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POST OTTO WAGNER

The exhibition

is realized with financial support from the European Regional Development Fund, and is part of the project “Bilaterale Designnetzwerke” within the framework of the programme INTERREG V-A Austria – Czech Republic. 

Elke Krystufek, Nur der Stern ist authentisch [Only the Star Is Authentic],  2017

© MAK/Georg Mayer

Otto Wagner, K. K. Postsparkassenamtsgebäude in Wien [Imperial Royal Postal Savings Bank in Vienna] (detail)

In: Otto Wagner, Einige Skizzen, Entwürfe und ausgeführte Projekte, Vol. 3, Vienna 1906, sheet 45 © MAK 

Exhibition view

Otto Wagner, Armchair for the Austrian Postal Savings Bank in Vienna, 1904–1906

Execution: J. & J. Kohn © MAK/Nathan Murrell

Exhibition view

Imperial Royal Austrian Postal Savings Bank

Grand Banking Hall © Hagen Stier, 2015

Imperial Royal Austrian Postal Savings Bank

Warm-Air Blower (detail) © Hagen Stier, 2015

Exhibition view

Exhibition view

Otto Wagner, Table for the Exhibition Hall of the “Die Zeit” Dispatch Office in Vienna

1902. Execution: J. & J. Kohn

Otto Wagner, Wiener Stadtbahn [Vienna Metrolpolitan Railway]

Haltestelle Akademiestrasse. Rechtsseitiger Pavillon mit transparenter Uhr. Kreuzung. k. k. Polytechnischen Institute [Akademiestrasse Station. Right-side pavilion with transparent clock. Crossing at the Imperial Royal Polytechnic Institute]. In: Otto Wagner, Einige Skizzen, Entwürfe und ausgeführte Projekte, Vol. 3, Vienna 1906, sheet 3

Only until Sun, 30 September

POST-OTTO WAGNER:

From the Postal Savings Bank to Post-Modernism

Wed, 30.5.2018—Sun, 30.9.2018

MAK – Museum of Applied Arts

Exhibition

POST-OTTO WAGNER:

From the Postal Savings Bank to Post-Modernism

Wed, 30.5.2018—Sun, 30.9.2018
MAK Exhibition Hall

MAK – Museum of Applied Arts

To mark the 100th anniversary of the death of Otto Wagner (1841–1918) the MAK exhibition POST-OTTO WAGNER: From the Postal Savings Bank to Post-Modernism investigates Wagner’s role as the “Father of Modernism” and points out not only the context and the interaction between Wagner and other protagonists of early Modernism, but also the influence his epochal work had on his contemporaries, students, and following generations of architects and designers. 

Starting with Wagner’s most important works—for example the building for the Vienna Metropolitan Railway (1894–1900), the regulation of the Danube Canal (from 1894), the Imperial Royal Austrian Postal Savings Bank (1903–1910) and the church St. Leopold am Steinhof (1902–1904), as well as residential and commercial buildings and his study Die Großstadt [The Metropolis] (1911)—subject areas are presented in a way which makes it possible to easily understand Wagner’s long-lasting effect on the architecture from Modernism to Post-Modernism and on to the present.

In three chapters, the exhibition approaches Wagner’s legacy. In doing so it illustrates the architect’s rejection of the language of form found in Historicism as well as his influence on modern architecture and urban planning. The development of the metropolis in and around 1900 also made new building types necessary: In Vienna this included the modern residential and commercial buildings as well as department stores and hotels, which, as a result of Otto Wagner’s rejection of Historicism in favor of new possibilities for building, had to position themselves, and which represent a widely spread architectural type still today.

Earlier than others Wagner recognized the increasing importance of technology and engineering which manifested itself in new constructions and working materials. Consequently, he postulated a so-called “Nutzstil” [Functional style] whose forms should result from the materials, constructions, and functions. Through this break with the aesthetics of Historicism and prevailing architectural styles Wagner became a leading figure of Viennese Modernism. After 1900, under the strong influence of architects like Josef Hoffmann, Joseph Maria Olbrich, Josef Plečnik, Max Fabiani, or also István Medgyaszay, Jan Kotěra, and Pavel Janák, the Wagner School became a type of laboratory for style pluralism and individualistic approaches to style, aspects which were once again topical in Post-Modernism.

The exhibition is accompanied by the publication POST-OTTO WAGNER: From the Postal Savings Bank to Post-Modernism by Sebastian Hackenschmidt, Iris Meder, and Ákos Moravánszky, edited by Christoph Thun-Hohenstein and Sebastian Hackenschmidt. German/English, ca. 300 pages with numerous color illustrations. MAK/Birkhäuser Verlag, Vienna 2018. Available as of the end of June at the MAK Design Shop and at MAKdesignshop.at.

Curator
Sebastian Hackenschmidt, Curator, MAK Furniture and Woodwork Collection

Expert Advisors
Iris Meder, Architectural historian and freelance curator
Ákos Moravánszky, Professor emer. of architectural theory, ETH Zurich


Guided Tours

Exhibition Tours
Every Sat, 2 p.m.

Dialogue Tour
Tue, 5.6.2018, 6 p.m.
Curator Sebastian Hackenschmidt in conversation with Ákos Moravánsky, expert advisor of the exhibition
Tue, 11.9.2018, 6 p.m.
Curator Sebastian Hackenschmidt in conversation with Claudia Cavallar, exhibition design

Related

Research Project

Bilateral Design Networks:<br>Design Innovation from Early 20th Century Modernity to Digital Modernity



Media

<BODY>The exhibition</BODY>
The exhibition
is realized with financial support from the European Regional Development Fund, and is part of the project “Bilaterale Designnetzwerke” within the framework of the programme INTERREG V-A Austria – Czech Republic. 

<BODY>Elke Krystufek, <em>Nur der Stern ist authentisch</em> [Only the Star Is Authentic],  2017<br /></BODY>
Elke Krystufek, Nur der Stern ist authentisch [Only the Star Is Authentic],  2017
© MAK/Georg Mayer
<BODY>Otto Wagner, <em>K. K. Postsparkassenamtsgebäude in Wien</em> [Imperial Royal Postal Savings Bank in Vienna] (detail)<br /></BODY>
Otto Wagner, K. K. Postsparkassenamtsgebäude in Wien [Imperial Royal Postal Savings Bank in Vienna] (detail)
In: Otto Wagner, Einige Skizzen, Entwürfe und ausgeführte Projekte, Vol. 3, Vienna 1906, sheet 45 © MAK 
<BODY>Exhibition view</BODY>
Exhibition view
<BODY>Otto Wagner, Armchair for the Austrian Postal Savings Bank in Vienna, 1904–1906<br /></BODY>
Otto Wagner, Armchair for the Austrian Postal Savings Bank in Vienna, 1904–1906
Execution: J. & J. Kohn © MAK/Nathan Murrell
<BODY>Exhibition view</BODY>
Exhibition view
<BODY>Imperial Royal Austrian Postal Savings Bank</BODY>
Imperial Royal Austrian Postal Savings Bank
Grand Banking Hall © Hagen Stier, 2015
<BODY>Imperial Royal Austrian Postal Savings Bank</BODY>
Imperial Royal Austrian Postal Savings Bank
Warm-Air Blower (detail) © Hagen Stier, 2015
<BODY>Exhibition view</BODY>
Exhibition view
<BODY>Exhibition view</BODY>
Exhibition view
<BODY>Otto Wagner, Table for the Exhibition Hall of the “Die Zeit” Dispatch Office in Vienna</BODY>
Otto Wagner, Table for the Exhibition Hall of the “Die Zeit” Dispatch Office in Vienna
1902. Execution: J. & J. Kohn
<BODY>Otto Wagner<em>, </em><em>Wiener Stadtbahn </em>[Vienna Metrolpolitan Railway]</BODY>
Otto Wagner, Wiener Stadtbahn [Vienna Metrolpolitan Railway]
Haltestelle Akademiestrasse. Rechtsseitiger Pavillon mit transparenter Uhr. Kreuzung. k. k. Polytechnischen Institute [Akademiestrasse Station. Right-side pavilion with transparent clock. Crossing at the Imperial Royal Polytechnic Institute]. In: Otto Wagner, Einige Skizzen, Entwürfe und ausgeführte Projekte, Vol. 3, Vienna 1906, sheet 3

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