International studio (21.1903/1904(1904))

^TT'HE "ARBEITERHEIM," OR
H WORKMEN'S HOME, VIENNA.
[ BY J. A. LUX
A NEW schoo] of architecture has arisen
under the guidance of Prof. Otto Wagner, of
Vienna. The principles incuicated by this gifted
and original artist have resulted in a new style,
based on the requirements of modern life. Even
architecture, the least populär of the arts, has not
been able to withstand the pressure of the time; in
the nineteenth Century it yielded reluctantly to the
demands of the day, though always affecting the
aspects of a past style, and aiming at appearances
rather than at realities. Hence during the last
Century, architecture, once the mistress of the arts,
sank into a decline, and quite forgot the time when
its noblest efforts bore good fruit in the kindred
arts of sculpture, painting, and decoration. And
if, obeying compulsion rather than any spontaneous
inspiration, some living attempts were made, this
merely proved that genuine needs are a stronger
power than a love of show. Little at first was

altered in the externals of architectural design, and
real life had to find out for itself what could be
achieved under the guise of antique, Roman,
Gothic or architecture. An inventive
mind was needed to release us from these
fetters, and assert our freedom. Such an one
is Otto Wagner. His resthetic principles may be
summed up in three words—purpose, construction,
and poetry. Practical sense leads him to purpose-
ful construction, and to evolve form from construc-
tion. To understand the true meaningof these three
words we must consider the sources of life and of
art. In an age that depends on tradition, creative-
ness, always unsettling, is regarded as revolutionär)'.
This accounts for the resistance and aversion which
Wagner has met with from the leading artistic and
official authorities. It is Wagner's almost tragical
fate that, in spite of his endeavours and organising
power, nearly all his great designs, filling many
folios, remain on paper; however, he is not the
first great man wrecked by the narrow views of his
time.
Still, no force in nature is wasted. The principles


STAIRS LEADING TO THE RECREATION HALL IN THE VIENNA WORKMEN'S HOME HUBERT GESSNER, ARCHITECT
U°