Vivek Barapatre - Josef Hoffman. Design Pioneers. Semester 1, 2020

Josef Hoffmann Based on the life, work and designs of Austrian designer

Vivek Barapatre | S3786742 GRAP2919_2010_VIS_StudioE_3 Design Pioneers 2020 Assessment Task 3

CONTENTS 03

Introduction

19

Ideation

06

Architectural Work

21

Ideation Development

The Wiener Werkstätte

25

12

Furniture Design

31

14

The Sitzmaschine Armchair

34

Task 1 Poster

15

Timeline

36

Reflection

17

Design Response

38

References

08

Design Concepts

Final Concept Render

2

INTRODUCTION Josef Hoffmann (1870-1956) was an prolific Austrian architect-designer whose folio encompasses that not only of buildings, interiors and furniture but also extended to a wide variety of other disciplines of design such as fabrics, teapots, lamps, book covers, caskets as well as glass and ceramics.

Born in Brtnice, Czech Republic, he started studying architecture at the Senior state Commercial & Technical school in Brno 1887, receiving his baccalaureate in 1891. He practiced for a year in Wurzburg, Germany before moving to Vienna, where he lived for the rest of his life. Between 1896 and 1897 he enrolled in Academy of fine arts and worked under Karl Von Hasenauer and Otto Wagner. He also worked in Wagner’s Vienna studio. In 1895, together with a group of artists - Gustav Klimt, Carl Moll and others, he founded Vienna Secession. As a movement, the secession favoured a modern and experimental approach to art. However, arguably Hoffmann’s most significant contribution was the formation of the Wiener Werkstätte (Vienna Workshop) in 1903, where he along with Koloman Moser and financier Fritz Waerndorfer, sought to create ‘total works of art’. Here, objects were often designed as a part of a

whole living environment rather than an accumulation of different elements.

Hoffmann has often been praised for his modernist design style, which challenged typical 19th-century design practices. His work was more rigorous, geometric, and less ornamental. At that time, his radical design style and philosophy, favoured that of minimalist geometric forms, especially squares and black and white surfaces.

Aesthetically, his design style evolved from Jugendstil to more simple, geometric forms and then to neoclassicism, while still maintaining a geometric outline.

He regularly praised the importance of “creating a harmonious ensemble of great simplicity, adapted to the individual”.

Having been inspired by the likes of Charles Rennie Mackintosh and Japanese artist Katsushika Hokusai, much of his work sought to reflect the relationship between shape and space, creating a sense of simplicity and serenity. Hoffmann often used the square shape as a basis for many of his designs, stating that as a shape, the square stands for ‘unity, solidity, stillness and perfection’. Borders of alternating black and white squares became decorative elements in all aspects of his work. His use of squares was so particular that it earned him the nickname, Quadratl-Hoffmann (“Square Hoffmann”). He died on the 7th May 1956 in Vienna, Austria.

Josef Franz Maria Hoffmann

4

2. The Purkers

1. Villa Skywa-Primavesi (1913-15)

4. Klose-hof (1924-25)

3. Austria Pavi

5. The Palais Stoclet (1905-1911)

sdorf Sanatorium (1904-05)

ilion at Venice Biennale (1934)

ARCHITECTURAL WORK

1.

The Villa Skywa-Primavesi (1913-1916) is a large veritable palace in Vienna, built for the industrialist Otto Primavesi. It is one of Hoffmann’s major works during the early 20th century. Spanning more than a 1000 square meters, it was built all in white, in the neoclassical modern style, which became a trademark for Hoffmann during this period of his work.

Exterior sculptures designed by Anton Hanak featured on the frontons of the building. The interior additionally is also designed in a similar neoclassical modern style, decorated with parquet floors of rare woods, sculptural decoration and marble plaques on the wall.

2.

The Purkersdorf Sanatorium (1905) was one of Hoffmann’s first great works in the town of Purkersdorf near Vienna. Its simplistic and strict geometric form was a distinct move away from the traditional arts and craft style of architecture popular during the late 19th century and was a major precedent and inspiration for the development of modern architecture in the early 20th century. Its clarity, simplicity and logic foreshadowed ‘Neue Sachlichkeit’ (new objectivity), the name given to the emerging modern architecture in the 1920s-1930s.

3.

The Austria Pavilion at Venice Biennale (1934) was one of Hoffmann’s last major works before the Second World War. Built with an extremely simplistic U-form, with one side slightly longer than the other. Its original entrance portal designed by Hoffmann with sculptural decorations were never constructed due to budget difficulties. In a sense, their absence adds to the final product. The building was unused after 1938 when Nazi Germany took over Austria but was restored in 1984 to its original appearance.

4.

The Klose-Hof is a housing estate located in Vienna (1924-25). It is one of many buildings designed by Hoffmann when he received a commission from the City of Vienna in the years following the First World War. Containing more than 140 apartments, these estates were designed as a simple plastered structure; its square shape is typical of Hoffmann’s strict geometric architecture that he was so known for.

5.

The Palais Stoclet (1911), Brussels, built in collaboration with Gustave Klimt, is one of Hoffmann’s, the Vienna Secession and the Wiener Werkstätte’s most famous pieces. Built for Adolphe Stoclet, the heir of a wealthy Belgian banking family, who had lived in Milan and Vienna, its design is a visible turning point from traditional and historical architecture to a more modern style of form. Strict geometric shape and colour with touches of decoration constitute its extraordinarily modern composition. It is covered in white Norwegian marble, while the edges of the forms and the windows are bordered with sculpted metal. The central tower, nearly twenty meters high, is made of assembled cubic forms and crowned with four copper statues with statuary. The plan has two axes, perpendicular to each other. The railings around the building and on the tower have had stylized ornamental designs, and even the plants in the garden are sculpted into geometric forms to complement the architecture.

6

Products designed by Josef Hoffmann

Tea service, 1903

Eggs print, Textile design, 1907-08

Tobacco Case, 1912

Vase, 1911

Cutlery ‘Flat model’ Flatware set, 1904-08

Dress, silk print, 1924

‘Lattice vase’, 1905

WIENER WERKSTÄTTE After leaving the Vienna Secession in 1905 due to disagreements in artist vision, Hoffmann, along with along with other designers Koloman Moser and financier Fritz Waerndorfer, founded the Wiener Werkstätte (Vienna Workshop). At the core of the Wiener Werkstätte was the belief of ‘Gesamtkunstwerk’, total work of art. This saw design as the unification of arts and crafts in everyday life, where objects were designed as part of a whole living environment rather than an accumulation of different elements. This included the architecture of the building, all the interior design from the furniture down to the cutlery, as well as all the fabrics that would accompany these pieces. The design style was based around the works of distinctive designers around that time, including Hoffmann.

Hoffmann’s square simplistic geometric design style was a huge influence and can be seen across a wide range of Wiener Werkstätte designed products. Before its closure in 1932, due heavily to the great depression in 1929-1939, the Wiener Werkstätte had been very well received, having outlets that spanned across the world; Zurich in 1916, New York in 1922 and Berlin 1929. However, despite their eventual demise, the workshop became one of the longest movements of the 20th century and left deep roots in grounding what would later become known as modernism.

The Wiener Werkstätte was one of Hoffmann’s greatest contributions. Although copyrights of its diverse products were owned by different artists, Hoffmann is widely considered to be the soul, and dominating personality of the practice.

8

The Palais Stoclet (1905-1911)

“One afternoon at lunchtime we all sat in the Heinrichshof Café, Otto Wagner, Kolo Moser, some friends, and, more importantly, Fritz Waerndorfer…

Moser and I were busy cursing the state of the arts scene in Vienna.

To us, Vienna appeared to be in a state of dilapidation and rotten, where’s everywhere else in Europe consciousness arose…Everywhere but in Vienna, workshops were founded with the aim to out an end to the perennial imitation of style long passed, trying to find new shapes, appropriate for our modern times.”

- Hoffmann on the Vienna Secession and the formation of the Wiener Werkstätte

10

1. Club Armchair (1910)

2. Armloffel chair (1908)

4. Kubus Chair (1910)

3. kunstschau armchair (1905)

5. PĂźrkesdorf

6. Fledermaus

FURNITURE DESIGN Perhaps often overlooked as one of the first modernist furniture designers, Hoffmann’s radical design style and philosophy challenged traditional furniture conventions in the late 19th and early 20th century, and has undoubtedly played a significant role in shaping modern and contemporary design style we know today.

Much like the majority of his work, his adherence to strict geometric aesthetics but with also an awareness for functional responsibility is the difference between Hoffmann and his contemporaries and is what sets him apart as one of the true forefront modernist furniture designers. This became a trademark for Hoffmann’s designs, particualrly recognised in his archetectural work during the early 20th century.

5.

The Pürkesdorf armchair, designed in 1904-05, was made for the foyer of the Pürkesdorf Sanatarium, in which Hoffmann was also the architect. This significant piece Reflects the geometrical motifs and monochrome palette typical of the Weiner Werkstätte; it was considered as audacious in style by the Austrians.

Dining room armchair (1904-05)

s chair (1907)

4.

The iconic Kubus chair (1910) is a prime example of Hoffmann’s unique devotion to the square and its clean, simple geometric forms. The Kubus chair First appeared at an exhibition in Buenos Aires; its structure is made from hardwood and upholstered in luxury fullgrain Italian leather. Its characteristic tactile cubes that make up its aesthetic, are precision stitched and piped, creating a thick cushion body. Its strict and formal geometric composition consisting entirely of square and rectangles allows its form to flow seamlessly and easily on the eye.

As part of the Weiner Werkstätte, the Kubus chair was also significant as it demonstrated how Hoffmann could create something which would otherwise be an uncomfortable shape inviting to sit on. Despite having been created over a century ago, the Kubus chair is still under production and still standing valid among today’s designs.

12

Sitzmaschine Armchair (1905)

SITZMASCHINE ARMCHAIR Among some of Hoffmann’s most regarded furniture pieces is the Sitzmaschine armchair. Translating to a machine for sitting, the Sitzmaschine armchair was designed by Hoffmann in 1905 as part of his commission for the Purkersdorf Sanatorium. In an attempt to unify both a building and its furnishings, it represents one of Hoffmann’s earliest experiments in creating total works of art.

Made out of a range bentwood and plywood, the armchair could be reclined by moving the position of a rod between a series of protruding knobs on the frame and also had an adjustable back; some versions of the armchair had cushions added for additional support and comfort. Adhering to Hoffmann’s philosophy of simple shapes and lines, the Sitzmaschine armchair was significant as it was one of the first furniture designs that were able to disclose both function and construction while also not sacrificing its aesthetic appeal. Its design is minimal and clean, based on the repetition of simple shapes and lines; the subtle rectangular forms of its seat, back and sides contrast with the thin swooping curved lines of the armrest, which also form its base. The arms and legs unite in defining curves that almost seem to portray the forms of machines wheels in motion.

14

1911 – Hoffmann’s Stoclet Palace, Brussels, Belgium is completed

1910 – Hoffmann’s Kubus armchair is built

1905 – Hoffmann’s Sitzmaschine armchair is built

1903 – Hoffmann & co. founded the Wiener Werkstätte

1899 - Hoffmann becomes a professor at the University of Applied Arts, Vienna, aged 29

1898 – Hoffmann married Anna Hladik

1889 – Hoffmann founded the Vienna Secession

1870 – Josef Hoffmann was born

1956 - Hoffmann died, aged 85

1945 - Cold War begins

1939 - Outbreak of the Second World War (1939-45)

1929 – The Great Depression (1929-39)

1929 – Berlin branch of the Wiener Werkstätte is opened

1922 – New York branch of the Wiener Werkstätte is opened

1916 – Zurich branch of the Wiener Werkstätte is opened

1914 – Outbreak of the First World War (1914-18)

TIMELINE

16

DESIGN RESPONSE

18

IDEATION

IDEATION

20

IDEATION DEVELOPMENT

tube like legs could come in different colours

straight lines contrast with curves

IDEATION DEVELOPMENT

simple geometry

Hollow square design minimalist

22

Square design

IDEATION DEVELOPMENT

Curves contrast with straight lines

IDEATION DEVELOPMENT

cut from singular piece

simple geometric square form

Back rest slot through seat Rectangluar shape

24

CONCEPT 1

rectangular form

CONCEPT 1

tubular leg design

26

CONCEPT 2

simple geometric form

CONCEPT 2

bentwood frame similar to Hoffamann’s furniture

28

CONCEPT 3

simple geometric shape to relate to Hoffmann’s style

CONCEPT 3

holes in the back rest to ‘breathable space’ in its form - similar to the Sitzmaschine armchair

30

FINAL CONCEPT RENDER

Influenced by Hoffmann’s design style, my final stool design is inspired by minimalism and simplicity, one that conforms to the simple geometric outlay that made Hoffmann’s work so renowned and popular during his time. Consisting of 3 different components, the overall form of my design utilizes different variations of squares and straight lines, exempt of complex and intricate patterns that can make a design sometimes harsh on the eye. Hoffmann would reserve only the purest and highest quality materials on his works; my stool would be made from high quality woods such as walnut or oak. The slight angles and curves allow some form of contrast to the simple geometrics design, however don’t take away from its overall simplistic aesthetic.

32

. 1870-1 MODERNISM

Proto-Modernism is an age approaching what the beginnings of Modern Design. Modernism i that followed the vast changes in western soc early 20th century during the development of away from old traditionalist culture as people outdated in the new social, economic and poli industrialised world. This movement streered a ornamental designs to designs which utilise th technologies, and societal movement/culture design. Although the world was slowly industri who still opposed this new social change. Thes design which can still be recognised up until to

W M

Josef Hoffmann was an Austrian designer, architect and co-founder of the Wiener Werkstätte, the Vienna Secession. He was known for being creative and prolific, consisting a portfolio of his work on buildings, interiors, furniture and extended to other diverse things such as textiles, umbrella knobs, walking stick handles, tea pots, caskets, book covers as well as glass and ceramics.

William Mor Movement. opposing to most famo He was also theorist. Mo renown and 1920s). In 18 Faulkner & C designs, an and second

Hoffmann pioneered a famous and still-influential approach to art history, emerging in late 19th century vienna that sought to detach art historical judgements from issues of aesthetic preferences and subjective taste by the introduction of scientific method.

Michael THONET

“

Michael Thonet is an German-Austrian designer and pioneer in the industrialization of furniture manufacture Famous for discovering the method of bending wood.

Experimenting with steam to ‘bend wood’ created a new style of chair called ‘Bentwood Chairs’ His experiments and the production of bentwood furniture widely influenced both contemporary and modern styles and whose functional and aesthetically designed chairs are still being manufactured.

Pioneered mass production of furniture.

1870:

r f e inc

v

t the ied a Stud gest pe Youn n con ow ed his runn Form lia 2003, 0 S a tr s u Top 10 YD A

d to S

Move

*

The Bicycle

Bicycles developed a large amount in the 1870s to 1890s.

1870 is where you find the famous Penny Farthing bicycle.

Invented by Eugene Meyer The huge wheel was initially designed for the bike to ride faster.

This however came at a serious safety disadvantage.

In the 1880s and ‘90s the safety bicycle was developed. This shifted the audience of bikes from young men, to women and children too. A chain was integrated to make the bike a rear wheel drive, as well as sizing the wheels to a similar diameter.

This was initially designed by John Kemp Starley.

Invention of the Elevator First commercial passenger elevator, by Otis in 1852.

This made it possible to construct multi-storey buildings.

Installed in a five-story department store in New York City in 1857.

This changed the world’s skyline, making skyscrapersa practical reality

1852:

Lack

Th

But

The Great Chicargo Fire This unfortunate event set the scene for Modern Movement.

Provided Chicago architects with the opportunity and challenge to program buildings in a newway — in a style that could in its very nature dispense with historical styles.

1871:

TASK 1 POSTER

t is now known as modern, or is a philosophical movement ciety during the late 19th and industrialisation. Moving felt tradition were becoming itical environment of the new away from old traditional, he new materials, to invent a new style of ialising, there were people se people created forms of oday

...

William MORRIS

rris was a heavy influencer of the Arts and Crafts . His designs favoured handmade production, which was o the current era leaning to industrial progress. Morris is ous for his Wallpaper Designs, which are woodblock painted. o a poet, artist, philosopher, typographer, and political orris’ Designs became so famous his name was world d even influenced a new art movement in Japan (Mingei 861, Morris established his company called Morris, Marshall, Co.. The company was known for wallpaper and fabric nd the company enjoyed long term growth up until the first d world war, which caused a voluntary liquidation in 1940

”

Harper BROTHERS

1900:

In 1850, Harper and Brothers opened the era of the pictorial magazine.

The monthly magazine underwent publication with serialised english fiction and was looked upon as the finest achievement of graphic design to date.

Thomas Nast heavily contributed to the beginning and influence of the American cartoon industry. Harper magazine hired him to publish battlefield sketches during the civil war. The pioneers of the monthly magazine which is still relevant today.

This was as regarded as a revolutionary step for graphic design

Frank WRIGHT

t s o r

land n, Eng sign ghto e 64 Bri ege of d 19 rn ll 1989 Bo co (27) in ” ssex st su ssociate t* Design e we a s ro m eople 4 “F gra enta in 199 cy of 40 p ople y c n e n a nsult consulta fluential p a ost in . ning ey's m olours n c d y ld S bo tles . Solid ercase ti es ts n fo Bold ation. Low fed all lin s liz justi orm apita Titles graphy n pop k of c o r g typ ent colou e in k a efac Bre Acc e typ rg a L . y Heav

Frank Lloyd Wright was an American architect and interior designer. He designed more than 1,000 structures, of which 532 were completed over the span of 70 years. His architectural works were original and innovative which included but not limited to houses, offices, churches, schools, skyscrapers, hotels, museums. He also designed interior elements for these buildings, as well, including furniture and stained glass.

Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time”.

Fallingwater was one of his most iconic work. He believed in designing structures that were in harmony with humanity and its environment, which he called Organic architecture, the fallingwater was an example of this practice.

In 2019, a selection of his work, including the Fallingwater became a listed World Heritage Site selected by UNESCO

1876:

1883:

The Telephone

The Skyscraper

he inventor is credited to many people such as Antonio Meucci.

Johann Philipp Reis, Elisha Gray and Tivadar Puskas. t the invention was patented by Alexander Graham Bell in 1876.

On 10th of August 1876 the world’s first long distance call using telegraph lines was performed by Bell, making a distance of 13 kilometers from Brantford to Paris.

Crucial to the modern movement, the first definitive skyscraper was built in 1883-1885, by William le Baron Jenney.

The Electric Light Bulb Invented by Thomas Edison

1879:

Andrew Eow

The Zeppelins

The first airship was designed by Ferdinand, Graf von Zeppelin, a retired German military officer. The First flight was not until 1900.

It was patented in 1895 in Germany, however has been in concept since 1874 by Zeppelin.

It was originally used as an airline service, but after the outbreak of WWI, was used as a bombing air raid ship.

1895:

(Nicholas) Jinq Jiunn Lim

Vivek Barapatre

34

REFLECTION Having thoroughly researched into the life and works of Josef Hoffmann, not only have I been able to learn about an important figure in the context of design during the early 20th century, but I have also learned a lot about myself as a designer. I see myself In much of Hoffmann’s work and design style, having noticed that much of my work also adheres to the ideology of simple minimalist forms. As a designer, developing your own design style and philosophy is an important part of forming your ‘design identity’, and gives you an opportunity to show the world your talent, one that the public will instantly recognise as your work.

Throughout the duration of this course, I have been able to significantly improve my work and ability as both as a researcher and a designer. This includes my skills in research, writing, drawing, CAD and graphic design. At the start of the course we were asked to put together a poster by working in teams. The poster had to be designed gaining inspiration from an assigned graphic designer and information based on a specific era. Not only has this helped me appreciate the benefits of working in a team, but helped me significantly in improving my graphic design skills, which is an important aspect of assignment 3. Similarly, in assignment 2 which enabled us to further explore a designer that had peaked our interest in assignment 1; this provided the foundation of the research that accounts for section 1 of assignment 3, and ultimately our inspiration in creating our own interpretation of our designers work. Overall, this has been a very enjoyable course, and am proud of the outcomes and knowledge I have gained which have undoubtedly elevated my ability as a designer.

How does your work contribute to the design field you study?

In today’s society it is important to recognise that change and evolution primarily comes through radical and stark alterations to our current ‘norms’ and traditions.

Hoffmann, who challenged the design conventions in the late 19th and early 20th century, first needed to be unconventional in his design style and practices, which eventually to paved the way and significantly influenced a change to the modernist design style that was present through many decades of the 1900’s. Understanding this means that sometimes we need to be ‘radical’, and challenge the current boundaries and ‘norms’ in order to improve and evolve design.

36

REFERENCES Belov, A. (2015, August 6). The History of Modern Furniture Design. Retrieved May 10, 2020, from https://viesso.com/blogs/a-la-mod/the-history-of-modern-furniture-design Josef Hoffmann Facts. (n.d.). Retrieved May 5, 2015, from https://biography.yourdictionary. com/josef-hoffmann Muscato, C. (n.d.). 19th Century American Furniture: History, Designers & Styles. Retrieved May 13, 2020, from https://study.com/academy/lesson/19th-century-american-furniture-history-designers-styles.html Button, C. (2011, July 15). Contemporary Furniture Design - History And Influences. Retrieved May 15, 2020, from https://ezinearticles.com/?Contemporary-Furniture-Design---History-And-Influences&id=6402202 Ferro, S. (2015, March 30). Loos Vs. Hoffmann And The Battle For The Soul Of Modernism. Retrieved May 3, 2020, from https://www.fastcompany.com/3044162/loos-vs-hoffmann-andthe-battle-for-the-soul-of-modernism National Gallery of Victoria. (2011). NGV Vienna Art and Design - Klimt Schiele Hoffmann Loos. Retrieved May 12, 2020, from https://www.ngv.vic.gov.au/vienna/architecture/josef-hoffmann.html Josef Hoffmann Sitzmaschine Chair with Adjustable Back (model 670). c. 1905: MoMA. (n.d.).

Retrieved May 1, 2020, from https://www.moma.org/collection/works/3431 Josef Hoffmann. (2020, May 6). Retrieved April 30, 2020, from https://en.wikipedia.org/wiki/ Josef_Hoffmann Buy Furniture by Josef Hoffmann at Pamono. (n.d.). Retrieved May 5, 2020, from https://www. pamono.com.au/designers/josef-hoffmann/furniture Italy classics, Kubus Chair (n.d.). Kubus Armchair. Retrieved May 17, 2020, from https://www. italyclassics.com/en/kubus-armchair Brandstaetter, C. (2003). Wiener Werkstaette, design in Vienna 1903-- ‐1932: Architecture, furniture, commercial art, postcards, bookbinding, posters, glass, c eramics, metal, fashion, textiles, accessories, jewelry. New York: Harry N. Abrams.

Wiener Werkstätte. (n.d.). Retrieved May 20, 2020, from https://www.wien.info/en/sightseeing/architecture-design/best-of-vienna-wiener-werkstaette MUGRABI, C. (2019, October 15). Wiener Werkstätte. Retrieved May 25COLBY MUGRABI, 2020, from https://www.minniemuse.com/articles/musings/wiener-werkstaette

38