Ausgezeichnet!
Special Commendation - European of the Year Award 2023
Graz Museum Schloßberg
Museen
Foto: Graz Museum, Franziska Schurig
Neuaufstellung des Graz Museum Schloßberg
Auszeichnungen:
Architekturpreis Steiermark 2021
Special Commendation - European of the Year Award 2023
Eröffnung: September 2020
Kuratorisches Konzept und Umsetzung der Dauerausstellung
gemeinsam mit Otto Hochreiter und Martina Zerovnik
Mit dem Museum am Schloßberg entsteht eine neue Anlaufstelle für alle, ein Ort des Ankommens und Verweilens, ein Ort mit Geschichte und gegenwärtigen Einsichten. Es wird ein Museum für alle, das Vergnügen macht, indem es unterschiedlichste Wissensangebote sowie Wahrnehmungs- und Raumerfahrungen in sich vereint. Es bietet alte und neue Aussichten auf Berg und Stadt und einen Garten zum Verweilen, in dem es besonders auch für Kinder vieles zu entdecken gibt. Die Besucher/-innen des SchloßbergMuseums sind zu Entschleunigung inkl. Naturerlebnis und zum Flanieren durch die Geschichte(n) des Schloßbergs eingeladen.
Idee: Otto Hochreiter
Kurator/-innen: Otto Hochreiter, Ingrid Holzschuh, Martina Zerovnik
Wissenschaftliche Begleitung: Zsuzsa Barbarics-Hermanik, Marlies Raffler, Romedio Schmitz-Esser, Barbara Stelzl-Marx, Georg Tiefengraber
Projektleitung: Sibylle Dienesch
Ausstellungsassistenz: Johanna Fiedler
Architektur & Interior Design: studio WG3
Landschaftsarchitektur: studio Boden
Ausstellungsgestaltung & Grafik: BUERO41A
Ambivalences of Modernity. The Architect and City Planner Roland Rainer Between Dictatorship and Democracy
Roland Rainer was one of the best-known architects and urban planners of post-war modernism in Austria. The Stadthalle in Vienna (1958), the Puchenau housing estate near Linz (1965-2000) and the ORF Centre in Vienna (1968-1974) are among his buildings. It is less well known that he went to Berlin as early as 1936, two years before Austria's "Anschluss" to the National Socialist German Reich in 1938, and placed himself in the service of the German Academy for Urban Development, Reich and Regional Planning (DASRL), which was practically and theoretically subordinate to Albert Speer, the General Building Inspector for the Reich capital. Consequently, he was integrated into the National Socialist system not only through his early membership in the NSDAP, but also through his practice, hardly just through opportunism. In fact, he already developed his central theories on urban planning and architecture in the early 1940s at the DASRL. During this period, he conceived and wrote, together with his colleagues Johannes Göderitz and Hubert Hofmann, the first version of "Die gegliederte und aufgelockerte Stadt", which was published in 1945 and became a standard work in German-speaking countries in its second version of 1957.
This writing contains something typical for its time: it criticises the modern, densely populated city, it pleads for a garden city model in which living, working, traffic and leisure are disentangled and people live "at ground level". Only in the first version is this living "folk-biologically" propagated as the right way of living. Racist dictions like this are no longer found in the second version of 1957. But has the concept changed significantly as a result?
The research project, a collaboration between the Academy of Fine Arts Vienna (where Rainer taught as a professor) and the Architekturzentrum Wien (where Rainer's estate is located), will be dedicated to investigating this question in two ways. On the one hand, Rainer's historical development as a modernist architect will be examined in more detail for the first time; this includes his time as a student at the Vienna University of Technology in the 1920s. On the other hand, a current reassessment of the "ambivalence of architectural modernism" itself will be possible via Rainer's concrete biography. Especially in the context of recent research on colonialism and racism in modern architecture, the question of the inherent biopolitics of garden city models can become substantial with the analysis of Rainer's work. To this end, the "articulated and loosened city" as described by Rainer will be sketched for the first time and compared with other urban planning models. In addition, the complete estate will be reviewed and evaluated, and further material on Rainer will be excavated and analysed in archives in Germany, Poland and the Czech Republic. In this way, Rainer's work is placed in a differentiated and well-founded context.
Jubiläumsfonds project at the University of Vienna
(12/2020 – 11/2023)
research associate: Ingrid Holzschuh
Raphael Rosenberg (PI), Winfried Nerdinger, Timo Nüßlein
The project investigates Adolf Hitler's personal involvement in the architecture of National Socialism. His interest for and contribution to buildings exceeds by far examples of other historic rulers. He was on the one hand a builder launching big projects representing his dictatorship, commissioning architects and forcing – e. g. by decrees – their realisation; on the other hand an architect making own designs, giving his architects exact graphic and verbal specifications and often correcting their drafts with his own hand. Hitler's role as a builder has not yet been coherently investigated, his activities as an architect were not yet analysed.
This project contributes to better understanding the NS regime, as for Hitler architecture was an important instrument of representation and exercise of power. It is also important for the comprehension of Middle European architecture of the 1930s/1940s where Hitler’s involvement played an essential role.
We compile and analyse Hitler's statements on architecture in general and on specific building projects and approximately 260 architectural sketches by his hand. Half of them are yet unpublished. We prepare a critical catalogue of those sources and investigate:
1. Hitler's architectural perceptions and their changes from his youth in Linz and Vienna, to the years in Munich up until the end of WWII as architectural planning remained a privileged leisure activity for the dictator.
2. The cooperation between Hitler and “his” architects. Both in the development of the design for buildings and on the administrative level, where Hitler set the architects at the top of new authorities giving them immense power to realise their work within the existing cities.
3. The way Hitler understood and implemented the representative architecture as a political instrument for and carrier of NS ideology.
Funded by the Jubiläumsfonds of the Austrian National Bank (No. 18601).
Jubiläumsfonds project at the University of Vienna
(12/2020 – 11/2023)
research associate: Ingrid Holzschuh
Raphael Rosenberg (PI), Winfried Nerdinger, Timo Nüßlein
The project investigates Adolf Hitler's personal involvement in the architecture of National Socialism. His interest for and contribution to buildings exceeds by far examples of other historic rulers. He was on the one hand a builder launching big projects representing his dictatorship, commissioning architects and forcing – e. g. by decrees – their realisation; on the other hand an architect making own designs, giving his architects exact graphic and verbal specifications and often correcting their drafts with his own hand. Hitler's role as a builder has not yet been coherently investigated, his activities as an architect were not yet analysed.
This project contributes to better understanding the NS regime, as for Hitler architecture was an important instrument of representation and exercise of power. It is also important for the comprehension of Middle European architecture of the 1930s/1940s where Hitler’s involvement played an essential role.
We compile and analyse Hitler's statements on architecture in general and on specific building projects and approximately 260 architectural sketches by his hand. Half of them are yet unpublished. We prepare a critical catalogue of those sources and investigate:
1. Hitler's architectural perceptions and their changes from his youth in Linz and Vienna, to the years in Munich up until the end of WWII as architectural planning remained a privileged leisure activity for the dictator.
2. The cooperation between Hitler and “his” architects. Both in the development of the design for buildings and on the administrative level, where Hitler set the architects at the top of new authorities giving them immense power to realise their work within the existing cities.
3. The way Hitler understood and implemented the representative architecture as a political instrument for and carrier of NS ideology.
Funded by the Jubiläumsfonds of the Austrian National Bank (No. 18601).
SE Seminar: Architektur & Bildung. Wiener Schulbau von 1860 bis 2000
Lehre
Kunstgeschichte (nst./zeu.K.), WS 2023/24
gemeinsam mit Ao.Univ.Prof.in Dr.in Sabine Plakolm-Forsthuber
am Institut für Kunstgeschichte der Universität Wien
Thema des Seminars Kunstgeschichte ist der Wiener Schulbau von 1860 bis 2000. Der Bogen spannt sich dabei von der Errichtung der Evangelischen Schule von Theophil Hansen (1860) bis zum Modell "Campus plus" (Bildungscampus+ Friedrich Fexer, Attemsgasse, 1220 Wien, querkraft Architekten, 2017).
Anhand verschiedener Zeitschnitte wollen wir die unterschiedlichen gesellschaftlichen, politischen Bedingungen und pädagogischen Prinzipien, in denen die Bildungsbauten entstanden sind, analysieren. Auch wenn mit dem 1869 eingeführten Reichsvolksschulgesetz die Bildung endgültig dem Staat überantwortet wurde, wirkt die typologische Herkunft des Schulbaus aus der Klosterarchitektur noch lange nach (Akademisches Gymnasium, 1010 Wien, Friedrich Schmidt, 1866). Neben der kritischen Betrachtung der sog. Schulkaserne interessieren uns die Auswirkungen der Wiener Moderne und Reformpädagogik auf den Schulbau. Von großer Bedeutung ist die von Otto Glöckel eingeleitete sozialgerechte Schulreform in der Ersten Republik, die auf demokratischen Grundsätzen und kindergerechtem Unterricht basierte (Schule Natorpgasse, 1220 Wien, Karl Schartelmüller, 1930).
Der Bauboom von Schulen in der Nachkriegszeit folgt hingegen ganz anderen Typologien, häufig findet man eingeschossige Flachbauten (Schulen von Roland Rainer) oder den Pavillonbau im Umkreis der neu errichten großen Stadtrandsiedlungen. Aber auch experimentelle Bauten, wie die Freiluftschule von Wilhelm Schütte (Sonderschule Franklinstraße, 1210 Wien, 1959-61) werden errichtet und neue Konzepte erprobt (Atrium- und Hallenschule). Infolge der zweiten Schulreform in den 1970/80er Jahren und der zunehmenden Erfordernis der Ganztagesbetreuung erfuhr der Schulbau eine inhaltliche Neupositionierung und typologische Erweiterung (VS Köhlergasse, 1180 Wien, Hans Hollein, 1984-1990).
Die 1990er Jahre kennzeichnen eine Vielfalt von gestalterischen Ausprägungen und den Einsatz neuer Materialien, wie z. B. großflächige Glas-Stahlkonstruktion. Unter dem Label "Wiener Schulbauprogramm 2000" startete die Stadt Wien eine neue Initiative im Bildungsbau, die u.a. von städtebaulichen und architektonischen Prämissen bestimmt waren. Neue Schulbauten wie die VS Fuchsröhrenstraße 25, 1110 Wien (1991-1994) von Hermann Czech aber auch die Hauptschule Kinkplatz 21, 1140 Wien (1992-1994) von Helmut Richter entstanden und werden ebenso thematisiert wie erfolgreiche Schulsanierungen, Zu- und Umbauten.
