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M.

SHEHROZE SAEED
11064795-031
HISTORY PRESENTATION

• ARCHITECT OTTO WAGNOR


OTTO WAGNER

• BORN: 13 July 1841 in pen zing


• DIED: 11 April 1918 in Vienna
• NATIONALITY: Austrian
EDUCATION:
• 1857-1860 :- studied at the technical college in vienna1860-1861 :-studied at
the royal academy of architecture in berlin.
• Move quickly back to Vienna's academy of fine arts completing his
schooling in 1863.
• Heavily influenced by gottfried semper and Karl fried rich Schinkel.
• PROFESSION:
• In 1894 he was appointed professor and director of a special school of
architecture at the academy of fine arts, Vienna.
• BOOK:
• Moderne Architekture, a guidebook for his students, was published in 1895.
• It was the first modern writing to make a definitive break with the past.
HIS STYLES:
• His earliest projects were classical in styles
• from 1893 he turned away from:-historicism
• Wagner was very interested in urban planning
• his designs were based on function, material, and structure as the bases of
architectural design.
• His designs combined technical and constructional functionality with high
aesthetic criteria.
COMPOSITION
• Emphasizes the human need for a visual resting point; otherwise a painful
uncertainty or aesthetic uneasiness occurs.
• The image to be perceived, whether from single or multiple viewing points,
was very important to Wagner.
• Viewing points: locations where the building can be most frequently, most
easily and most naturally.
• Wagner stressed a need for symmetry, as it provided self-containment,
completeness and balance.
CONSTRUCTION

• Wagner felt there was a break with the past because of the changes in
modern construction methods; new technical and material means needed
new formal solutions
• Need, purpose, material, and construction are conveyed as the primitive
“gems” of architectural production.
• Therefore, new purposes and materials lead to new methods of construction.
• Construction gradually acquires artistic value, leading to art-forms.
• The introduction of iron was the main reason for this change of vision.
THE PIECE OF ART

• Representation through drawing


• City planning: streets, squares, urban gardens, fountains, bridges.
• Railroads.
• Dwellings
• Art In industry and production
• Furniture, illumination, decoration, clothing, fashion materials.
• WORKS
• Post office savings bank ,Vienna
• majolica house ,Vienna
• dispatch offices, Vienna
• in 1890 he designed a new city plan for vienna, butonly his urban rail
network, the stadtbahn, wasbuilt.
• In 1896 he published a textbook entitled modern
• Architecture in which he expressed his ideas aboutthe role of the architect.
• Famous quote: “Something impractical cannot be beautiful.”
POST OFFICE SAVINGS BANK
• LOCATION : VIENNA, AUSTRIA
• DATE : 1904-06 & 1910-12
• BUILDING TYPE : BANK
• CONSTRUCTION SYSTEM : CONCRETE AND GLASS
• CLIMATE : TEMPERATE
• STYLE : EARLY MODERN
• Postal Savings Bank was Otto Wagner’s first major building commission and
allowed him to realize his “functional” principles of architecture for the first
time.
• The building houses the headquarters of the österreichische postsparkasse
(P.S.K.) Bank.
• The building is regarded as an important early work of modern
architecture.
• The entire facade is covered with square marbleplates.
• These are attached to the main structure byaluminum rivets or bolts.
• The use of marble also makes the maintenance andcleaning of the facade
very easy and inexpensive.
Functionalist design

• Polished marble, ebonized beech-wood, nickel-plated and aluminum


detailing, and everywhere broad panels of curved and beveled glass. This is
not what one immediately associates with “functionalist design,” yet, within
Otto Wagner’s Austrian Postal Savings Bank, it is the very materiality of
the finely crafted stone, concrete, glass, wood, and metal that makes the
building decidedly “functional.”

• The Postal Savings Bank might well be considered a Gesamtkunstwerk,


and perfectly epitomizes Wagner’s comprehensive approach to building
design. Rising seven-stories and occupying an entire city block, the Savings
Bank is one of the many monumentally-scaled civic buildings erected in
Vienna in the years 1880 – 1910, a period in which the historical city was
transformed into a modern metropolis.
PLAN
In plan, the bank is nearly trapezoidal. The rectilinear central block is occupied
by the main banking hall, and is symmetrically flanked by triangular building
wings, each perforated by a courtyard, in which dozens of bank offices neatly
align along the structure’s perimeter. The linearity and systematized quality of
the plan is echoed in the building’s façade—an austere yet artful interpretation
of the building-as-machine. Here, thin profiled sections of white Sterzing
marble are punctuated by aluminum bolts, precisely placed so as to create a
mechanized aesthetic across the building’s surface. The functional necessity of
the bolts is not only left unconcealed, but is actually emphasized as the façade’s
primary ornament.
INTERIOR
• But it is the bank’s interior and in particular, the central top-lit banking hall
and adjacent office spaces that most deftly asserts Wagner’s functionalist
approach to total building design.
• Framed by a riveted steel superstructure, the central banking hall takes the
form of a glass atrium, and every surface wall, counter, door, window or
pillar bears the trace of the craftsman.
• In laying out the interior spaces, Wagner’s sought to maximize efficiency
and minimize the amount of daily cleaning and future repair.
• Wide hallways, elevator lifts, telephone lines, and a pneumatic tube system
were installed to facilitate internal communication, and within the offices,
adjustable partitions allowed bank employees to reform their workspaces
according to desire and need.
MAIN HALL
• The main hall is on the first floor.
• The hall is designed like an atrium, with a large glass skylight.
• The main hall has only glass and glass polished steel as.
MATERIAL

• The floor of the main hall is constructed of glass tiles, allowing


natural light to reach further down to the floor below, where the post office
boxes and mail sorting rooms are located.
• Materials were selected due to their durability, economy and functionality.
For the flooring, glass-block, porcelain tile and linoleum was laid over
asphalt to create insulated, easily cleaned and long lasting surfaces. In high
traffic areas, marble wall paneling thwarts wear and prevents the need for
repainting, and aluminum hot-air blowers are not only sleek and sanitary,
but occupy minimal floor space.
• The bank’s furniture and detailing were also under Wagner’s purview and he
developed an entire catalogue of standard-design furnishings that allowed
for maximum economic and functional flexibility, depending on the
respective location and use of each piece. With the exception of the chief
executive’s office—where brass, velour and mahogany was used in the
furniture—light fixtures were made of aluminum, porcelain and nickel, and
the wood used in desks, cabinets, counters and chairs was artfully-treated
beech.
• Thus, from its light fixtures to its systematic building plan, The Postal
Savings Bank is both a manifestation of Otto Wagner’s ideal of modern
“functionalist” architecture and an exemplary work of Secessionist design.
In its austere lines, simple construction, and minimal use of materials,
exemplifies Wagner’s belief that “The architect always has to develop the
art-form out of construction.”
View of bank

Front facade Plan


Front Elevation
MAJOLIKA HOUSE

EXTERNAL VIEW OF MAJOLICA HOUSE BUILDING


MAJOLIKA HOUSE
• Location: Vienna, Austria.
• Date : 1898 to 1899.
• Building Type: Mixed use, apartment housing over retail.
• Construction System: Masonry, and tile facing.
• Style: Art Nouveau.
• Notes: Textile-like facade decoration at the six-story tile-faced.
• Named after the weather-proof, painted ceramic floral designs on its façade.
• Majolica house has retail on the ground floor and apartments above.
• The bottom two floors are treated as a base with ironwork.
• There is a gradation of detail and color from the bottom to the top.
• Top is capped with lion heads and an elaborate overhanging eave.
• There is a traditional use of ornamentation.
• Decorated balconies are made up of iron.
PLAN

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