Architecture in Landscape
Architecture in Landscape

Hans Hollein
1963

Material
Mixed media

Collection
Dom Museum Wien

Inv.Nr.
OM/760

Mixed media
Collage
Modern and Contemporary art

On view

Query
Reproduction request
Loan request

Photo: Leni Deinhardstein, Lisa Rastl, Dom Museum Wien
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Architecture in landscape

The connection of wide landscapes with architecture was typical for Hans Hollein's work in the 1960s.

“Architecture in Landscape” is composed of three glued-on elements: a clouded sky, a construct, and a vacant grey flat scenery in which the latter has been set up. The foreground has been over-drawn in a way that keeps us in the dark whether we see a desert or something like an urban landscape of concrete. The four lines suggest a canal and, together with the shadows below the grey structure, lend the work its three-dimensional character. Mountain-like elevations can be made out on the seemingly straight horizon. Resting on supports, the structure addressed in the title, which is comprised of two symmetrical units, has neither entrance nor windows.

The sheet is part of Hans Hollein’s series “Tranformations” from the 1960s. The Viennese architect and designer integrated mostly mechanized objects into views of vast rural or urban surroundings. The collage technique allows to create a new whole by assembling different forms and materials. In his collaged pictures, Hollein converts objects like an aircraft carrier or a spark plug into monumental buildings—quite in line with his famous manifesto “Everything is Architecture.”

Hollein, who is known for the Haas House in Vienna and numerous museum buildings like the one in Mönchengladbach, revolutionized the history of architecture with his utopian designs. He was one of the representatives of the Viennese avant-garde who gathered around the priest and patron of the arts Otto Mauer. In 1963 Hollein and Walter Pichler organized the exhibition “Architecture” in Mauer’s “Gallery St. Stephan,” which caused quite a stir. The exhibition catalog comprised architectural manifestos by both artists. Four years after, Hollein gave the present sheet to the clergyman as a present, as the dedication on its verso shows: “For your sixtieth birthday . . . with a drawing from the exhibition at your gallery in 1963 where so many things began.” The presentation made possible by Otto Mauer had obviously been of crucial importance for the emerging young artist.