Josef Hoffmann

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(b Pirnitz, Moravia [now Brtnice, Czech Republic], 15 Dec 1870; d Vienna, 15 May 1956). Austrian architect, designer and draughtsman. He had a natural gift for creating beautiful forms, and he proceeded to make the most of it during a career that spanned more than 50 years. In this half century the conditions and nature of architectural practice changed profoundly, but Hoffmann's fundamental approach remained the same. He relied on his intuition to produce works that were unmistakably his own in their formal and compositional treatment, yet mirrored all stylistic changes in the European architectural scene.

See the Abbreviations for further details.

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Josef Hoffmann (1870-1956), Austrian architect and decorator, was a pioneer of European modernism and founder of the Wiener Werkstätte (Viennese Workshop).

Josef Franz Maria Hoffmann was born in Pirnitz (Brtnice), then in the Austro-Hungarian Empire, on December 15, 1870. He studied architecture at the trade school in Brünn. Following his graduation in 1891 he went to Würzburg for a year of practical experience and then entered the special architectural school of the Academy of Fine Arts in Vienna, where he studied until 1895, first under Carl von Hasenauer and then under Otto Wagner. Upon graduation he won the Rome Prize. Otto Wagner then employed him as a draftsman in his office for several years.

During his studies and early professional years Hoffmann assimilated the historicist architectural traditions of Vienna, as exemplified in the work of Hasenauer and Wagner (among others); Wagner's functionalistic theories; the stylistic experimentations of the European Art Nouveau; and the teachings of the English arts and crafts movement. Hoffmann's earliest independent works, such as the rooms of the second, third, and fourth exhibitions at the Vienna Secession that he designed in 1899 and the remodelling of the store Am Hof 3 in Vienna the same year, showed clearly the influence of Art Nouveau and of the English arts and crafts.

In 1899 Hoffmann became professor at the Kunstgewer-beschule (School of Applied Arts) in Vienna. His works of the following year, such as the rooms of the Kunstgewer-beschule at the Paris Exhibition, already showed a drastic change in his style from the flowing curvatures of the earlier works to a rectilinear simplicity of form and the tendency of superimposing rectangular elements and motifs; both of these would become Hoffmann's stylistic hallmarks. For this change Hoffmann was particularly indebted to the work of Charles Rennie Mackintosh, the Scottish master of Art Nouveau, who was highly regarded in Vienna.

Hoffmann's first important architectural commission was for a group of villas in the Hohe Warte near Vienna. These were designed in careful relation to each other so as to form a total composition. Moreover, their interior arrangement was expressed on the exterior and great emphasis was placed on color and texture. Yet one notices in them an increased simplicity of form; this became even more prominent in the works that Hoffmann exhibited at the 1902 Kunstausstellung in Düsseldorf.

Together with Kolo Moser, Hoffmann founded in 1903 the Wiener Werkstätte for the production of furniture and objects of the applied arts. In the same year he received the commission for the Purkersdorf Sanatorium, which was built in 1903 and 1904. This was a work of astonishing modernity and could be easily antedated by 25 years. It had plain white walls and ample, regularly placed windows almost devoid of surrounding frames. There were no cornices, and the roofs were completely flat. Hoffmann's opus magnum, the Palais Stoclet in Brussels, was designed in 1905 and built between 1905 and 1911. It was a large and luxurious mansion, asymmetrically composed and dominated by the stair-tower. The external walls were covered by a thin veneer of marble plaques contained within a decorative edging of gilded metal that defined the wall planes. Both the exterior and the lavishly appointed interior were characterized by a charm and playfulness that were Austrian in character; clearly Hoffmann's, however, was the pervasive effect of a relentless geometry of form inside and out. Both the Purkersdorf Sanatorium and the Palais Stoclet were entirely furnished by the Wiener Werkstätte.

Hoffmann did not develop his style further after the Palais Stoclet. Instead, he resorted to the Neoclassicism that became predominant all over Europe and in England after 1905. A notable work of the time was the Ast House in the Hohe Warte near Vienna, built in 1909-1911. This was also quite large and luxurious, although more massive and tectonic than the Palais Stoclet. The classicizing tendency in Hoffmann's work became more explicit in two later works, the Skyra-Primavesi House in the Hietzing suburb of Vienna and the Austrian Pavilion at the Cologne exhibition of the Deutscher Werkbund of 1914. In both Hoffmann articulated the exterior with broad, fluted pilasters; yet these elements of classical inspiration were used in a mannerist way that had little to do with their original structural and formal properties. For example, in the Austrian Pavilion the massive pilasters appeared to be supporting a cornice that was nothing more than a thin molding. Hoffmann's last great villa, the Knips House in Vienna of 1924-1925, was a compact block that emulated deliberately the Biedermeier architecture of its surroundings. Hoffmann became city architect of Vienna in 1920. The low-cost housing blocks that he designed in the mid-1920s in Vienna, such as the Klosehof and the Winarskyhof, retained in their simplicity and cleanliness of composition a good deal of the purist quality of his sanatorium at Purkersdorf. Hoffmann died in Vienna on May 7, 1956.

The Wiener Werkstätte that Hoffmann founded sought a new relation between formal beauty and functionalism and brought about a revival of the applied arts. The furniture and other objects that he designed for production at the Wiener Werkstätte exercised a great influence on the European taste for several decades. In their simplicity and formal expediency these prepared the way for the plainer surface articulation and purity of modernism.

Further Reading

The life and work of Josef Hoffmann are treated exhaustively in two recent monographs: Guiliano Gresleri, Josef Hoffmann (1985) and Eduard F. Sekler, Josef Hoffmann. Das architektonischeWerk: Monographie und Werkverzeichnis (Architectural Work: Treatises and Drawings) (1982). For a brief discussion of Hoffmann's contribution in the development of modern architecture and design see Henry-Russell Hitchcock, Architecture: Nineteenth and Twentieth Centuries (4th ed., 1977); Leonardo Benevolo, History of Modern Architecture, 2 vols. (1977); and Nikolaus Pevsner, Pioneers of Modern Design: from William Morris to Walter Gropius (2d ed., 1975).

Additional Sources

Hoffmann, Josef Franz Maria, Josef Hoffman, Wien: Edition Tusch, 1992.

Langseth-Christensen, Lillian, A design for living, New York, N.Y., U.S.A.: Viking, 1987.

Sekler, Eduard F. (Eduard Franz), Josef Hoffmann: the architectural work: monograph and catalogue of works, Princeton, N.J.: Princeton University Press, 1985.

(1870-1935)

A leading member and founder of the Wiener Secession (1897) and Wiener Werkstätte (1903), architect and designer Hoffmann was one of the most influential figures in the field in the early 20th century. After commencing his studies at the Royal State Technical School in Brno in 1887 he went on to study architecture at the Academy of Fine Arts in Vienna from 1892 to 1895, where his tutors included Otto Wagner. He designed the Ver sacrum room at the first Wiener Secession exhibition in 1898. Hoffmann fell under the influence of British designers Charles Rennie Mackintosh and Charles Robert Ashbee, whose Guild of Handicraft proved an important stimulus for the establishment of the Wiener Werkstätte (Viennese Workshops) with designer Koloman Moser and industrialist Fritz Warndorfer in 1903. Between then and 1931 the Werkstätte produced furniture, metalware, and jewellery designs by Hoffmann, often characterized by qualities of geometry and rectilinearity. Hoffmann had begun teaching architecture at the Vienna School of Applied Arts in 1899, a post that he maintained until 1941. One of his most important commissions was the Palais Stoclet in Brussels (1905-11), for which he designed the whole ensemble from building through to interiors and furniture and worked alongside the distinguished Viennese artist Gustav Klimt and artist-designer Carl Otto Czeschka. He also designed furniture for the Thonet company including his Sitzmaschine (‘Sitting Machine’) of 1908. Following on from the ideas of the Deutscher Werkbund established in 1907, Hoffmann founded the Austrian Werkbund in 1912 and headed it until 1920. He also designed the Austrian Pavilions at the 1914 Werkbund exhibition in Cologne, the 1925 Paris Exposition des Arts Décoratifs et Industriels, the 1930 Stockholm Exhibition, and the Venice Biennale of 1934.

(1870–1956)

Austro-Hungarian designer and architect. Born in Moravia, he studied with Hasenauer and Wagner in Vienna. He became involved in the Vienna Sezession (he greatly admired, and was friendly with, C. R. Mackintosh) and, with Koloman Moser (1868–1918) and Fritz Wärndorfer (1868–1923), founded the Wiener Werkstätte in 1903. He absorbed the Beaux-Arts method of composition, the Classically inspired style of Wagner, the freer style of the British Arts-and-Crafts movement, and early in the C20 began to simplify and purify his architecture, moving away from the Art Nouveau of the early Sezession. His white cubic building at the Purkersdorf Sanatorium (1903–5) led to a blocky style, the most developed example of which was the Adolphe Stoclet House, Brussels (1904–11): for this Hoffmann and other artists of the Werkstätte designed virtually everything. The Stoclet House was sumptuously finished in panels of marble framed with bronze, while some of the interiors (notably the dining-room) were also finished in marble, with glittering mosaics designed by Gustav Klimt (1862–1918). His Ast (1909–11) and Skywa-Primavesi (1913–15) Houses, both in Vienna, showed a profound shift towards Neo-Classicism that was a general tendency of the time. Later works were never again of such distinction: they included the Austrian Pavilion, Exposition Internationale des Arts-Décoratifs, Paris (1924–5), an asymmetrical composition with strong horizontal bandings on the walls; the Ast House, near Velden, Austria (1923), and the Austrian Pavilion, Venice Biennale (1934–5). In 1953–4 he designed housing on the Heiligenstädterstrasse, Vienna.

Bibliography

• Kleiner (1927)
• Noever & Oberhuber (1987)
• Placzek (ed.) (1982)
• Rochowanski (1950)
• Sekler (1985)
• Jane Turner (1996)
• Veronesi (1956)
• Weiser (1930)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

Hoffmann, Josef, 1870-1956, Austrian architect. A student of Otto Wagner, he was a leader of Austrian decoration in the first three decades of the 20th cent. His sophisticated compositions, based on rectangles and squares, with delicate ornamental trimming, can best be seen in the architecture and decor of his masterpiece, the Palais Stoclet in Brussels (1905-11).

Bibliography

See study by E. Sekler (tr. 1985).

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