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Posts tagged ‘My Vienna’

Vienna Ringstrasse & Architectural Historicism

Above/featured: Examples of the “Ringstraßenstil” historicism style at Maria Theresa Square, with Maria Theresa Monument at left and the Museum of Natural History at right. Photo, 15 May 2022 (X70).

• Can a street alone define its surrounding architecture?
• Do the buildings themselves establish the street’s visual impression?
• Is Vienna (un)fairly defined by the Ringstrasse and the inner city?

The answers, as always, are a little complicated.

Like many, I’m also fond of Vienna’s Ringstrasse (Ring Road), as a kind of “hello” and re-introduction to the city after my first visit in 2002. At 5 kilometres in length, the Ringstrasse is one of the longest streets in Europe, longer than the nearly 2-km Champs-Élysées in Paris and longer than the 4.5-km Nevsky Prospekt in St. Petersburg. The boulevard is surrounded by Prachtbauten (buildings of splendour), constructed in the architectural style of “historicism,” a big nod to classic “forms” reflecting structural “functions”. The late-19th century “Ringstrassenstil” (Ring Road architectural style) continued the practiced habit of choosing a historical style which best identified with the purpose of the building. For example, the Neo-Baroque architectural style is represented in the Civic Theater; the Neo-Classical style in the Parliament and New Palace; the Neo-Gothic style in City Hall and the Votive Church; and the Neo-Renaissance style in the museums, palatial mansions, Opera House, and the University.

On Christmas Day 1857, the Wiener Zeitung newspaper published an imperial decree written 5 days earlier (on 20 December) by Habsburg emperor Franz Joseph I. He ordered the demolition of the inner-city wall and the subsequent creation of a circular boulevard, bordered by grand buildings and filled with green spaces. The large outward extension of the inner city changed and influenced the urban development of Vienna, still seen to this very day.

It is my will that the extension of the inner city of Vienna should proceed as soon as possible, providing for appropriate connections between the city and the suburbs as well as the embellishment of my imperial residence and capital. To this end, I authorise the removal of the walls and fortifications of the inner city as well as the ditches around it …

– Emperor Franz Joseph I: 20 Dec 1857, published 25 Dec 1857.

On 1 May 1865, Emperor Franz Josef unveiled the Ringstrasse in an official ceremony, even though large areas remained under construction. Ringstrasse structures included the religious and the secular, as well as the public and the private. The Ringstrasse symbolized the power of the imperial state, and the growth of a new arts and culture scene with the increasing popularity of coffee houses.

It’s also important to note the architectural impact made by the Jewish middle- and upper-class to integrate within the Habsburg empire. For example, the families Ephrussi, Epstein, and Todesco commissioned architect Theophil Hansen to construct palatial mansions as visible manifestations and partial realization of the dream of many Viennese Jews: assimilation into and emancipation within Viennese society. (Viennese journalist and political activist Theodor Herzl might have had a different opinion about that.)

For residents and long-term visitors today, it’s entirely possible to fit into the unintended shape and mentality of the “modern” city: that the inner-city wall was simply replaced by a different wall of “economic class”, that the architectural callback to historicism “freezes” the inner-city in time, and that like many, I can live, traverse, and work in the outer districts and avoid entering the inner city.

For short-term visitors today, the Ringstrasse buildings form a golden shiny “ring” around the “fingers” of the U1 and U3 metro lines traversing through the UNESCO World Heritage inscribed inner-city. For these visitors, all that’s needed for their limited time in Vienna is the inner city.

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Vienna: Lichtzeichen testament to Jewish presence

Above/featured: Lichtzeichen number 10 (Stumperschul) in the city’s 6th district. Photo, 28 May 2022.

From a distance, the light seems suspended in mid-air.

Closing the distance widens my realization: it’s an illuminated sculpture that has a curved warped shape on top. That’s also when understanding narrows into sharp focus when I stand directly underneath: the shape “straightens” out, revealing itself as a Star of David.

Lichtzeichen Wien (LZ) consists of 26 structures in the Vienna region, marking former locations of synagogues, schools, temples, and prayer rooms destroyed by the Nazis in the pogrom of November 1938. During the night of 9–10 November 1938, the Nazi regime organized and carried out a systematic attack against the Jewish population in Germany and Austria. The rampage in Vienna continued for several days; most of the city’s synagogues, temples, and prayer-halls were destroyed.

Launched by the Jewish Museum Vienna and Austrian artist Brigitte Kowanz, an urban memorial project by joint collaboration of the Jewish Museum Vienna and the University of Applied Arts Vienna consists of identical columns, designed by artist Lukas Kaufmann. The commemorative project is called “Ot” (אות), which means “symbol” in Hebrew. Each “light column” sculpture stands about 5-metres high with a star of David, and includes the name of the former Jewish structure and an accompanying QR-code. Official unveiling of the memorial project occurred in 2018 on the 80th anniversary of the 1938 pogrom.

I visited and photographed all 26 Lichtzeichen locations in Vienna over a period of three summers in 2022, 2023, and 2024.

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Vienna: 9 spots in the 9th district

Above/featured: Votivkirche (Votive church) from Schottentor – 20 May 2023.

Two visits: two months spread over two years.
A thousand kilometres of walking.
Hundreds of historical spots and locations tracked, spotted, and photographed.

It makes sense that out of Vienna’s 23 city districts, I’ll frequent some more than others. The 1st district, or the Innere Stadt, is unavoidable, because that’s where most visitors to the city will congregate. The 2nd (Leopoldstadt) and the 6th (Mariahilf) are districts where I had separate month-long stays. But it’s the 9th district (Alsergrund) into which I wandered through countless times, including tracking my way to the 18th and 19th districts.

Out of many interesting little spots in Alsergrund, I’ve highlighted nine examples from a historical “mélange” of architecture, Jewish culture, medicine, music, and physics. If you’re wondering about the Votivkirche (Votive Church) in the image above, I’ll have more about the church in future posts about Ringstrasse (Ring Road) architecture as well as the architectural works by Heinrich Ferstel.

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Vienna: Dr. Olga Ehrenhaft-Steindler, trailblazer & women’s advocate

In examining the history of the University of Vienna, I discovered Olga Ehrenhaft-Steindler was the first woman to receive a doctoral degree in physics from the university in 1903. Who was she? How did she become the first? How did society of the time view the education of young women?

I’m starting a series on women who left their mark on Vienna and Austria, and some of the traces they left behind in the Austrian capital city. With educators, inventors, writers, and scientists, my serial includes: Dr. Marietta Blau; Marianne Hainisch; Hedwig Kiesler, a.k.a. Hedy Lamarr; Dr. Lise Meitner; Dr. Gabriele Possanner; Dr. Elise Richter; and Bertha von Suttner.

Who: Dr. Olga Ehrenhaft-Steindler: b/✵ 28 Oct 1879, d/✟ 21 Dec 1933.
PhD: 1st woman with doctoral degree in physics from University of Vienna, 1903.
Educator: Early 20th-century teacher & advocate for better access to education for young women.

In late 19th-century and early 20th-century Austria and Vienna, Olga Steindler was one of countless women who faced difficulties and challenges by young women who wanted to expand their education and improve employment, all of which were viewed by society at the time as undesirable. Feminism or anything similar did not exist.

Born and raised in Vienna, Olga Steindler departed her home for Prague to complete and pass her final high-school examinations in 1899, because young women were not permitted to do so within Austria at the time. She subsequently enrolled at the University of Vienna to study physics and mathematics within the Faculty of Philosophy. Only two years earlier in 1897 had the University of Vienna finally accepted the enrolment of women, although they were initially allowed only into the Faculty of Philosophy. In 1903, Steindler became the first woman to receive a Ph.D. in physics from the University of Vienna after successfully completing her research dissertation.

Completing qualifications for teaching at secondary (high) schools in the same year, she joined the “Athenäum” where she taught young women about experimental physics; she also taught at Vienna’s first girls’ secondary school established by Marianne Hainisch in the city’s 1st district. In 1907, she founded two new schools in Vienna: a girls’ public secondary school in the city’s 2nd district, and a business school for young women in the city’s 8th district. Steindler married her physicist colleague Dr. Felix Ehrenhaft in 1908; she became known as Dr. Olga Ehrenhaft-Steindler. She championed the cause for educating girls and young women, and creating new opportunities in science, business, and society at large. For her dedicated service to the public, Austria awarded her in 1931 the title of “Hofrat” as a new member of the imperial court advisory council, an honour uncommon among Austrian women at the time. At the age of 54, Dr. Olga Ehrenhaft-Steindler died in December 1933 from complications after having contracted pneumonia.

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Vienna’s St. Marx Cemetery, Biedermeier style

Above/featured: Morning visit to the city’s Biedermeier cemetery – 20 May 2022.

In Vienna’s 3rd district, the St. Marx cemetery is the only surviving Biedermeier cemetery in the city. A visit now is a jump into the frozen past. The cemetery opened with its first burial in 1784. Closure of the city’s multiple neighbourhood cemeteries began in 1873 with the final burial at St. Marx taking place in 1874. Subsequent funerary functions were transferred to the newly constructed Zentralfriedhof located farther out from the city centre. The very leafy avenues and “leafy gate” are what’s left of the city’s only remaining 18th-century cemetery that is now open to the public as a city-administered park.

Why Biedermeier

Biedermeier in Vienna corresponds to a cultural period during the first half of the 19th-century marked by increased industrialization in rapidly urbanized areas and strict censorship with the elimination of dissenting political voices. Instead of looking outward to change, the artist and design community moved to safer spaces in nature or to their homes. While innovation might have given way to a modest yet graceful and functional style, Biedermeier architecture in its neoclassical spin provided inspiration for subsequent Art Nouveau (Jugendstil) and Secession movements. An important Viennese architect of the period was Josef Kornhäusel who designed many buildings in the city. Important music from this period was composed by, for example, Beethoven, Chopin, Liszt, Schubert, Schumann. One of the largest collections of Viennese Biedermeier art is in the Belvedere’s collection. St. Marx cemetery is a reflection of both city and age from the 19th-century.