The Palais Stoclet in Brussels is a total work of art by the Wiener Werkstätte. Photo: PtrQs, CC BY-SA 4.0, via: Wikimedia Commons

The Palais Stoclet in Brussels is a total work of art by the Wiener Werkstätte.
Photo: PtrQs, CC BY-SA 4.0, via: Wikimedia Commons

When the Wiener Werkstätte was founded in 1903, the artists involved were driven by the idea of revolutionizing the arts and crafts and embellishing all areas of life with art and artistic design. However, the desire for a total work of art soon came to an end. The Wiener Werkstätte was forced to declare bankruptcy in 1932.

The Wiener Werkstätte united central artistic personalities of Viennese Modernism such as Josef Hoffmann, Koloman Moser, Dagobert Peche and Carl Otto Czeschka. Their common concern was a conscious counter-position to industrialization and the aesthetic standardization of mass production. The aim was to interweave art and everyday life and to counteract the uniformity of machines through perfect craftsmanship, innovative design and the close connection between craftsmanship and design.
The Wiener Werkstätte was founded in Vienna at the turn of the century, a city characterized by profound cultural and social upheaval. As the cultural center of Europe, the city was also characterized by social and ideological contrasts: Conservatism was just as opposed to the emerging modern age as the aristocracy and bourgeoisie were to the lower social classes. This field of tension favored the development of new artistic positions, which manifested themselves not only in the visual arts, but also in literature, music, architecture and scientific disciplines.
The founding of the Vienna Secession in 1897 provided a decisive impetus, with young artists turning against historicism and academic traditions. The representatives of Viennese Modernism saw art as a comprehensive reform project of everyday life and called for the equalization of fine and applied arts. In this context, Josef Hoffmann and Koloman Moser, together with the industrialist Fritz Waerndorfer, founded the Wiener Werkstätte in 1903, whose aim was to create “good simple (sic) household utensils”. In their work program, they emphasized the primary importance of usability, high-quality material treatment and the rejection of historicist style copies. The British Arts and Crafts Movement, in particular John Ruskin’s return to artisanal production methods, served as an important model.
In addition to its design principles, the Wiener Werkstätte also formulated comparatively progressive labor standards. The work regulations provided for regulated working hours, vacation entitlement and the protection of women, women who had recently given birth and minors. Apprentices and young unskilled workers were also allowed to participate in further education and vocational training. The Wiener Werkstätte thus combined aesthetic reform demands with social responsibility within the production conditions.

The Wiener Werkstätte offered a wide range of products that were characterized by precision craftsmanship, aesthetic sophistication and the fusion of function and art. The palette ranged from furniture, textiles, jewelry and clothing to graphic works, ceramics, porcelain, glass, cutlery, wallpaper, postcards and accessories such as boxes, mirrors and notebooks. The objects were mainly produced as one-offs or in small series and could, if desired, shape the entire living environment of their customers.
Furniture played a central role: it was characterized by clear lines, geometric shapes, high-quality materials and functionality, with each designer contributing their own design language. As an architect, Josef Hoffmann preferred geometric patterns, while Koloman Moser, also a painter and graphic artist, often integrated graphic elements.
Jewelry and fashion were also part of the Wiener Werkstätte’s repertoire from the very beginning and also had a representative function. In their work program, Hoffmann and Moser emphasized the importance of materiality, with a preference for semi-precious stones. Pieces of jewelry were mostly produced as one-offs or in small series and reflected the individual handwriting of their designers. Of particular note are the designs by Eduard Josef Wimmer-Wisgrill, whose stylized plant patterns and use of gold, platinum, diamonds, pearls and other precious stones deviated from the usual Wiener Werkstätte guidelines, but were very well received by customers. Dagobert Peche, who had been working for the company since 1914, also made a significant contribution to the design of the jewelry and fashion collections.

During its existence, the Wiener Werkstätte was constantly confronted with financial difficulties. Fritz Waerndorfer, co-founder and for a long time the company’s most important patron, invested his private fortune, which led to his personal ruin in 1913. Under pressure from his family, he emigrated to the USA with his wife and son in 1914. The company was stabilized in the short term thanks to the support of influential patrons such as Otto Primavesi and Moritz Gallia. However, the outbreak of the First World War brought new challenges: many male employees were drafted and the procurement of materials became increasingly difficult. Nevertheless, numerous designs by female artists such as Vally Wieselthier, Maria Likarz-Strauss, Ena Rottenberg and Anny Schröder-Ehrenfest were created during this time.
Despite these difficulties, the Wiener Werkstätte expanded at times and opened branches in Zurich, Karlsbad, Marienbad and a sales office in New York. Important commissions, including the design of the Palais Stoclet in Brussels by Josef Hoffmann and Gustav Klimt and the furnishing of the Purkersdorf Sanatorium for Victor Zuckerkandl, underlined the Werkstätte’s claim to merge art and everyday life.
However, these projects could not solve the economic problems in the long term. International expansion failed, and the global economic crisis of the 1920s led to the loss of numerous customers. The company was finally dissolved in 1932. However, the legacy of the Wiener Werkstätte lies in its lasting influence on design, which significantly influenced Art Deco and the Bauhaus, among others.

Read more: Brussels is also home to the Villa Empain, which was saved from decay with the help of the Fondation Boghossian.

POTREBBE INTERESSARTI ANCHE

Living in and with monuments

Building design
The agenda of the online conference "Living in and with monuments" includes a guided virtual tour of the exemplarily renovated Old School Klosterbruck monument in the grounds of the large Louka Monastery in Znojmo. Photo: Staircase of Louka Monastery / Znojmo / Wikimedia Commons /HamzovaT

The agenda of the online conference "Living in and with monuments" includes a guided virtual tour of the exemplarily renovated Old School Klosterbruck monument in the grounds of the large Louka Monastery in Znojmo. Photo: Staircase of Louka Monastery / Znojmo / Wikimedia Commons /HamzovaT

As part of the research project “Center for the Renewal of Shared Cultural Heritage” at Danube University – University for Continuing Education Krems, the cross-border heritage conference “Living in and with Monuments” will take place today and tomorrow, November 18 and 19, 2021 Experts from four countries will provide insights into new trends and findings in renovation, restoration and further construction in a historical setting. At […]

As part of the research project “Center for Renewal of the Common Cultural Heritage” of the Danube University – University for Continuing Education Krems, the cross-border monument protection conference “Living in and with monuments” will take place today and tomorrow, November 18 and 19, 2021

Experts from four countries will provide insights into new trends and findings in refurbishment, restoration and further construction in a historic setting. The program of the online conference “Living in and with monuments” on 18 and 19 November 2021 also includes a guided virtual tour of the exemplarily renovated monuments Kulturhaus Schüttkasten in Retz and Alte Schule Klosterbruck in the area of the large Louka Monastery in Znojmo.

The conference, organized by Danube University – University for Continuing Education Krems and the city of Retz together with Czech partners, is aimed at all interested parties, especially owners and operators of historic buildings as well as administrative experts, museum planners, tourism professionals and experts from the construction and ancillary building trades. The event will take place online and will be simultaneously translated into German and Czech. Participation is free of charge and registration is not required.

About the project “Center for Renewal of Common Cultural Heritage”

The EU Interreg research project “Center for the Renewal of the Common Cultural Heritage” aims to establish a center for the renewal of the common Austrian-Czech cultural heritage close to the border. The focus is on cross-border cooperation for the sustainable renovation of historic buildings and sites, raising public awareness of the issue and promoting the common cultural heritage. The renovation of two architectural monuments – the Old School in the Louka Monastery in Znojmo on the Czech side and the Schüttkasten in Retz on the Austrian side – as part of the project is intended to serve as a model for the successive revitalization of the entire region.

Online conference “Living in and with monuments”

Date: November 18 and 19, 2021
Location:
online via ZOOM
Registration: https://de.col-conference.eu
Queries: Dipl.-Ing. Dr. Bernhard Schneider, Center for Architectural Heritage, University for Continuing Education Krems, Tel.: +43 (0)676 7614000, bernhard.schneider@donau-uni.ac.at , www.donau-uni.ac.at/dbu

Reading tip: Natural disasters, war or climate change – our cultural heritage is exposed to many threats. Several initiatives are currently addressing this issue. Dr. Ute Strimmer spoke to Professor Christian Hanus, Dean of the Faculty of Education, Art and Architecture at Danube University – University for Continuing Education Krems. His Department of Building and Environment is one of the first to dedicate itself to new solutions in this area at university level. Read more here.

The Faculty of Education, Art and Architecture at Danube University Krems is supporting the region around Accumoli, which was hit hard by earthquakes, with teaching and research projects at the “School of Reconstruction”. In addition to the structural reconstruction, the aim of the efforts is also the cultural, social and economic revitalization of the central Italian municipality. With this in mind, the international orchestra academy “Accademia Vicino” was launched in Accumoli in summer 2021, including a series of concerts with conductor Johannes Wildner. You can watch a video about this special initiative here:

What is a ‘pocketed room’?

Building design
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Interior with numerous plants and wooden benches, photographed by Teng Yuhong.

Interspersed spaces – sounds like architectural jargon for insiders, but it is a key concept that shatters old dogmas and opens up new perspectives on the relationship between space, function and the city. Anyone who believes that a pervious space is just a pretty marketing term for the next luxury loft has not yet understood the scope of this architectural strategy. This is where we will decide how we live, work and live in the future – and how digital change, sustainability and new design logic will literally permeate our spaces.

  • The perforated space as a planning principle connects inside and outside, private and public, light and air – and thus transforms floor plan logic and usage concepts.
  • In Germany, Austria and Switzerland, the term has become established in residential construction and office practice, but is taking on completely new meanings due to digitalization and sustainability pressures.
  • Digital planning methods, BIM and AI enable the precise simulation and optimization of interspersed room sequences – and set new standards for comfort and energy efficiency.
  • Sustainability is not a side effect, but the core of the concept: the focus is on daylight, cross-ventilation and flexible use.
  • Technical expertise in building physics, building services and digital modeling is essential in order to exploit the full potential.
  • The open-plan space polarizes: between maximum openness and the risk of loss of function and normative over-regulation.
  • International architectural trends show: The pervious space is increasingly becoming a medium for social interaction, climate adaptation and digital transformation.
  • In the global discourse, topics such as modular construction methods, adaptive use and algorithmic floor plan development are merging with the principle of through-penetration.
  • The debate revolves around the question: is the pervious space the (last) bulwark against space scarcity and housing shortages – or another fig leaf for profit-driven standard floor plans?

Pervious spaces: definition, origin and status quo

At first glance, the term “open-plan space” seems like a relic from the vocabulary of post-war modernism. However, it actually refers to a spatial principle that is more relevant today than ever before. Technically speaking, a perforated room is a room that extends from one façade to the opposite façade of a building. It is therefore not a sealed-off box in the floor plan, but a spatial penetration that links inside and outside, light and ventilation, visual relationships and usage options. The classic examples can be found in residential construction: the living room that extends from the street to the courtyard, the office space that opens up both facades of a building, or the loft, which offers open perspectives rather than retreats.

In German-speaking countries in particular, the open-plan space has established itself as a quality feature. In the technical regulations of housing associations, in the architectural competitions of recent years – the demand for open-plan spaces appears everywhere. In Switzerland and Austria, the principle is becoming a planning standard, for example in cooperative projects or innovative office concepts. However, this development is by no means linear. While some see recessed spaces as the answer to a lack of light, poor ventilation and dreary shaft floor plans, others warn against the concept being elevated to a banal cliché. The reality on German construction sites: Many things remain piecemeal because building regulations, noise protection and economic considerations often throw a spanner in the works.

Current building practice in Germany, Austria and Switzerland is therefore characterized by ambivalence. On the one hand, open-plan spaces are sold as a premium feature, as a guarantee of “living quality” and urban flair. On the other hand, they lead a niche existence in many projects because redensification, standardized floor plans and space pressure leave planners little room for maneuver. Particularly in subsidized housing construction, the pervious space often remains an unfulfilled promise. Nevertheless, demand is growing, and with it the pressure on the planning discipline to find new ways to implement the principle economically and technically.

What makes the open-plan space so controversial today is its link to the major issues of our time: sustainability, digitalization, healthy living and social diversity. While climate change is placing new demands on ventilation, shading and thermal comfort, the digital transformation is calling for flexible, adaptive floor plans. The open-plan space is thus becoming a testing ground for new building and usage concepts – and a touchstone for the innovative strength of the industry.

The debate about the open-plan space is therefore more than just an academic discourse. It reflects the debate about the future of the city: How much openness does coexistence need? How much flexibility can its use tolerate? And how can it all be modeled in a digital, sustainable and socially just way? One thing is clear: anyone who dismisses the pervious space as a mere fad is underestimating its explosive power in the architectural discourse.

Innovation, digitalization and AI: the pervious space as a data model

The digitalization of construction and planning processes has liberated the interspersed space from the analogue floor plan drawing. Building Information Modeling (BIM), parametric design tools and AI-supported simulation methods now make it possible to precisely plan and optimize open-plan room structures. What used to be a question of gut feeling or experience – such as how much light and air actually flows through a room – can now be precisely calculated and visualized using digital twins, flow simulations and daylight analyses.

In Germany, Austria and Switzerland in particular, it is the large architecture firms and engineering companies that are using digital tools to explore the potential of open-plan spaces in new ways. AI-supported floor plan generators, such as those used in international competition, analyze millions of variants in order to find the optimal compromise between space efficiency, lighting and flexibility of use. The principle of intersection can thus be applied not only to residential spaces, but also to office and educational buildings, mixed-use projects and even adaptive urban structures.

However, digitalization not only means better simulation, but also new forms of collaboration. Using cloud-based planning platforms, architects, clients, users and even authorities can work on spatial concepts in real time. This opens up new scope – and new areas of conflict. Because the more people involved, the greater the number of conflicting goals. Although technology provides the tools, decision-making remains a social and political process.

In the global architecture debate, the mapped-out space has long been understood as a digital data model. In China and the Netherlands, digital prototypes with sensor-based feedback loops are already standard. They make visible how daylight, temperature and air quality change in real time – and how usage requirements can be adaptively controlled. Germany, Austria and Switzerland are still lagging behind here, but are slowly catching up. The biggest obstacles to innovation remain a lack of standardization, legal uncertainty and a certain amount of digitalization weariness among decision-makers.

What remains, however, is the realization that the pervious room is now more than an architectural ideal. It is a digital control object, a monitoring case and a platform for algorithmic optimization. Those who embrace it will gain – not only in terms of comfort and sustainability, but also in terms of planning sovereignty. Those who hesitate will be overtaken by smarter, more flexible and more efficient floor plans.

Sustainability challenges and technical excellence

The open-plan space is not an end in itself. Its architectural added value lies above all in its ability to make optimum use of natural resources. Daylight, cross-ventilation, reduction of technical ventilation and heating – these are all effects that make a real difference in the age of the climate crisis. But the reality on the construction site is sobering: all too often, open-plan rooms are neutered by fire protection regulations, sound insulation requirements or economic constraints. The result is half-built pseudo-solutions that offer neither comfort nor sustainability.

In Switzerland and Austria, the energy and ecological benefits of open-plan rooms have long been recognized. In many competitions and calls for tenders, through-penetration is required as standard in order to ensure passive cooling, natural ventilation and a higher quality of stay. In Germany, however, the principle often remains a luxury for the upper class. Particularly in densely built-up cities, the geometry of the plot often prevents implementation. The industry’s answer: modular building systems, adaptive floor plans and new building products that can also transfer the principle to small plots.

From a technical point of view, the open space is a challenge. Building physics, building services, acoustics and lighting design must be perfectly coordinated. Anyone who only works with standard solutions here will fail due to conflicting objectives. Specialist knowledge of natural ventilation concepts, shading strategies and adaptive façade technology is indispensable. Digitalization helps by enabling simulations and real-time monitoring – but it does not replace the planning intelligence that is needed to turn an open-plan space into a sustainable spatial miracle.

The great opportunity of the open-plan space lies in combining sustainability and user comfort. After all, a well-planned, open-plan space not only offers thermal benefits, but also social ones: it promotes lines of sight, encounters and interaction without sacrificing privacy and opportunities for retreat. This is where the wheat is separated from the chaff in the planning culture. Those who understand the technology and combine it with an architectural approach create spaces that are more than the sum of their functions.

In an international context, the pervious space is increasingly seen as a building block for the resilient city. In Singapore, Amsterdam and Copenhagen, open-plan layouts are part of climate adaptation strategies. Flexible use, temporary partition walls, digital control of light and air – these are the ingredients for sustainable, adaptive and climate-friendly architecture. Germany, Austria and Switzerland are only at the beginning here. But the pressure to innovate is growing, and with it the opportunities for a new generation of spatial concepts.

Debate, criticism and vision: what are the real benefits of the pervious space?

So much potential, so much debate. The open-plan space has long since become the favorite child of architectural critics. Some celebrate it as an architectural revolution that finally brings light, air and life into the stuffiness of standard floor plans. Others warn against a new dogma that elevates openness and permeability to an end in itself – forgetting that spaces also need boundaries, protection and differentiation. As always, the truth lies somewhere in between. Anyone who sells the permeable space as the universal answer to all living and working problems ignores the complexity of urban living environments.

There are three main points of criticism: Firstly, the risk of over-regulation. If every floor plan has to be forced through, a new uniformity quickly emerges – this time with strip lighting instead of light wells. Secondly, there is the issue of social justice. Open-plan rooms are often a luxury feature that only a few can afford. Anyone who declares them the standard runs the risk of exacerbating the social divide in the housing market. Thirdly, the issue of functionality. Not every use can tolerate openness. Families, individuals, communities – they all have different needs for privacy and openness.

Nevertheless, the visionaries of the guild see the open-plan space as much more than an architectural gimmick. For them, it is the prototype of a new, flexible, adaptive architecture that responds to climate change, digitalization and social change at the same time. International examples show that perforated spaces can function as urban interfaces – as media for interaction, as filters for light and air, as platforms for digital services. The question is not whether, but how the pervious space will become a building block of the city of tomorrow.

In the global architectural discourse, it is above all the pioneering projects from Asia, Scandinavia and the Netherlands that are setting new standards. There, digital planning, sustainable construction and social innovation are merging to create hybrid spatial concepts that go far beyond the traditional understanding of interspersion. In Germany, Austria and Switzerland, people are still arguing, experimenting and – too often – hesitating. But the signs are pointing to change. The next generation of architects and planners no longer wants things done by halves: they are demanding spaces that really push through – spatially, technically, socially and digitally.

The real value of the pervious space lies not in the floor plan, but in the process. It forces planners, investors and users to think outside the box. It demands technical excellence, social intelligence and digital competence. And it opens up the opportunity to rethink architecture: as an open, networked, sustainable and adaptive system. Those who understand this will be prepared for the challenges of the future. Those who don’t will remain stuck in the shaft.

Conclusion: Stuck in or out? The future of space is open

The pent-through room is far more than just a floor plan trend. It is a touchstone for the innovative power of architecture, a catalyst for digital transformation and a tool for sustainable urban development. In Germany, Austria and Switzerland, we are at the beginning of a development that combines technology, user needs and social goals in a new way. The challenges are great: technical complexity, social differentiation and digital control must be brought together. But the potential is enormous. Those who take the permeable space seriously will not only gain light and air, but also new scope for design, use and participation. The future of building is being staked out. And those who do not plug through now will remain stuck.