Otto Wagner

Izložba Etnografski muzej-palača s potpisom organizira se povodom završetka obnove Etnografskog muzeja kojom je rekonstruirana dekoracija pročelja ove građevine. Jedina u secesijskom stilu namjenski podignuta muzejska zgrada u Hrvatskoj time je dobila izgled koji joj je podario njezin arhitekt Vjekoslav Bastl početkom 20. stoljeća. Cilj je ove izložbe prikazati, s jedne strane, povijest izgradnje zgrade koja je prvotno udomljavala Trgovačko-obrtnički muzej, a s druge njezinu recentnu obnovu kroz arhivske projekte, stare fotografije, fotografsku i drugu dokumentaciju te artefakte.

Modernist Cultures 12.3 (2017): 331–344. This essay reconsiders Reyner Banham's classic study of early twentieth-century architecture and design, Theory and Design in the First Machine Age, originally published in 1960. Banham surveyed the architecture, design, and visual arts of the 'first machine age', characterized by industrial production and motorized transportation, from a self-consciously thematized perspective within the 'second machine age', populated by expendable consumer technologies and images. This revisionist perspective enabled Banham to challenge long-standing myths propagated by the dominant figures of the modern movement. In his polemical emphasis on the contingency and plurality of that which had empirically transpired in first machine age, Banham rejected the reduction of the messy history of the modern movement to the victory of a putative 'international style'. Banham reasserted the intimate connection of architectural modernism with the avant-garde artistic movements of the 1910s and 20s, emphasizing particularly the most radical ones such as expressionism, futurism, and dadaism.

America in Vienna: The Presence of American Ideas in Viennese Architectural Diskussions around 1900

This dissertation is concerned with the role of the USA in Viennese architectural discussions and evaluations around 1900.  To determine the nature and extent of possible American influence, my research examined commentary on American work that appeared in the major architectural
journals. („Der Architekt“, „Die Zeitschrift (and Wochenschrift) des Österreichischen Ingenieur- und Architektenvereines“, „Die Wiener Bauindustrie Zeitung“, and „Die Allgemeine Bauzeitung“)  International congresses of architecture and world expositions between 1893 and 1908 were also valuable sources of relevant information. Though Austrian critics and
architects studied several types of American architecture, they focused primarily on the skyscraper and, comparatively, were more interested in this new form than were their colleagues in Germany.  Despite the fact that no skyscraper was built in Vienna at this time, they discussed the implications of this new building type for Austrian cities. To evaluate the importance of American architecture for Viennese architects, this dissertation examines three buildings designed between 1904 and 1910 by Otto Wagner and Adolf Loos.  Finally, “America” was a term that carried various meanings and was of interest to many, not only those in the Wagner circle.

The Hungarian Parliament – construction, decoration, ideology. The Hungarian Parliament in Budapest (1885–1902) was one of the largest buildings of its time in Europe. As home to the nation’s legislature, it also had to serve as a veritable monument glorifying the country’s history and its newly-acquired status within the Austro-Hungarian Monarchy. Following an architectural competition, Imre Steindl, a professor at the Budapest Technical University, received the commission to realise his plan. In fact, Count Gyula Andrássy, a highly influential aristocrat and statesman, had picked his entry due to its style, analogous to the Neo-Gothic style of the London Houses of Parliament. Though historicist in appearance and opulent in terms of materials and decoration, modern technology also played a considerable role in its construction. The statues in the rotunda and on the exterior of the building were meant to immortalise Hungary’s great historical personalities, even if their moderate size, uniform style and subordinated position curtailed artistic expression. The relatively small number of mural paintings, highlighting outstanding events of Hungarian history, were virtually overwhelmed by the wealth of colourful decoration. All in all, Steindl wanted the whole structure to be a single work of art bearing his mark. The Hungarian Parliament ranks high among parliament buildings on the international scene.

La colección 'Biblioteca de Arquitectura', de El Croquis, pretende contribuir a la carencia de textos de la modernidad en español y ha empezado con tres libros a la vez: los 'Escritos' de Adolf Loos divididos en dos tomos (1897-1909 y 1910-1932), y el manifiesto fundamental de Otto Wagner, conocido tradicionalmente como 'Arquitectura moderna' (1896 y siguientes).

Max Fabiani and the 1904 ‘Spiritus’ Exhibition in Vienna
Promoted in 1902 by Kronprinz Franz Ferdinand, the exhibition was held in the Prater Rotunda in Vienna after two years of intense preparation. The programme included all kinds of transformation methods, from raw materials to final products
and, as well as their use. In the agricolture section, on display were potatoes, barley, hops and similar raw materials, in addition to the equipment necessary for their transformation, processing and storage. A section was dedicated to industrial
transformation, from beer brewing and the distillation of alcohol to the various processes for the preparation of vinegar. An important area was dedicated to the use of alcohol for heating, and the production of foods and electricity, as well as
for propulsion of rail and ship. An exhibition devoted to the car was also added. Preparation was handed to Max Fabiani, trusted architect of the Kronprinz, who presented many interesting aspects, such as the use of wood in the constructionmaterial of pavilions following the required criteria of simplicity and austerity. Fabiani also designed the stands for tasting, the coffee restaurant and many other temporary wooden buildings.

Croatian Embassy in Vienna and Zagreb Modern gallery are commemorating 100th anniversary of Otto Wagner’s death with the exhibition on his influence on Croatian late 19th and early 20th century architecture. The exhibition is held in the former Wagner’s house in Vienna, Rennweg 3, which houses now Croatian Embassy. It will be opened between October 12th and February 10th 2019.
The Exhibition was then transferred to the Bezirksmuseum 3. Landstraße, Vienna, where it was held between February 15th and September 11th, 2019

Monografija donosi uvid u raznolike utjecaje arhitekta Otta Wagnera na hrvatsku arhitekturu. Ugrubo mogla bi se podijeliti na dva dijela. Prvi dio govori o neposrednom utjecaju Otta Wagnera na hrvatsku arhitekturu, o njegovim radovima koji su posredno ili neposredno vezani za Hrvatsku, a drugi, veći dio, o radovima njegovih učenika u Hrvatskoj.
Iako, nažalost, na području Hrvatske nije realizirao niti jednu građevinu jedan je projekt Wagner ipak izradio za našu zemlju. Riječ je o iznimno atraktivnom natječajnom projektu za osječku župnu crkvu svetih Petra i Pavla iz 1893. koji je predviđao inovativnu otvorenu upotrebu lijevanoga željeza u izvedbi stupova u unutrašnjosti, no koji je odbačen u korist naposljetku realiziranog daleko tradicionalnijeg neogotičkog projekta njemačkog arhitekta Franza Langenberga. Žiri, koji su čini istaknuti stručnjaci iz Beča, Zagreba i Osijeka, Wagnerov je projekt odbacio jer su smatrali da svojim rješenjem ne odgovara izgledu jedne katoličke crkve.
Monografija, nadalje, pokazuje da su investitori jedne od najvažnijih Wagnerovih realizacija iz 1890-ih, robne kuće Neumann na Kärtnerstrasse u Beču, braća Neumann, porijeklom iz Hrvatske. Pokazuje i njegovu suradnju s tvrtkama Bothe & Ehrmann i Zagorka, te govori o ogradi koja je po Wagnerovu projektu izvedena u Dubrovniku.
Kako je spomenuto, drugi dio knjige govori o radovima Wagnerovih učenika u Hrvatskoj.
U njegovoj se Specijalnoj školi školovao ukupno 191 učenik, od kojih su dva gotovo cijelim svojim opusom vezani za Hrvatsku – to su poznati prvaci hrvatske moderne arhitekture Vjekoslav Bastl i Viktor Kovačić. Osim Bastla i Kovačića ostalo je malo poznato da je na području današnje Hrvatske rođen još cijeli niz arhitekata koji su se školovali kod Wagnera: Josip (Josef) Costaperaria (Krapje kod Novske, 2. 6. 1876. – Ljubljana, 12. 7. 1951.), Gustav Flesch von Brunningen (Split, 17. 12- 1877. – Beč, 22. 4. 1939.) te Juraj (Giorgio/Georg) Zaninović (Zaninovich)(Split, 27. 4. 1876. – Buenos Aires, Argentina, 6. 11. 1946.). Nadalje još je jedan Wagnerov đak, iako rođen u Donjoj Austriji, Theodor Träxler (Horn, Donja Austrija, 7. 10. 1881. - ?). gotovo cijeli svoj opus ostvario u Hrvatskoj – u Rijeci. Nadalje, brojni su Wagnerovi učenici, koji su inače živjeli i radili u Beču ili nekom drugom centru Austro-Ugarske projektirali za Hrvatsku, ponajprije za Istru i Dalmaciju koje se početkom 20. stoljeća intenzivno počinju turistički razvijati (poput Marcela Kamerera, Jože Plečnika, Otta Schöntala, Maxa Fabianija i drugih). Hrvatski dijelovi opusa svih njih se obrađuju u ovoj monografiji.
Od svih je hrvatskih Wagnerovih đaka nesumnjivo najvažniji Viktor Kovačić. Studirao je u Beču na Akademiji između 1896. i 1899. i već za studija izrađivao je iznimno inovativne projekte, kao što pokazuje njegov diplomski rad – projekt za dvorac ruskih careva u Oriandi na Krimu. Po povratku u Zagreb 1899. Kovačić se objavom tekstova borio za postulate moderne arhitekture, a paralelno je izradio i brojne projekte za stambene, poslovne, javne i sakralne građevine kao i urbanističke planove. Samo se na rijetkim njegovim ostvarenjima, poput kuće Oršić-Divković u Masarykovoj ulici u Zagrebu (1906-07.) kod njega osjeća utjecaj radova Otta Wagnera. Vrlo rano Kovačić razvija poseban arhitektonski jezik baziran na kombiniranju elemenata povijesnih stilova i moderne. Najvažnija su mu djela bez ikakve sumnje crkva svetog Blaža u Zagrebu (1911-14.), jedna od prvih građevina u Hrvatskoj u čijoj je izgradnji korišten armirani beton, te zgrada Burze za robu i vrednote, također u Zagrebu, u kojoj se danas nalazi središte Hrvatske narodne banke (1923-27.). Sa svojim klasicističkim pročeljem prekrivenim kvalitetnim mramorom s Brača te reprezentativnim, u cijelosti sačuvanim, interijerom s glavnom burzovnom dvoranom nadsvođenom velikom armiranobetonskom kupolom, ova građevina predstavlja najreprezentativniji primjer javne arhitekture 1920-ih godina u Hrvatskoj.
Za razliku od Kovačića koji se vrlo brzo po završetku školovanja odmaknuo od Wagnerova stila drugi Wagnerov hrvatski učenik, Vjekoslav Bastl, ostat će u puno većoj mjeri vjeran secesiji. Na Akademiji u Beču studirao je 1899-02., no već 1899. imao je prilike realizirati prve projekte u Zagrebu zahvaljujući okolnosti da se zaposlio kao projektant u poduzeću Hönigsberg i Deutsch, u to vrijeme najvažnijem arhitektonskom birou u Zagrebu. Prva realizacija mu je zgrada ljekarnika Josipa Pečića u zagrebačkoj Ilici na kojoj se motivima – postavljanjem dekoracije u obliku zmija oko pehara na vrhu zabata, neposredno referirao na ulogu zgrade kao apoteke. U razdoblju koje dolazi (1902. – 1907.) to će mu biti glavni način oblikovanja pročelja zgrada. Stvarao je, naime, zgrade s pročeljima – reklamama. Pročelja zgrade Josipa Kalline u Masarykovoj u Zagrebu prekrio je tako majoličkim pločicama budući da se Kallinina tvrtka bavila proizvodnjom keramičke robe. Dijelove pročelja kuće Rado na Trgu bana Jelačića u Zagrebu oblikovao je pak tako da imaju izgled unutrašnjosti zubarske ordinacije – Eugen Rado bio je naime u to vrijeme najugledniji zagrebački zubar. Najoriginalnije rješenje primijenio je na kući Eugena Viktora Fellera na uglu Trga bana Jelačića i Jurišićeve ulice u Zagrebu. Na njezin je ugao postavio motiv koji predstavlja golemu bocu napitka Elsa-Fluid, a koji je u to vrijeme Feller proizvodio i koji mu je donio ogromnu zaradu (Elsa Fluid se koristila u to vrijeme kao svojevrsni univerzalni lijek). Nažalost, za razliku od kuća Rado i Kallina, kuća Feller je kasnije pregrađena tako da se ovaj originalni primjer secesijske arhitekture više ne može vidjeti u izvornom obliku. Osim stambenih i poslovnih zgrada Bastl je projektirao i zgrade Trgovačko-obrtničke komore i Trgovačko obrtničkog muzeja u Zagrebu (1902-03.), i danas jedan od najslikovitijih secesijskih kompleksa u gradu. Bastla je zanimala metafizika pa je motive nabijene simbolizmom uključivao u svoje projekte (poput šišmiša na Kallininoj zgradi), a i diplomski mu je rad bio projekt za Palaču okultnih znanosti u Parizu (1902.).
Poput Kovačića i Bastl se kasnije okreće prema klasicizmu i realizira u tome stilu brojne projekte u Zagrebu od kojih je svakako najpoznatiji novi kompleks tržnice Dolac (1926-30.).
Uz spomenute arhitekte na prostoru današnje Hrvatske, ponajprije na području Istre, Primorja i Dalmacije, djelovali su i Wagnerovi učenici nastanjeni u drugim centrima Austro-ugarske Monarhije, ponajviše u Beču: Max Fabiani, Eduard Kramer, Marcel Kamerer, Jože Plečnik i drugi. Projektirajući hotele te kuće za odmor na Jadranu, u Opatiji, Dubrovniku, Voloskom i Lovranu ovi su arhitekti odigrali ključnu ulogu u počecima razvoja hrvatskog turizma. Od osobitoga je značaja opus arhitekta Eduarda Kramera koji je na Brijunima u prva tri desetljeća 20. stoljeća realizirao cijeli niz hotela i drugih turističkih objekata namijenjenih elitnom turizmu – bečkoj eliti koja je ovo otočje birala kao mjesto odmora i rehabilitacije.
Ljepota hrvatske obale privukla je i arhitekta Alfreda Fenzla. Povijesni spomenici i prirodne ljepote otočića Lokruma kod Dubrovnika navele su ga da utopijski projekt izgrade palače svjetskog mira iz 1900. smjesti upravo na Lokrum. 
Osim njih na hrvatskoj je obali, u Rijeci, tada  važnoj pomorskoj luci, živio i radio između 1911. i 1914. Wagnerov student Theodor Träxler. U tom je kratkom periodu uspio realizirati dva iznimno značajna i inovativna djela – samostan benediktinki i jednu od najmodernijih kazališnih zgrada onodobne Europe – Teatro Fenice podignuto u samome središtu Rijeke od armiranoga betona. S hrvatske je obale, iz Splita, potekao Wagnerov student Juraj Zaninović, koji je, međutim, svoje projekte odreda realizirao u drugim zemljama – projektirao je tako poznati Zmajski most u Ljubljani te niz secesijskih građevina u Trstu.

„Sanitarism” at the origins of modernism. Art and higienics in Vienna about 1900

About 1900 the questions of health have had an unexpected infl uence on the development of art and architecture. On one side was it the discovery of Tuberculosis bacillus and a „bacteriophobia” as a result of that; on the other – an explosion of neuroses and a common interest on the psychic condition of the man of the fin de siècle. The idea of retaining the maximum of hygiene (physic and psychic as well) became a basis for the modern way of life, but also for the revolutionary changes on the fi eld of architecture and other disciplines of art.
The Viennese architect Otto Wagner, author of the many famous projects, like hospital-and-sanatorium-complex Am Steinhof (1904-07) and the building of the postal saving bank in Vienna (1904-12), is considered to be the pioneer of these tendencies. His vision of a modern, democratic society and the reformatory approach to the tenement building also bore fruits in the two projects of hotels (Hotel Wien am Ringstrasse and Hotel am Karlsplatz, ca. 1910), which
rooms in their modesty were patterned upon hospital cells. Josef Hoffmann, one of the Wagner’ pupils, designed another modern sanatorium in Purkersdorf – an epitome of Viennese architecture of 1900. It was, however, someone else, an outsider „master builder” Adolf Loos, who innovatively developed the thought of Wagner and could drawn far-reaching consequences of it. His concept of an art free from the spare ornament, a „naked art”, was to be a way of ensuring health not only to the bodies, but also to the souls of the Viennese people, mannered through excesses of the Hans Makart-historicism and the
Secession. Th is, however, should happen in no sanatoria, but in the everyday life and on every turn – in a public building, on the street, at home. „I demand from the city I ought to live in, asphalt, cleaned streets, locked gates, heating and warm running water. Cozy I am by myself ” – so did Karl Kraus, a friend of Loos and a famous publicist express his requirements of modernizing the city.
The healing tendencies of this time found their representation in radically simple and transparent forms of art. Th e primate of a pure spirit over the sumptuousness of decadent matter had by the contemporaries been called „nihilism”. The same term was to describe the disturbing drastic esthetics of the emergent Austrian expressionism, which – through the „cult of a sick body” (and a sick soul) – tried to drew attention to the misery of the physic and psychic condition of the then men. Oskar Kokoschka and Egon Schiele looked directly in tuberculosis-
sanatoria and in psychiatric hospitals for the models to their work.
Opposite of the later corruptly developed hygienic ideas (e.g. eugenics), it was this „nihilistic” and „degenerated art” that could have presented the humanity with a new identity: the one not imposed on by any outer power but resulting from the nature of the man and supervised by his own reason and spirit.

Wie in der gesamten österreichisch-ungarischen Monarchie spielten auch in Kroatien die an der Wiener Akademie der bildenden Künste ausgebildeten Architekten in der zweiten Hälfte des 19. und der ersten Hälfte des 20. Jahrhunderts eine entscheidende Rolle. Bis in die 1890-er Jahre studierten die meisten kroatischen Architekten an der Akademie in der Klasse von Friedrich von Schmidt und anschließend, seit dem Ende des Jahrzehnts, ging die Führungsrolle auf die Fachschule Otto Wagners  über, des Architekten, der in seinen Texten sowie in den errichteten Bauten das Fundament der modernen Architektur in (Mittel-) Europa legte.
Die Absicht dieser Ausstellung und der begleitenden Publikation ist es, Einblick zu geben in diejenigen Entwürfe Wagners, die unmittelbar für Kroatien konzipiert wurden, und in jene, die einen Bezug zu Investoren und Firmen in Kroatien haben, sowie, die realisierten und nichtrealisierten Pläne seiner Schüler, die für das Gebiet des heutigen Kroatien angefertigt wurden, zu analysieren. Die größte Aufmerksamkeit ist Wagners in Zagreb lebenden Schülern Vjekoslav Bastl und Viktor Kovačić gewidmet, aber es werden auch für Kroatien bestimmte Pläne von Schülern Wagners gezeigt, die in anderen Teilen der Monarchie lebten. Obwohl es aufgrund des begrenzten Umfangs dieser Publikation nicht  möglich war, einen umfassenden Einblick in den Einfluss Otto Wagners auf die kroatische Architektur zu geben, widmet sich der Text kurz auch einzelnen Werken kroatischer Architekten, die nicht an der Fachschule der Wiener Akademie studiert haben, bei denen aber dennoch ein Einfluss Wagners und seiner Schule klar erkennbar ist. Der letzte Teil der Publikation soll aufzeigen, welche Transformation die Architektur der Schüler Otto Wagners in der Zeit zwischen dem ersten Jahrzehnt des 20. Jahrhunderts und den 1940-er Jahren durchlaufen hat.

in “Römische historische Mitteilungen”, 46, November 2004, pp. 359-392
Il presente articolo intende descrivere e confrontare gli scritti teorici di Camillo Sitte e di Otto Wagner. Tali testi riguardanti l’urbanistica e l’architettura nascono nel medesimo contesto, la Vienna fin-de-siécle, con le sue trasformazioni da città a metropoli. Sitte  è attento alla storia urbana e difende i principi e le realizzazioni architettoniche del passato, invitando il progettista contemporaneo a trarne una lezione estetica e a non dimenticare che l’urbanistica è un’arte. Wagner, perspicace osservatore di un’espansione irrefrenabile e di mutate necessità abitative nella capitale austriaca, si concentra sull’ideazione di una nuova architettura e di una grande metropoli rispondente ai bisogni  dell’uomo moderno. Vienna è per entrambi il caso simbolo della problematicità che le nuove esigenze sociali ed economiche pongono nei confronti della conservazione urbana e della tradizione stilistica. I due architetti esprimono il loro pensiero in vari scritti teorici, libri o articoli, dei quali in questo articolo si analizzano i principali: Der Städtebau nach seinen künstlerischen Grundsätzen di Camillo Sitte e Moderne Architektur e Die Groszstadt di Otto Wagner. 
Una volta descritta la genesi di queste opere, si dà conto dei loro contenuti confrontando le posizioni dei due autori sui grandi temi intorno ai quali all’epoca si incentrava la riflessione, quali il ruolo dell’architetto, il rapporto tra architettura ed ingegneria, il giudizio sulle trasformazioni urbanistiche della zona della Ringstrasse e l’elaborazione di nuove proposte per la città di Vienna.

Reflections on the architectural world are often
quite teasing, for in every first visit to a city there
are a multitude of interesting questions that arise.
In the end, the same basic values are rediscovered
in the experience of the architecture and in the
unique genius of a given place.
ARCHITECTURE THROUGH MY EYES is a record
of an architectural journey recorded by the
author in countries that are relatively advanced
in maintaining historical architecture: Austria, the
Netherlands, Germany, and Japan. In contrast to
the collection of writings commonly published
on architecture, the author shares first-hand
experiences of the architectural objects and cities
of interest in this discussion. Traveling in Europe
entails short expeditions. The author addresses a
few subjects, including the cities, the architecture,
the architects, and the uniqueness of their works,
influences, and historical styles.
In this book, the photographs of architectural
works are displayed in a unique manner that
addresses a critique of the architectural works and
the cities themselves. In arranging this work, the
author applied the method that is usually used by
architectural historians, including the “architectural
pilgrimage method,” by running an expedition from
city to city and documenting everything related to
the subjects of the observations made by a lover
of architecture. The author believes that through
in situ research, which includes the experience of
space and time as well as dimensions and distances,
a unique spirit is contributed to these writings.
This work is also expected to encourage young
architectural historians to become more active in
an expanded discussion of the history and criticism
of architectural works in different parts of the world.

This book starts by discussing Friedensreich
Hundertwasser, an artist who became an architect
through collaboration with Joseph Krawina.
Hundertwasser’s works, such as the Kuntshaus and
the Spittelau, became emblematic of an alternative
design style, one that was freer and more natural
than the geometric style it displaced.
The next topic of discussion is functionalist style
proponent Otto Wagner, who successfully created
an alternative design that is now known as
Jugendstil style. The influence of this movement
is quite widespread throughout the world.
Wagner felt that Art Nouveau and Art Deco were
at odds with the more traditional historicism.
Next we discuss the Emperor’s greenhouse in
Vienna, particularly the history and style of the
Schmetterlinghaus (Butterfly House), a structure
that was used to invoke a fantastical atmosphere
in the Emperor’s Tropical Garden.
From Austria we shift to the Netherlands and
explore the Delft City Canal, discussing the history
of the city and the canals that cut through it, which
is one of most significant characteristics of the city
landscape found in the Netherlands. After this we
discuss the riverside village of Overschie, a small
village not far from Rotterdam, comparing the
face of the past and the present as found there.
The next topic is the architectural icon of the Cube
Houses of Rotterdam and the concept of “Living
under an urban roof” applied by architect Piet
Blom, along with a discussion of the history of the
Kubus Woning (cube houses).
Still in the Netherlands, we examine the famous
Kinderdijk windmill, which is located not far from
the city of Rotterdam. Photographs of unique
windmills can be seen in this section. From
the southern part of the Netherlands we go to
Dutch Friesland in the section “The Small Houses
of Hindeloopen,” which discusses the small
fishermen’s houses in the region. This area was
one of the consumers of the VOC’s (Vereenigde
Oostindische Compagnie—Dutch East India
Company) merchandise.
From the Netherlands we go to Germany to
examine the image of Weisis-Ossis (West-
East) architecture of Berlin, which gives a lot of
information about the flavor of this once-divided
city. We also examine how the two halves of the
city maintained their monuments (denkmal). After
the Berlin Wall collapsed, the contrast between the
styles of the two parts of the city could more easily
be seen.
This section also discusses the enchanting structure
of the Frankfurt am Main station, which was an
enormous project when it was built. The station
was designed by Schwedler, an engineer, and has a
long, Satteldäch-style roof. The station represents a
philosophical stance, which is symbolized through
its exterior. This chapter also discusses this station’s
past and present.
From Europe we travel to Japan in Asia, to an ancient
village from the Edo period. In Tsumago village
there are attractive ancient houses; if we compare
them to the villages in Europe from the same time,
we will learn many architectural lessons about the
similarities and differences. The illustrations of this
ancient village aim to show the contrast between
the growth of the villages in Western Europe and
those in Asia. The book closes with a discussion of
the Japanese concept of Machizukuri, in which city
planning involves input from the general public.
This concept is valuable to study and to apply to
the construction of a historic city district.

Este artigo trata da trajetória de Anton Benjamin Floderer, arquiteto austríaco, ex-aluno de Otto Wagner e ativo no campo arquitetônico berlinense que imigrou para o Rio de Janeiro em 1923, quando associou-se a arquitetos imigrados como R. Prentice e A. Buddeus. No Brasil, Floderer teve uma vasta produção, versada sobre linguagens arquitetônicas diversas. Com a trajetória de Floderer, visamos demonstrar que o campo arquitetônico brasileiro foi mais diverso em suas linguagens arquitetônicas e em seus diálogos com o proto-modernismo europeu do que a historiografia apontou até hoje.

Palavras­chave: Império Austro­Húngaro; Arte Nova; Modernismo; Arquitetura e Engenharia; Culturalismo; Historicismo e a atitude progressista de Otto Wagner Resumo: Out of the Wagner School, artigo publicado, em 1895, para a revista vienense Der Architekt, transporta Max Fabiani para o conjutnto de arquitetos que se encontram na génese do movimento moderno. O vanguardismo das suas ideias, influente, inclusivé, para arquitetos de maior reconhecimento como Otto Wagner, é comentado neste ensaio, revelando como pressuposto base a consciência do contexto cultural e geográfico, e aplicando­o à teoria e à prática da arquitetura e, especialmente, ao urbanismo, onde este autor foi, de facto, pioneiro. O planeamento urbano de Liubliana, nos seus vários momentos, é, assim, apontado como exemplo, por ter integrado muitos dos ideais preconizados por Max Fabiani. Estes assuntos são de grande pertinência quando retomados com o olhar crítico da contemporaneidade, importando, igualmente, referir a influência que ainda detêm sobre assuntos com mais de um século de distância.

Il presente articolo sulla chiesa di St. Leopold am Steinhof  intende correlare, attraverso la collaborazione di studiosi di diversa estrazione, i vicini ambiti delle scienze mediche e umane per una riflessione su psichiatria, architettura e sacro nella Vienna d’inizio secolo. Questo breve saggio è debitore di vari contributi critici riguardanti il clima culturale viennese dell’epoca, ma intende più specificatamente caratterizzarsi per il focus sulla considerazione della dimensione spirituale nella psichiatria dei primi del Novecento e quindi proprio sull’edificio sacro wagneriano, andando a integrare la scarsa bibliografia in lingua italiana dedicata specificatamente alla suddetta chiesa, della quale nel 2007 ricorreva il centenario del completamento della costruzione.

While the Neo-Byzantine style was in 19th-century architecture in Croatia exclusively used for architectural projects funded by the Serbian Orthodox Church, in the period shortly before the WWI, it also started to be used in the architecture of the Catholic Church. The crucial role in spreading the use of the style was played by the pioneer of Croatian modernist architecture Viktor Kovačić and his design for St Blasius' Church in Zagreb (1910-13). Neo-Byzantine appeared primary due to ideological and political reasons, because it served as a reference to the period of Croatian political independence in the early Middle Ages. Croatia was then a province within the Austro-Hungarian Monarchy that was striving for greater autonomy or even independence.
During the 1920s the Neo-Byzantine style emerged again in Croatian church architecture, primarily owing to architect Stjepan Podhorsky who applied the style in his numerous church building designs, including the large memorial church in Duvno (present Tomislavgrad in Bosnia-Herzegovina). The church was built in relation to the millennial celebration of the Croatian kingdom (925 – 1925), sponsored by the Karađorđević dynasty of the newly formed state of the Kingdom of Serbs, Croats and Slovenes/Kingdom of Yugoslavia, that Croatia became part of in 1918.

1915-ben Otto Wagnert, a modern közép-európai építészet iskolateremtő mesterét felkérték, ossza meg magyar kollégáival, miként vélekedik a modern építészet fela-datairól, ezen belül mi a véleménye a nemzeti jellegű építészet lehetőségének kérdéséről. Az idős osztrák építész levélben válaszolt, írása a kor elsőrangú budapesti szaklapjában, a Vállalkozók Lapjában jelent meg. Válaszában az építészet elsődleges feladataként a célszerűséget, hasznosságot és racionalitást jelölte meg. Véleménye szerint a nemzeti jelleg keresése a modern nagyvárosi építészet által megoldandó feladatok felől nézve szükségtelen, hibás, mi több irreleváns. Nem meglepő módon a hazai építész szakma meglehetősen hevesen reagált az írás kontroverzális hangvételére. A Wagner szöveg nyomán a szakmán belül bizonyos mértékű polarizálódás volt megfigyelhető, mely hatással volt a következő évek-évtizedek építészeti szcénájának alakulására is.

In 1915 Otto Wagner, the school-founding master of modern Central European architecture, was asked to share with his Hungarian colleagues his thoughts on the tasks of modern architecture, including his views on the issue of the potential of national architecture. The elderly Austrian architect replied in a letter, which appeared in Budapest's leading architectural journal of the age, Vállalkozók Lapja. In his reply Wagner identified practicality, usefulness and rationality as the primary tasks of architecture. In his view, seeking a national style was unnecessary, wrong and even irrelevant approaching the issue from the aspect of tasks to be addressed by modern metropolitan architecture. Not surprisingly, the controversial tone of his letter prompted a heated response from Hungarian architects. As a result of Wagner's text, there was a degree of polarisation which influenced the development of the architectural scene in the coming years and decades.