DOI Page / Citation link:
https://doi.org/10.11588/diglit.45213#0077
73
The somewhat chaotic placement of individual houses and groups of buildings, which did not
escape contemporary critics, became obliterated over time by maturing vegetation - as it was pre-
dicted already in 1932. All houses featured flat roofs and cubical volumes whose treatment was very
simple to save space and money. Most floor plans were also simplified for the sake of functionalism.
The treatment of elevations was flat and restrained, the expanses of the walls animated only by win-
dows and doors, Andre Lurgat's house with its projecting staircases being the only exception. Most
houses featured at least one balcony. Few houses had unusual features, like the one by Adolf Loos,
with a gallery and cathedral ceiling in the living room. Many designs referred to the Existenzmini-
mum idea and included just one family room, two bedrooms, and essential auxiliary rooms.
The development's design was not as uniform as it had been in the Werkbund's earlier projects.
In its interior design, Hugo Haring noticed a certain tendency towards decorativeness favoured by
the Wiener Werstatten (Vienna Workshops) which ceased operations in the same year (1932), this co-
incidence he regarded as symbolic. He saw the new era emerging victorious from the confrontation
despite the occasional reminiscences of the past about which he was in fact quite positive.181
The exhibition was generally judged as an overall success. Many houses were sold within
a few days after the opening.182 Soon, the change of the political situation would extinguish its po-
tential influence.
181 Hugo HARING, 'Der Flachbau'. In: Die internationale Werkbundsiedlung Wien 1932. Ed. Josef Frank, Wien 1932, p.15-16. See: Josef FRANK, 'Werk-
bundsiedlung, Internationale Ausstellung Wien 1932', Innen-Dekoration 1932, vol.43, p.273-275; Wolfgang BORN, 'Der Aufbau der Siediung,
Werkbundsiedlung, Internationale Ausstellung Wien 1932', Innen-Dekoration 1932, vol.43, p.276-297; J.G.v. HERDER, 'Vernunft und Ordnung,
Werkbundsiedlung, Internationale Ausstellung Wien 1932', Innen-Dekoration 1932, vol.43, p.298-299;H.LANG, 'Gestalt nimmt alles an,..., Werk-
bundsiedlung, Internationale Ausstellung Wien 1932', Innen-Dekoration 1932, vol.43, p.300-303; Heinrich RITTER, 'Die Stille des Zimmers, Werk-
bundsiedlung, Internationale Ausstellung Wien 1932', Innen-Dekoration 1932, vol.43, p.304-312.
182 Otto KAPFINGER, Adolf KRISCHANITZ, 'Documentazione di un rinnovamento..p.46; Architecture In Vienna... Initial plans envisioned rentals
of the houses.
The somewhat chaotic placement of individual houses and groups of buildings, which did not
escape contemporary critics, became obliterated over time by maturing vegetation - as it was pre-
dicted already in 1932. All houses featured flat roofs and cubical volumes whose treatment was very
simple to save space and money. Most floor plans were also simplified for the sake of functionalism.
The treatment of elevations was flat and restrained, the expanses of the walls animated only by win-
dows and doors, Andre Lurgat's house with its projecting staircases being the only exception. Most
houses featured at least one balcony. Few houses had unusual features, like the one by Adolf Loos,
with a gallery and cathedral ceiling in the living room. Many designs referred to the Existenzmini-
mum idea and included just one family room, two bedrooms, and essential auxiliary rooms.
The development's design was not as uniform as it had been in the Werkbund's earlier projects.
In its interior design, Hugo Haring noticed a certain tendency towards decorativeness favoured by
the Wiener Werstatten (Vienna Workshops) which ceased operations in the same year (1932), this co-
incidence he regarded as symbolic. He saw the new era emerging victorious from the confrontation
despite the occasional reminiscences of the past about which he was in fact quite positive.181
The exhibition was generally judged as an overall success. Many houses were sold within
a few days after the opening.182 Soon, the change of the political situation would extinguish its po-
tential influence.
181 Hugo HARING, 'Der Flachbau'. In: Die internationale Werkbundsiedlung Wien 1932. Ed. Josef Frank, Wien 1932, p.15-16. See: Josef FRANK, 'Werk-
bundsiedlung, Internationale Ausstellung Wien 1932', Innen-Dekoration 1932, vol.43, p.273-275; Wolfgang BORN, 'Der Aufbau der Siediung,
Werkbundsiedlung, Internationale Ausstellung Wien 1932', Innen-Dekoration 1932, vol.43, p.276-297; J.G.v. HERDER, 'Vernunft und Ordnung,
Werkbundsiedlung, Internationale Ausstellung Wien 1932', Innen-Dekoration 1932, vol.43, p.298-299;H.LANG, 'Gestalt nimmt alles an,..., Werk-
bundsiedlung, Internationale Ausstellung Wien 1932', Innen-Dekoration 1932, vol.43, p.300-303; Heinrich RITTER, 'Die Stille des Zimmers, Werk-
bundsiedlung, Internationale Ausstellung Wien 1932', Innen-Dekoration 1932, vol.43, p.304-312.
182 Otto KAPFINGER, Adolf KRISCHANITZ, 'Documentazione di un rinnovamento..p.46; Architecture In Vienna... Initial plans envisioned rentals
of the houses.