hans poelzig

Marlene Poelzig Haus

Haus Marlene Poelzig: Why erasing women from architecture history is such a bad idea

3rd September 2021

By greyscape

@Barbican_City_of_London

While at the turn of the 20th century the Austrian

While at the turn of the 20th century the Austrian-Hungarian Empire, ruled from Vienna, may have seemed invincible and unchangeable, deep currents of change were running in philosophy, literature, the visual arts, sciences and threatening the political status quo. The nationalist aspirations of many of the peoples subject to the empire, Hungarian, Serbs, Jews and others; slow economic improvement and industrialisation was a rich mulch for the growth of revolutionary and social democratic politics. Out of this increasingly febrile atmosphere of new ideas, Viennese modernism, the Wiener Moderne, emerged as a distinct counterpoint and avant-garde response to the sclerotic empire. In architecture a pivotal figure in the Vienna Secession was Adolf Loos who brought to Vienna much of what he experienced in the United States.

Let’s mention two titans who share a first name, Josef Hoffman and Josef Frank. They were extraordinarily gifted modernists, both were controversial within their own lifetimes although Hoffman didn’t do enough to distance himself from the darkness that swallowed up art and design, politics and peace after the 1938 Anschluss.

Reel features Wiener Werkstätte wallpaper 1905, vase in wooden frame, 1900, Josef Hoffman. Painting ‘Young woman with Feather Hat’, Max Pechstein 1910. Painting ‘The Chessmatch’ 1925-30 Max Oppenheimer

Casablanca born architect Jean-Francois Zevaco’s

Casablanca born architect Jean-Francois Zevaco’s Centre d’Observation et de Réeducation (1960). Photo with thanks to @ilcontephotography

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