In what is also known as 'the Inflatable Era', inflatable architecture was manufactured as a prerequisite for a new, nomadic way of life. Space travel served as the inspiration for these capsules. However, are these high-tech hide-outs post-human or not?
This text by Bart Lootsma was originally published in the accompanying catalog of the exhibition. You can find the full catalog here. The need for radical change manifested itself in post-war Austrian architecture in a series of megalomaniac urban designs. These projects are connected by an obsession with technology and infrastructure and the urge to create completely new ways of living together. The stage was set by Hans Hollein and Walter Pichler with the exhibition Architektur which they arranged in 1963 in the Galerie nächst St. Stephan in Vienna.
The practical purpose of these projects is initially unclear. In the manifesto accompanying Absolute Architektur, Hollein stresses that architecture can imbue everyday actions with a spiritual value, turning them into rituals. He labels this cultic architecture. Hollein’s aim is not a classic beauty, but a sensual and violent one.
Pichler views architecture as an expression of power in which people are forced to live conforming to his social vision. Early designs by Raimund Abraham and Laurids Ortner depict the city as an enormous machine inhabited by people dressed in space suits. Günther Feuerstein presents his designs for city centers as timeless archetypes.
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“A little world in which the big one holds its tryouts”, is how guest curator and professor Bart Lootsma describes the development of Austrian avant-garde movements in the 20th century. In this lecture series, Lootsma places the so-called ‘Radical Austria’ of the 1960s in the context of...
Visiting the exhibition, you will receive the accompanying catalog. It documents both the technical information of all exhibited works, as well as substantive texts to contextualize important makers and themes. You can find the...
The oil crisis and environmental issues have led to an international reconsideration of the technological fascinations of the avant-gardes of the 1960s. Haus-Rucker-Co, in particular, reflects in very large installations on the consequences of environmental pollution.
A series of experiments by Coop Himmelb(l)au investigates how human test subjects respond to intensive media experiences and how these reactions can be fed back to those media.
Haus-Rucker-Co works on the Mind Expanding Program from 1967 to 1971. The program aims to expand human consciousness and man-made environments on different levels.
Walter Pichler’s prototypes of furniture and appliances are perfectly executed and functional. By emphasizing certain effects of the use of everyday objects, these prototypes show their cold and disorientating impact.
In the 1960s and 1970s, new media such as radio, telephone and TV changed the relationship between people and the environment. The impact on the human experience of the environment makes perception an important theme for many artists and designers during this period.
That cybernetics would radically influence the functioning of design, architecture and urban planning was understood in Austria at an early stage. Its consequences are speculated on in numerous projects.
In the 1960s, the body became the starting point for a radical rethinking of architecture, design, fashion and art. The boundaries between those disciplines increasingly disappeared.
Schöner Wohnen, or ‘the destruction of the habitable coffin’ is a film made by the architecture collective Salz der Erde in 1971, in which the ideal of the tasteful-bourgeois housing magazine of the same name is mercilessly undermined.
With his manifesto Alles ist Architektur Hans Hollein does away with the traditional definition of architecture: "Our efforts are focused on the environment as a whole and on all media that determine it. Both television, the artificial climate, transport, clothing, the...
The performances of the Actionists increasingly sparked scandals attracting attention of both police and media. This culminated in 1968 in the happening Kunst und Revolution, arranged by the artist Peter Weibel as part of student protests and taking place in...
The designers and artists in the Austrian avant-garde were obsessed with theories of social change. Despite their manifestos often being very radical, they realised an impressive number of their projects.
Actionism is the unique Austrian brand of performance art. By means of choreographies with naked bodies, paint and blood, combined with loud music, they intoxicate the participants and the audience.
Posthuman; once your eyes are opened to it you see it everywhere. But what is it? In this recurring series, curator Fredric Baas explains. In the first column, Baas focuses on the changing human body, something Austrian designers were already investigating in the 1960s.