Architectural Form

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.