of the relation of the individual and society, with the architectural correspondence of inside and outside, which is significant in the notions of „Facade and Interior“ (Frank 1928: 187) or „House and Garden“, the furniture shop founded by Frank and Oskar Wlach in 1925. Sitte‘s theories were also adopted by Otto Wagner‘s disciples designing social housing in the twenties. Especially the large-scale housing estates of Franz Kaym and Alfons Hetmanek show the influence of Sitte‘s writings. In 1919, Kaym and Hetmanek, who already in their student time were strongly influenced by Adolf Loos, published the book „Housing for People, Yesterday and Tomorrow“, presenting housing schemes based on small allotment modules. In the following years, they designed numerous housing schemes. Kaym and Hetmanek‘s most important single family house was built for the banker Alfred Wechsberg and his wife Anna in 1921 [Fig. 3]. In the living room, next to a big south window, a small door goes to a porch and then to the terrace. An axis of symmetry marked in the floor plan goes from the footpath and the entrance door over the rooms of the living floor and the big window to the strictly formal square-shaped garden parterres, surrounded by rows of cylindrical columns. A setback going through the entire height of the building stresses the axis of symmetry on the garden front. The garden parterre creates a mirroring of the house‘s volume to the outside which is conceived as a formulation of space in Semper‘s sense, with markings of the corners and the rows of columns as rudiments of walls. Corresponding to the hermetic square of the garden, the flat-roofed house can be read as a cube with setbacks and risalits. Where, in Frank‘s sense, a juxtaposition of the big south window and another opening to the street would have been logical to make the house transparent, the axis ends in the wall of the dining room and is thus, following the principles of Loos, only an architectonical axis and not one of light. Kaym and Hetmanek kept their architectural vocabulary, with an economically reduced set of tools, also when building settlements. In terms of urbanism, they followed Sitte‘s principles. The strict rows of units are left to create the impression of freestanding or semi-detached units. Frank‘s influence is also evident in the work of Paul Fischel and Heinz Siller. In 1933 they designed the house of Adolf and Christa Fürth [Fig. 4]. The flat-roofed cuboid stands in the middle of the narrow, deep, sloping plot, set back 30 m from the street following the building alignment. It is approached in several turns. Inside the house a „garden corridor“ with an opaque door to the garden branches off from the dining zone flooded by light. The Frank style ground plan, developing logically from the duality of sun radiation and Wienerwald view, makes the house lightweight and transparent. Upstairs, on the south-east corner, a sleeping porch is cut in. Jacques Groag‘s country house for Otto Eisler [Fig. 5] in Ostravice in the Moravian Beskids (1934) is characterized by organic shapes. A funnel-like setback next to the living room both lets the outside in and the interior extend to the exterior by opening up to the panoramic south side. The porch covering the ground level terrace reaches far beyond the house. Above the living room window it dissolves in a pergola visually sheltering the terrace but permitting the sunlight to enter the living Fig. 5
147 room. The ambiguity of open and closed, of outside and inside is characteristic here, too. Groag exceeds the principles of his teacher Loos by far. Groag’s house reminds of Ernst Plischke‘s Gamerith house which was built at the same time. A differentiation of layers of space is characteristic of the house which was conceived for the painter Walter Gamerith in Seewalchen on Attersee (Upper Austria). The one-floor wooden house stands on a platform on a hill overlooking the lake. The bottom slab is bigger than the house itself, forming a panoramic terrace, covered by the flat roof of the same size and with the rhythm of delicate white beams flush with the edge. It creates an in-between zone which is both inside and outside. Looking out of the living room, the roof also frames the view over the lake. The elaborate mise-en-scène of the view, treating the house as a minor part within the natural scenery, was fixed on site so that the panorama as seen through the full-length ribbon window, Plischke reports, „is divided in about one third each of sky, lake and mountains“ (Profil 1935: 582). Bearing affinities to Ludwig Mies van der Rohe‘s view of the wall opening as an image to be composed, the house seems to hover between the meadow and the forest. The shadowing on the terrace, consciously employed as a means of composition, fosters the tendency of dematerialization. The living-room seems to be fixed between the roof and the bottom slab only by the block of adjoining rooms on the back side. While Groag creates a dialectic play of outside and inside, Plischke designs a clearly defined in-between zone. He exceeds the Vienna models without entirely leaving them behind. References Eisler, M. (1936): Oskar Strnad. Wien: Gerlach + Wiedling Frank, J. (1924): Die Wiener Siedlung. Der Neubau: 28ff. Frank, J. (1928): Fassade und Interieur. Deutsche Kunst und Dekoration 187ff. Frank, J. (1931): Das Haus als Weg und Platz. Baumeister 316ff. Josef Frank (1981): eds. Spalt, J., Czech, H. Wien: HAK Innendekoration (1937) Kaym, F., Hetmanek, A. (1919): Wohnstätten für Menschen, heute und morgen. Wien/Leipzig: E. P. Tal & Co. Loos, A. (1931): Heimatkunst (1912/14), Trotzdem. Reprint Wien: Prachner, 1982 Meder, I. (2003): Offene Welten – die Wiener Schule im Einfamilienhausbau 1910-1938. PhD thesis, Stuttgart Meder, I., Fuks, E. (eds.) (2007): Oskar Strnad 1879-1935. Salzburg: Pustet Meder, I. (ed.) (2008): Josef Frank – eine Moderne der Unordnung. Salzburg: Pustet Moderne Bauformen (1933) Profil (1935) Rukschcio, B. Schachel, R. (1982): Adolf Loos Leben und Werk. Salzburg/Wien: Residenz Schmarsow, A. (1894): Das Wesen der architektonischen Schöpfung. Leipzig: K. W. Hiersemann Sitte, C. (2003): Der Städtebau nach seinen künstlerischen Grundsätzen (1889).Reprint Wien/Köln/Weimar: Böhlau Strnad, O. (1922): Neue Wege in der Wohnraumeinrichtung. Innendekoration 323ff. Wiener Architekten. Wien: Elbemühl. Vol. 3: Fischel/Siller (1931); 4: Kaym/Hetmanek (1931) Papers
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University of Natural Resources and
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Authors of the papers are fully res
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3 Day 2 Thursday, April 30, 2009 Se
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6 The “Landscape-Infrastructure
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8 a) b) Fig. 2 : Study of the perme
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10 Endnotes [1] Bernetti, Casini, M
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12 Urban landscapes need great idea
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14 the term “overall expression
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16 Fig. 2: Initial overall pictures
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18 Evaluation of Open Space Form an
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20 Fig. 5: Other vegetation This st
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22 Type of activity: • Exercise/p
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24 Landscaped, Modern, or Social? T
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26 Fig. 2: Rose and Perennial Show
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28 Herbert Bayer’s Megastructures
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30 a large extent the Japanese deve
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32 A Fertile Wilderness: The CPR’
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34 Fig.3 as their destination. The
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36 The Method of Structuralist Land
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38 Fig. 2: SLA implements gender eq
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40 Landscape Evaluation Process. A
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42 systematic application of certai
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44 holders (as Piemonte Region, Riv
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46 Frameworks - Preparing rural lan
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48 The issues are organized into fa
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50 Do Landscape Architects make the
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52 within the larger landscape piec
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54 Landscape as Urban Structure: th
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56 city extension area but also in
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58 housing neighborhoods. Construct
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60 “massive change, required - ni
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62 architecture’s ability to conc
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64 cape Journal 6 (1): 4-12 Jackson
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66 Green Idea/Grey Reality Carl Smi
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68 argument was put forward for omi
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70 Green Streets Potential for Down
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72 size of rain garden through the
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74 Climate Change asks for Sustaina
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76 Fig. 2: Simplified example (livi
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78 Sustainability in Park Design -
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80 Fig 2: Integrative Design Approa
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82 Preserving community gardens in
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84 the City applied the military so
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86 Endnotes [1] Anyone interested i
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88 Urban imageability & open space
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90 ning up degraded wetlands, plant
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92 How to balance the multiple role
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94 to the site. The public domain i
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Page 106 and 107: 104 Moving Land: International Buil
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Page 114 and 115: 112 Structuring the Concept of Land
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Page 122 and 123: 120 Complexity Ethos + Strategies:
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Page 126 and 127: 124 Great Ideas in Landscapes Seen
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Page 130 and 131: 128 The traditions of landscape sch
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Page 136 and 137: 134 and creative innovation that in
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Page 144 and 145: 142 Fig. 3: Paley Park is an inters
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Page 156 and 157: 154 Fig. 2: Ponte di Piave 2025 (A)
Page 158 and 159: 156 Observing the Landscape Roland
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Page 162 and 163: 160 Mobility and Territory Sanja Cv
Page 164 and 165: 162 Kevin Lynch’s Openness of the
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