Fotoeins Fotografie

faces of home & place-story

Posts tagged ‘Vienna’

O5, St. Stephen's Cathedral, Domkirche St. Stephan, Wien, Österreich, Vienna, Austria,

Fotoeins Friday in Vienna Old Town: O5

On the exterior wall of St. Stephan’s Cathedral next to the Riesentor/Westportal (giant west gate) is the easily missed and oft-ignored memorial to Austrian resistance in World War 2. A blackened stone block with the barely visible carved “O5” appears on the wall to the right of the Westportal (facing into the church). After Austria’s annexation by the Nazis, the country name was changed from “Österreich” to “Ostmark” and to “Donau- und Alpenreichsgaue” to subsume the once independent nation. The Austrian resistance movement consisted of people who were members of banned and forbidden political parties. Placed on various buildings around the capital city and beyond, “O5” represented “Ö” for Österreich as overt sign of resistance. The capitalized O-umlaut is spelled out as O-E, and E is the fifth letter of the alphabet. Anyone caught making the sign or associated with the group was put to death.

As present-day memorial, the block itself is protected behind a transparent plexiglass shield. Set into the pavement immediately below is a memorial plaque whose inscription translates as: “O5 was the secret symbol of the Austrian resistance against the National Socialist horror regime 1938-1945. This memorial was created in memory of the murdered resistance fighters of the Austrian resistance movement. Installation conducted by President Professor Norbert Macheiner on 5 October 2000. AEIOU: ‘Allen ernstes ist Oesterreich unersetzlich‘ (In all seriousness, Austria is irreplaceable)%.”

St. Stephan’s Cathedral is located within the city’s Old Town which UNESCO inscribed as World Heritage Site in 2001.

Location: Domkirche St. Stephan. U-Bahn U1 or U3, Stephansplatz.

•   Stadt Wien: Widerstandszeichen O5, Gedenktafel Widerstandsgruppe O5.
•   Republik Österreich Parlament: Demokratie Webstatt.
•   Historical Marker Database (English).

% AEIOU is likely the 15th-century Habsburg motto for “Austria rules the world” (Austriae est imperare orbi universo); there are many interpretations.

I made the photo above on 18 May 2018 with a Fujifilm X70 fixed-lens prime and the following settings: 1/250-sec, f/5, ISO2000, and 18.5mm focal length (28mm full-frame equivalent). This post appears on Fotoeins Fotografie at fotoeins DOT com as

Karlsplatz, Pavillon Karlsplatz, Wien Museum Otto Wagner Pavillon Karlsplatz, Wien Museum, Otto Wagner, Vienna Modernism, Wiener Moderne, Wien, Vienna, Oesterrich, Austria,

Fotoeins Friday in Vienna Old Town: Karlsplatz pavilion

The building was designed by famed architect Otto Wagner, and the decorative elements were provided by Joseph Olbrich (who was chief architect of the Secession building nearby). This Karlsplatz pavilion building was part of the celebrated centenary of “Vienna Modernism (Wiener Moderne)” in 2018. The pavilion is typically open April to October. Karlsplatz is located within the city’s Old Town which UNESCO inscribed as World Heritage Site in 2001.

Location: U-Bahn U1, U2, or U4 Karlsplatz.

I made the photo above on 16 May 2018 with a Fujifilm X70 fixed-lens prime and the following settings: 1/500-sec, f/13, ISO500, and 18.5mm focal length (28mm full-frame equivalent). This post appears on Fotoeins Fotografie at fotoeins DOT com as

My Vienna: Zentralfriedhof (central cemetery)

Above/featured: The cemetery’s Gate 2 (2. Tor) designed by Max Hegele, who was Otto Wagner’s student and also responsible for the construction of the Fillgraderstiege steps in Mariahilf.

Where: Vienna Central Cemetery (Wiener Zentralfriedhof).
Who: Beethoven, Boltzmann, Falco, Lamarr, Schütte-Lihotzky, Strauss I and II.
Why: Cross-section of cultural and economic history for capital city and nation.

In Vienna, tram 71 begins in the Old Town; goes around the western half of the inner ring past City Hall, national Parliament, and the Opera House; and heads southeast to the city’s main cemetery or the Zentralfriedhof. There’s a saying particular to the city’s residents, a phrase which means they’ve died by “going to the end of the line.”

Sie haben den 71er genommen.
(“They took the 71.”)

( Click here for images and more )

My Vienna: Holocaust Memorial, by Rachel Whiteread

Where: Judenplatz, in Vienna’s Altstadt.
What: Holocaust Memorial, by Rachel Whiteread (2000).

How do you commemorate or memorialize the absent or missing? How should the void be acknowledged, recognized, and remembered? Does the act of constructing a physical monument “draw a line”, creating a physical manifestation of marking an end that gathers and wipes away all subsequent future responsibility for remembering?

In Vienna’s Old Town, what was unjustly and violently removed from the city’s long historical memory and cultural identity comes into shape at Judenplatz. Under the public square are ruins of the medieval synagogue destroyed in the pogrom of 1421 with hundreds of Jews driven out, hundreds killed by burning, and the community erased. Directly above these ruins is the Holocaust Memorial which attempts to generate experiences and memories to address the void left behind after the systematic murder of 65-thousand people.

( Click here for images and more )

Frankurter Küche, Frankfurt kitchen, Margarete Schütte-Lihotzky, MAK Vienna, Vienna, Wien, Austria, Österreich,

My Vienna: Margarete Schütte-Lihotzky, mother of the modern fitted kitchen

Who: Margarete Schütte-Lihotzky.
Key: 1st woman architect in Austria, designer of something we take entirely for granted.
Quote: “I developed the kitchen as an architect, not as a housewife.”
Where: MAK Vienna.

I always liked how cooking had well-defined endpoints: a desirable start, and a satisfying conclusion. I enjoy the process: the contemplation of “what to make,” the gathering of ingredients, the preparation, and naturally, the consumption. There might also be something to say about the duality of creation and annihilation …

That got me to thinking about kitchens as a critical unit of a home. Before the 20th-century, the wealthy could afford to have staffed kitchens; everybody else had access to no kitchen or an unsafe unhygienic kitchen in a building separate to their living quarters. The assumed universality of a kitchen within a home is a 20th-century concept and implementation that sought to overcome social and economic class. The design of a modern kitchen invites repeated patterns of movement and action around where cookware, utensils, condiments, glassware, etc. are stored and where the central focus of cooking activity takes place.

For everyone who spends any time in a kitchen, we have Margarete Schütte-Lihotzky to thank.

( Click here for more )

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