The classicizing tendency in Hoffmann's work became more explicit in two later works, the Skyra-Primavesi House in the Hietzing suburb of Vienna and the Austrian Pavilion at the Cologne exhibition of the Deutscher Werkbund of In both Hoffmann articulated the exterior with broad, fluted pilasters; yet these elements of classical inspiration were used in a mannerist way that had little to do with their original structural and formal properties.
For example, in the Austrian Pavilion the massive pilasters appeared to be supporting a cornice that was nothing more than a thin molding. Hoffmann's last great villa, the Knips House in Vienna of , was a compact block that emulated deliberately the Biedermeier architecture of its surroundings.
Hoffmann became city architect of Vienna in The low-cost housing blocks that he designed in the mids in Vienna, such as the Klosehof and the Winarskyhof, retained in their simplicity and cleanliness of composition a good deal of the purist quality of his sanatorium at Purkersdorf.
Hoffmann died in Vienna on May 7, In their simplicity and formal expediency these prepared the way for the plainer surface articulation and purity of modernism. Sekler, Josef Hoffmann. For a brief discussion of Hoffmann's contribution in the development of modern architecture and design see Henry-Russell Hitchcock, Architecture: Nineteenth and Twentieth Centuries 4th ed. Sekler, Eduard F. Inspired by the ideals of the Secession, in , Hoffman established a fine arts enterprise known as the Wiener Werkstaetten Vienna Workshops.
It had a clear aim: ''to make all facets of human life into one unified work of art. Environments were fully composed, finely crafted and aesthetic.
Whereas Hoffman was of the opinion that architecture and design were artistic projects and strove to produce modern art, Loos viewed art as autonomous and far removed from the manufacturing of everyday buildings and household items. Loos also aimed to create modern culture, committing himself to ideas that were both evolutionary and liberating and believed the intention of architecture and design was to create an enduring and unobtrusive background, thereby leaving room for individual self-expression.
Adolf Loos: Table lamp from the Turnowsky residence, ca. Hummel collection, Vienna. Friedrich Paulick d. Vienna, ca. Ernst A. Execution: J. Wendl locksmith and Anton Kolbek cabinetmaker. Plischke estate. It begins with a digest of the various accomplishments made by the precursors to the modernist movement, including those of Austrian architect Otto Wagner , the ''father of Viennese Modernism'' whose design strategy and key works are also the focus of chapter two.
It was the influence of individuals such as Wagner that formed the basis on which the Vienna Secession with Josef Hoffman and Adolf Loos in opposition to that group would go on and build their oeuvres. This area of the exhibition sees the reconstructions of one bedroom interior by Hoffman and another by Loos.
Both offer an illuminating insight into the contrasting approaches of the two men. From onwards, a new wave of architects would go on to establish different paths to modernism, building on the work of Hoffmann and Loos.
Anonymous after an English example: Chair model used by Adolf Loos e. In the front: Josef Hoffmann, Pieces of bedroom furniture bed, bedside table, chest for the studio building of Ernst Stohr, Sv. Janez, Bohinjsko jezero SVN , But opting out of some of these cookies may affect your browsing experience. Necessary Necessary. Necessary cookies are absolutely essential for the website to function properly. These cookies ensure basic functionalities and security features of the website, anonymously.
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