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24 Landscaped, Modern, or Social? The Discussion about Ideas and Styles in Garden Architecture in the Österreichische Gartenzeitung between 1912 and 1920 Ulrike Krippner University of Natural Resources and Applied Life Sciences, Institute of Landscape Architecture, Peter-Jordan-Straße 82, 1190 Vienna, Austria (e-mail: ulrike.krippner@boku.ac.at) Abstract This paper follows the discussion about garden design in the 1910s in the journal Österreichische Gartenzeitung, published by the Österreichische Gartenbau-Gesellschaft. It explores whether the discourse influenced the development of the profession and the understanding of design. The paper is based on an intensive literature research investigating nine volumes of the journal from 1912 to 1920. It analyzes the articles about garden architecture regarding the topics, the understandings and approaches, and the presented projects. The research shows that most articles in the journal supported modern garden architecture as the more contemporary style whereas it was still popular to design private gardens in a naturalistic way. The Österreichische Gartenbau- Gesellschaft aimed at promoting modern garden architecture by organizing competitions and exhibitions. Authors regarded the pure horticultural know-how of traditional garden architects as insufficient and claimed that modern garden architects should necessarily possess architectural and horticultural skills. Key words Profession history, landscape garden, modern garden, Austria, 1912-1920 Introduction At the beginning of the 20th century, a number of garden architects still used the rigid patterns of landscape garden design. Others, picking up new trends in art, design, and industry, developed the modern architectural or formal garden (Auböck 1995, Hajós 1995). The lively style discussion was still ongoing in the 1910s but interrupted by the First World War and the economic crisis. The paper follows the debate about garden design in the journal Österreichische Gartenzeitung between 1912 and 1920. The research period starts with the foundation of the first professional organization, the VÖGA, Vereinigung Österreichischer Gartenarchitekten, in 1912, covers the First World War and the postwar period, and ends before the economic revival in the 1920s. The basic argument of the paper is that the discourse in the journal influenced the development of the profession and the understanding of garden design. Based on an intensive literature research, the paper analyzes the articles regarding the topics, the design approaches, and the presented projects in order to prove this hypothesis. The paper also takes a look at the Österreichische Gartenbau-Gesellschaft, which published the Gartenzeitung. The society might have played an important role for Austrian garden architecture, similar to that of the Deutsche Gesellschaft für Gartenkunst und Landschaftspflege for Germany (see Gröning & Wolschke-Bulmahn 1987). The paper presents first results of a comprehensive research project about landscape architecture in Austria between 1912 and 1950, which started in June 2008 [1]. The Österreichische Gartenbau-Gesellschaft and the Gartenzeitung In 1837, the Österreichische Gartenbau-Gesellschaft (Austrian Horticultural Society) was founded with the objective of promoting horticulture scientifically and practically. To fulfill this aim, the society organized exhibitions, lectures and courses and published a journal, the Gartenzeitung (Österreichische Gartenbau-Gesellschaft 2002: 6). The society also ran a horticultural school where, in the 1910s, Franz Lebisch, an architect and representative of modern garden design, gave lectures on landscape gardening. Within the Österreichische Gartenbau-Gesellschaft, a committee was established to promote good garden art. Garden architects were members of the society‘s administrative board and, looking at the 1910s, proponents of the traditional and the modern garden style were presented. The Gartenzeitung was the only professional journal about horticulture, gardening, and garden architecture in Austria and addressed scientists, horticulturists, gardeners, and garden architects. Except for the First World War and the post-war period, the journal was issued monthly. Topics related to garden architecture appeared in articles, discussions, reviews, and announcements. Moreover, the journal served as newsletter for several associations, among them the Vereinigung Österreichischer Gartenarchitekten and the Verein ehemaliger Eisgruber, an association of former students of the most important horticultural school in Austria-Hungary around 1900. Presenting the journal as newsletter for a professional association of garden architects, the Österreichische Gartenbau-Gesellschaft made a significant contribution towards establishing the profession.
25 Before the First World War Starting 1912, the first extensive article about garden architecture in the Gartenzeitung presented the results of a national competition for the design of a public park launched by the city council of Linz, capital of Upper Austria, in 1911. The anonymous author stressed the importance of the competition as it was the first of that kind in Austria. From the 23 entries, Karl Pfeifer and his project “Aus der Waldmark” (From the Forest Mark) won the first prize. Pfeifer designed the park in a very conservative landscape garden style [Fig. 1]. Curved paths passed through a naturally modelled site, a monumental fountain marked the end of a terrace, a pergola framed the vista of the town, and plantings of shrubs and trees were used to balance the scenery and to emphasize nature (see Anonymus 1912: 139-141). As the author of the article gave no additional information about other entries or the jury, we cannot valuate the entire competition and its significance. But the result seemed to be fairly traditional and poor, even though the city council of Linz was progressive in initiating a design competition in order to solve a landscape architectural question. After all, this competition might have influenced the establishment of the profession, as we will explain later on. Several articles about small architectural elements in gardens followed, all supporting the modern garden design and criticizing the landscape style. Titus Wotzy stated that modern garden architects referred to the principles of baroque gardens and adapted those standards to modern circumstances and needs. Showing charts of private garden houses, he admitted that the decorative factor of modern garden architecture was still predominant but would soon decrease in favor of true qualities (Wotzy 1912a: 207-208). Wotzy postulated that contemporary garden architects should design gardens according to formal principles in order to meet modern demands and, thus, should necessarily possess artistic, architectural, and horticultural skills (Wotzy 1912b: 298). Following Wotzy’s opinion, Max Jordan considered a perfectly designed garden as Gesamtkunstwerk, in which the modern garden architect was responsible for spacing and modeling the site, for creating garden elements, and for planting. Taking garden benches as examples, he argued that the form of a modern garden bench depended on its function. But properly designed and well-positioned, a bench was decorative and accented special parts of the garden (Jordan 1913: 13). In 1913, the influence of modern art appeared as a new direction of the Österreichische Gartenbau-Gesellschaft and a new, modern layout of the journal. Numerous professional articles about modern garden architecture followed, many of them discussing the Annual Spring Flower Exhibition, after three years of break, reanimated and organized by the Österreichische Gartenbau-Gesellschaft. According to the modern philosophy, the society formulated new standards for the exhibition, particularly for the artistic arrangement of the plants, and commissioned Titus Wotzy to develop a master plan for the show. The exhibition was a great financial and “moral” success, and the press was enthusiastic. Thus encouraged, the Österreichische Gartenbau-Gesellschaft appointed Wotzy chief garden architect of the society and asked him again to arrange exhibitions like the Rose and Perennial Show in 1914 [Fig. 2]. This nomination was a clear statement in favor of modern garden art. Based on the latest experiences in Austria and abroad, the Vereinigung Österreichischer Gartenarchitekten published directives for garden architectural competitions in the issue of February 1913. In the preamble, Wotzy did Fig. 1: Karl Pfeifer’s project „Aus der Waldmark” (Anonymus 1912: 140) Papers
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