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The Vienna, Austria, City Hall (Rathaus)


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The city hall of Vienna, Austria

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The Vienna, Austria, City Hall (Rathaus)

  1. 1. The Vienna City Hall Presentation by Arthur Chandler
  2. 2. The Ideas Behind the Ringstrasse The nineteenth century was the most historically minded of centuries, the one most aware of itself as participant in a continuing drama. It possessed, at the same time, unexampled means for giving material expression to that awareness, most notably in its great cities. London, Paris, and Vienna had long contained monuments. Only in the nineteenth century did they try to become monuments. -- Charles Olsen, The City as A Work of Art (page 9)
  3. 3. Friedrich von Schmidt won the architectural competition, and oversaw the building’s construction, 1872-1885 Style = Flemish Town Hall Gothic First Ringstrase building to be illuminated with electricity Ballroom = largest in Austria Some facts about the Vienna City Hall
  4. 4. City Hall and Park
  5. 5. Outdoor film screen at City hall
  6. 6. City Hall Film Festival
  7. 7. Aerial overview with courtyards
  8. 8. Central Courtyard
  9. 9. City Hall inner courtyard
  10. 10. City Hall: Interior Stairway
  11. 11. Meeting Room
  12. 12. Giant chandelier in meeting room
  13. 13. Inside the Chandelier!
  14. 14. Maria Theresia mural, meeting room
  15. 15. Reform mural
  16. 16. More allegorical murals: 1) Handel & Verkehr 2) Kunst 3) Soziales
  17. 17. “Such a Splendid Metropolis” • A monument is intended to call forth fear or wonder in the observer: to remind him of the antiquity of the dynasty, the power of the regime, the wealth of the community, the truth of its ideology, or of some event — a military victory or successful revolution — that demonstrated such wealth, power, or truth. To succeed in its aims, a monument needs to jolt the individual out of his mundane concerns — catching the 5:37, remembering to renew a driver's license, buying postage stamps — to remind him that life involves more than such concerns, and that he is fortunate to be a citizen of such a splendid metropolis, a subject of such a benevolent ruler, an adherent of the one true faith. - -- Olsen, City as a Work of Art
  18. 18. Stairs to the Festival Hall
  19. 19. Festival Hall Ceiling detail
  20. 20. Ceiling Detail #2
  21. 21. Festival Hall
  22. 22. Festival Hall, New Year Celebration
  23. 23. Restaurant hall entrance
  24. 24. Dining Room
  25. 25. “Not utility but cultural self-projection dominated the Ringstrasse.”
  26. 26. Architecture as Moral Statement It was accepted in Vienna and Paris as well that architecture, whether in the form of individual buildings or in the mass, could not only convey information, represent the social and political structure, and express the aspirations of owner and occupier, but serve as an ethical agent, a means of exhortation, a moral statement to the world at large. -- Charles Olsen, The City as a Work of Art, page 292