Architectural movements, utopian moments: (in)coherent renderings of the hundertwasser‐haus, vienna

Peter Kraftl
2010 Geografiska Annaler. Series B. Human Geography  
This paper explores some of the manifold entanglements of architecture and utopia. It takes as a case study a social housing block in Vienna: the Hundertwasser-Haus. The house was designed by the artist-architect Friedensreich Hundertwasser and has attracted enormous attention from the architectural press and tourists. I articulate a series of architectural 'movements', manifest in Hundertwasser's design philosophy, press reportage about the house, residents' experiences of living at the house,
more » ... and visitors' activities outside it. I argue that from these movements, a series of essentially unconnected utopian "moments" emerged. The paper makes two contributions. First, it builds upon gathering interest in the geographies of utopiaspecifically by moving beyond an emphasis upon utopian hope. It locates utopian impulses that are imbued with euphoria and joy, and which are not beset by a sense of lack. It also provides empirical examples of "unsettling" utopias of different registers (such as textual and experiential). Second, the paper contributes to recent geographical approaches to studying architecture. It uses the analytical motif of movements to gain a sense of how a material building -and the idea of that building -is constituted as much by tenuous relations and disjunctures (even non-relations) as by relations. Whereas contemporary geographies of architecture do not leave room for tenuous relations and disjunctures in their narratives, this paper tries to do so. It highlights how utopian moments at the Hundertwasser-Haus are proximate to each other: they are located metaphorically and/or literally at the house. Yet those moments neither conform to a coherent, singular narrative, and in some cases, nor do they relate to each other. The paper opens debate about the significance of non-relational socio-technical constituents to the geographies of architecture. The concept of disjunction is incompatible with a static, autonomous, structural view of architecture. But it is not anti-autonomy or anti-structure; it simply implies constant, mechanical operations that systematically produce dissociation in space and time, where an architectural element only functions by colliding with a programmatic element, with the movement of bodies, or whatever. In this manner, disjunction becomes a systematic and theoretical tool for the making of architecture (Tschumi 1996, pp. 212-213)
doi:10.1111/j.1468-0467.2010.00356.x fatcat:oszd4vh3rjcwnhx3uj36pkapby