Otto Wagner, between 1894 and 1912, carries out a vertical reform of that principle of the reorganization of the visible which is one of the cornerstones of the Art Nouveau aesthetic revolution. Unlike other Modernist protagonists, the core of pupils of his school (including Hoffmann, Plečnik, Deininger, Schönthal, Hoppe, Fuchs), as well as his assistants (among whom JM Olbrich stands out) and the external supporters (applies to all the case of M. Fabiani), although not differentiated on the level of interdisciplinary orientation are distinguished, given the formation, for a peculiar academic footprint of their preparation modern such as to allow them to achieve heterogeneous results on the formal but consistent as regards the method (for the architectural arrangement) and the variables of an even wide range of figural codes; a profile recognizable over time and that has allowed Wagnerschule, despite its being a niche phe- nomenon, to mark a decisive turning point in the culture of the project of the Contemporary Age.
AbstrAct Otto Wagner, fra il 1894 e il 1912, mette in atto una riforma ‘verticistica’ di quel principio della riorganizzazione del visibile che è uno dei cardini della rivoluzione estetica dell’Art Nouveau. A differenza delle altre compagini di protagonisti del Modernismo il nucleo di allievi della sua scuola (tra cui Hoffmann, Plečnik, Deininger, schönthal, Hoppe, Fuchs), così come i suoi assistenti (fra cui primeggia J. M. Olbrich) e i fiancheggiatori esterni (valga per tutti il caso di M. Fabiani), pur non differenziandosi sul piano dell’orientamento interdisciplinare si distinguono, data la formazione, per una peculiare impronta accademica della loro preparazione ‘al moderno’ tale da consentire loro di conseguire risultati eterogenei sul piano formale ma coerenti in quanto a metodo (per l’ordinamento architettonico) e a variabili di una pur articolata gamma di codici figurali; un profilo riconoscibile nel tempo e che ha permesso alla Wagnerschule, nonostante il suo essere un fenomeno di nicchia, di segnare una svolta decisiva nella cultura del progetto d’Età contemporanea
SESSA, E. (2018). La Wagnerschule (Vienna 1894-1912): Wagner e la Moderne Architekture (The Wagnerschule (Vienna 1894-1912): Wagner and the Moderne Architekture). AGATHÓN, 3(3), 43-48.
La Wagnerschule (Vienna 1894-1912): Wagner e la Moderne Architekture (The Wagnerschule (Vienna 1894-1912): Wagner and the Moderne Architekture)
SESSA, Ettore
2018-01-01
Abstract
Otto Wagner, between 1894 and 1912, carries out a vertical reform of that principle of the reorganization of the visible which is one of the cornerstones of the Art Nouveau aesthetic revolution. Unlike other Modernist protagonists, the core of pupils of his school (including Hoffmann, Plečnik, Deininger, Schönthal, Hoppe, Fuchs), as well as his assistants (among whom JM Olbrich stands out) and the external supporters (applies to all the case of M. Fabiani), although not differentiated on the level of interdisciplinary orientation are distinguished, given the formation, for a peculiar academic footprint of their preparation modern such as to allow them to achieve heterogeneous results on the formal but consistent as regards the method (for the architectural arrangement) and the variables of an even wide range of figural codes; a profile recognizable over time and that has allowed Wagnerschule, despite its being a niche phe- nomenon, to mark a decisive turning point in the culture of the project of the Contemporary Age.File | Dimensione | Formato | |
---|---|---|---|
AGATHON 2018 N 3 SESSA.pdf
accesso aperto
Descrizione: Articolo principale
Dimensione
3.23 MB
Formato
Adobe PDF
|
3.23 MB | Adobe PDF | Visualizza/Apri |
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.