Hundertwasser
Haus
In
order to consider the form of Hundertwasser's epynomous house, his
philosophy must be considered first. Firstly, he believed that the
imposition of rigid lines onto mankinds everyday existence was an
affront to his soul. Secondly, he was an avid environmentalist, and
strove to integrate environmental philosophy into his building.
In
light of these two constraints, Hundertwasser Haus does not conform
to any apparent external plan. The texture is highly varied,
switching from bricks to stucco to tile without an inherent purpose.
The window's are the antithesis of rhythm, as they have five or six
varied forms scattered throughout. However, the image is not visually
discordant. The elements of the Haus are so varied that they become
like a puzzle, with repeated yet chaotic blocks of color, spaces of
terraces and discontinous, wavering lines. In this puzzle, the viewer
is drawn to look at each thing individually in order to ascertain a
whole. The system is of diversity, of small and personal spaces. The
inclusion of plants as a fundamental material differentiates the
Haus, as it creates an evolving and unique texture. These are the
formats Hundertwasser uses to display his environmental values.
Intellectually,
the complexity of the Hundertwasser Haus is derived from the Bauhaus
period of rigid order. The architect saw these immense, rigid icons
throughout Vienna as a strangulation of the human soul. The varied
forms are deeply ambiguous, although the modular or unit-based
structure is certainly apparent from the exterior. In the variety
there emerges an order, particularly once the plants began to
integrate disparate blocks of color. These growing vines and trees
came to grow in between the different levels and building materials,
implying order and unity.
Systematically,
this house is designed with three external reserved areas: the public
terraces, the private balconies and roof areas solely for plants.
These divisions serve to create numerous individual and intimate
spaces despite the large scale of the building itself. Internally,
there are public (and winding) hallways, a groundfloor café,
and stairwells. Some apartments have private stairs that lead to
their roof balconies. The result of this in terms of image is that
most apartments are distinct from the exterior. Complementing this
distinctness of units is Hundertwasser's concept of 'Window-Right',
an explicit license to the renter to alter the form of the external
appearance immediately surrounding his or her window. This speaks to
a thorough emphasis on the Haus as a dynamic, growing system. Just as
the plants grow up and down the walls, the gradual exercising of
'Window-Right' creates an interesting, evolving form.
One
cannot consider the form of the Hundertwasser Haus without seeing the
influence Gaudi's Casa Mila had upon it. While it could be said to be
derivative in some aspects, I see the Haus as a response. Whereas
Gaudi's building is an homage to his region, Hundertwasser does not
choose to evoke the Austrian Alps or the Danube plains of Vienna. He
focuses on Gaudi's public spaces as important, transforms the
undulating roof into a roof garden crisscrossed with paths. He takes
strong stone unity and sparse color and tears it, paints it, plants
it.
Ultimately,
Hundertwasser's form is extremely unique. This makes it somewhat a
breath of fresh air. The importance placed upon growth and evolution
is of particular interest. I believe fewer people would insist on
single family dwellings if such apartments were more commonplace.
