Relevant bibliographies by topics / Architecture in Mödling, Austria

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Architecture in Mödling, Austria'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Architecture in Mödling, Austria"

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Hlavac, Christian. "Verschönerung der Landschaft durch Graf Johann Philipp Cobenzl und Fürst Johann I. von Liechtenstein in Niederösterreich." AHA! Miszellen zur Gartengeschichte und Gartendenkmalpflege, no. 9 (March 1, 2024): 114–29. http://dx.doi.org/10.25531/aha.vol9.p114-129.

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Der Autor berichtet zunächst über ein – im kontinentaleuropäischen Vergleich – frühes Beispiel der Verschönerung einer Landschaft: die etwa ab 1776 geschaffenen Anlagen des Grafen Johann Philipp Cobenzl (1741–1810) am Reisenberg bei Wien. Anschließend nimmt er die überaus raumgreifenden (circa 700 Hektar) Verschönerungsmaßnahmen unter Fürst Johann I. von Liechtenstein (1760–1836) im Gebiet der heutigen Gemeinden Mödling, Maria Enzersdorf und Hinterbrühl in Niederösterreich, aber auch in Loosdorf (Gemeinde Fallbach) in den Blick. Die Bedeutung der Landwirtschaft als Element einer verschönerten Landschaft sowie die angestrebte Balance zwischen Ästhetik und Ökonomie in einer solchen werden im Beitrag besonders hervorgehoben. The author first reports an early example of landscape embellishment – by continental European standards: the grounds created by Count Johann Philipp Cobenzl (1741–1810) on Reisenberg near Vienna around 1776. He then looks at the extremely expansive (around 700 hectares) embellishment measures under Prince Johann I of Liechtenstein (1760–1836) in what are today the municipalities of Mödling, Maria Enzersdorf and Hinterbrühl in Lower Austria, but also in Loosdorf (municipality of Fallbach). The importance of agriculture as an element of an embellished landscape and the desired balance between aesthetics and economy in such a landscape is particularly emphasised in the article.
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Franz, A., O. Nowak, and H. Kroiss. "Mödling WWTP – treatment efficiency and relationship to receiving water quality." Water Science and Technology 33, no. 12 (June 1, 1996): 47–55. http://dx.doi.org/10.2166/wst.1996.0300.

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The relationship between water protection of small receiving waters and the reliability of treatment efficiency is represented by a 100,000 PE plant. On the basis of stringent emission and immission standards a concept for a one-stage activated sludge plant was developed that meets the current demands on removal efficiency and limit values in Austria with a high degree of reliability. Classic saprobiological analysis of the receiving creek showed saprobic class II. The operation of the treatment plant has been tested in a period of more than two years under normal operational conditions. In this period several modes of operation were investigated and the concept has proved to be successful. A comprehensive data base has been worked up for process comparison and design evaluation. Relevant effluent parameters of a filtration unit in pilot scale are also given. Mass balances for a validation of the data and statistical characterisation of treatment efficiency combined with saprobiological characterisation of the receiving river has proved the applicability to similar cases. These investigations may serve as an example of how to relate treatment efficiency to saprobity of small receiving rivers.
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Kumor, Bolesław. "Atlas hierarchicus. Descriptio geographica et statistica, insuper notae historicae Ecclesiae Catholicae. Hanc novam-quintam editionem elaboravit Zenon Stężycki SVD, Mödling bei Wien, Austria 1992." Nasza Przeszłość 82 (December 30, 1994): 395–402. http://dx.doi.org/10.52204/np.1994.82.395-402.

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Acconci, Vito. "Mur Island, Graz, Austria." Architectural Design 78, no. 1 (January 2008): 100–101. http://dx.doi.org/10.1002/ad.618.

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Krausler, Carina, and Ulrike Pröbstl-Haider. "Relevance of local architecture for destination choice in Austria." International Journal of Sustainable Development and Planning 11, no. 3 (July 21, 2016): 426–35. http://dx.doi.org/10.2495/sdp-v11-n3-426-435.

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Feiglstorfer, Hubert, and Franz Ottner. "The Impact of Clay Minerals on the Building Technology of Vernacular Earthen Architecture in Eastern Austria." Heritage 5, no. 1 (February 21, 2022): 378–401. http://dx.doi.org/10.3390/heritage5010022.

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The vernacular architecture in many regions in Eastern Austria was characterized by the use of unfired clay, at least until the 19th century, and in some areas until the 20th century. Farmhouses and associated farm buildings, such as storage buildings or press houses for the production of wine and cider, were erected using different earth construction techniques. The study area stretches from the Weinviertel, a region located in the province of Lower Austria in the north-east of Austria, to the Burgenland, a region located in the south-east of Austria, which belonged to Western Hungary until 1921. From a geological point of view, in the east of Austria—in the Vienna Basin and the Molasse Zone—huge areas of Tertiary clay are covered with loess deposits, which is the best-known basic material used in local earth-building traditions. A core question in the research on vernacular earthen heritage focuses on the impact of the geological conditions in Eastern Austria on the local earth-building techniques. The mineralogical composition of the different clays had an impact on the local building techniques. From a material-culture point of view, research on the relationship between the mineralogical properties of clay resources and local building techniques sheds light on the factors which influenced the evolution of certain vernacular building features. Tertiary clays and loess from the Pleistocene favoured the making of earth lumps, cob walls and adobe bricks over the whole Eastern Austrian region. Contrarily, regions in Burgenland with a high amount of gravel preferred, by tradition, to make walls by ramming. The clay mineral smectite acts as a binding agent in earth-building techniques over the whole investigated region—Weinviertel, Burgenland and Western Hungary.
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MARANCI Ch. "The Historiography of Armenian Architecture: Josef Strzygowski, Austria and Armenia." Revue des ?tudes Arm?niennes 28, no. 1 (April 14, 2005): 287–308. http://dx.doi.org/10.2143/rea.28.1.505084.

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Hellström Reimer, Maria. "nextland: Zeitgenössische Landschaftsarchitektur in Österreich / Contemporary Landscape Architecture in Austria." Journal of Landscape Architecture 11, no. 2 (May 3, 2016): 104–6. http://dx.doi.org/10.1080/18626033.2016.1188582.

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Balzarotti, Stefania, Eleonora Pagani, Ilaria Telazzi, Martina Gnerre, and Federica Biassoni. "Driving-Related Cognitive Abilities: Evaluating Change over Time in a Sample of Older Adults Undergoing an Assessment Regarding Fitness to Drive." International Journal of Environmental Research and Public Health 19, no. 19 (October 6, 2022): 12806. http://dx.doi.org/10.3390/ijerph191912806.

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Advancing age can bring a decline in many driving-related cognitive abilities. For this reason, public safety concern has raised about older adults’ driving performance, and many countries have adopted screening polices to assess older drivers’ fitness to drive. As a result of such assessments, authorities may impose behavioral restrictions to driving. The present study examines whether driving-related cognitive abilities change over time and compares drivers either restricted or not by licensing authorities after the first assessment. The data were derived from a database provided by a service of psychodiagnostic assessment of fitness to drive. This database contained data of people referred for cognitive assessment in order to renew their driving license over the period of 2016 to 2022. The sample included 58 cognitively healthy old drivers (mean age = 82.79, SD = 6.13; 97% men) with a follow-up examination (T2) after a period ranging from one to four years (M = 1.59, SD = 0.72) since the first assessment. Cognitive assessments were conducted using the standard test battery from the Vienna Test System (VTS8; ©Schuhfried GmbH, Mödling, Austria). Decision time variability, motor time, reaction time under stress, and obtaining an overview did not show significant changes between T1 and T2, whereas selective attention and inductive reasoning significantly decreased over time in both groups. Improvements in processing speed consistent with practice effects emerged at T2. Restricted drivers (n = 41) maintained significantly worse performances than unrestricted drivers (n = 17) in the follow-up assessment. Chronological age was associated with higher reaction time under stress, while education showed a buffering role against a decrease in perceptual speed. Overall, although older drivers’ driving-related cognitive abilities remain relatively stable over the short-term, the decline in some cognitive functions deserves reevaluation and monitoring.
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Bullivant, Lucy. "BIX Matrix realities:united, Kunsthaus Graz, Austria." Architectural Design 75, no. 1 (January 2005): 82–85. http://dx.doi.org/10.1002/ad.19.

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Dissertations / Theses on the topic "Architecture in Mödling, Austria"

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Branscome, E. M. "Hans Hollein and postmodernism : art and architecture in Austria 1958-1985." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1433404/.

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This thesis investigates the art and architecture scene in post-war Vienna to ask how this can inform our understanding of architectural Postmodernism. It specifically focuses on the various outputs of the Austrian artist and architect, Hans Hollein, and on his appropriation as a Postmodernist. The study’s background in post-war Austria belongs within a context of re-education initiatives by the Allied forces, especially from the USA. But within an Austrian culture still steeped in Catholicism, American practices like abstract expressionism, action painting and art happenings were transformed unrecognisably. One such outcome, Viennese Aktionism, directly affected thinking about architecture through the ‘performance environments’ that were created. In Vienna, the circles of radical art and architecture were not distinct, and Hollein’s claim that ‘Everything is Architecture’ was symptomatic of this intermixing of practices. Austria's proximity to the Iron Curtain, and its post-war history of four-power occupation gave a heightened sense of menace that emerged strongly in Viennese art. Seen as a collective entity, Hollein’s works across architecture, art, writing, exhibition design and publishing require a more diverse, complex and nuanced account of architectural Postmodernism than that offered by critics at the time. Here Hollein's outputs are viewed not as individual projects for appropriation by architectural critics according to their various agendas, but as a symptomatic of Austria's attempts to come to terms with its Nazi past and to establish a post-war identity. While Hollein's concerns with the obsolescence of built architecture and its replacement by mass media corresponded in certain respects with those of Postmodernism, in other respects they were rooted in the sometimes violent, abusive and self-destructive practices of the Austrian avant-garde and its attitudes towards politics, religion, technology, infrastructure, advertisements and sex. If these are to be included within the postmodern canon, then the criteria of Postmodernism require substantial revision.
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Schwarzer, Mitchell William. "Adolf Loos and theories of architecture and the practical arts in nineteenth century Austria and Germany." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/13470.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.
Includes bibliographical references.
This dissertation investigates changes that occurred in architectural culture in respect to conditions of modernity. Large-scale industrialization and urbanization caused dramatic ruptures with traditional social and economic hierarchies, forcing a reconceptualization of the theoretical constructs underlying architecture. During the course of the nineteenth century, writers on architecture took an active role in attempting to make sense of these changes. By the end of the century, the Viennese architect and theorist Adolf Loos set forth a critical project, often in confrontation with the views of others, to overcome the growing separation between the realms of reality and representation in design. The particular objective of this study is to situate Loos's texts within the intellectual context of Austrian and German writings on architecture and the practical arts. Such theories prefigure important expressions of modernism in the twentieth century. These writings also express a deep range of thoughts on the changing material and intellectual conditions affecting the visual arts. They exemplify a long series of attempts to create a unified identity for architecture in a world of new social relations and value systems. Despite amorphous conditions which favored social heterogeneity and difference, writers sought uniformity and an authoritative ground for architectural logic. The textual discourse in journals and books reveals the mental structures and preoccupations of writers in the grips of rapid transformation. On the practical level, new functional needs led to an expanded and diverse range of building types and plans. Further, industrial advances in construction technology and the use of new materials such as iron and glass challenged the applicability of traditional architectural forms for these new buildings. In turn, in a theoretical vein, debates on ethnic and historical genealogy and the epistemological or ontological foundations of all aspects of design turned architectural thought away from its former reliance on classicist paradigms of knowledge. It was also during the nineteenth century that historical consciousness structured architectural epistemology. As traditional guarantors of knowledge were questioned, the entirety of concepts defining architecture was transfigured. Laos and other writers sought to re-define the now hotly contested concepts of craft, art, architect, beauty, function, and truth. Conceptual production was frequently crafted through binary oppositions such as national/international or real/ideal. Loos's response to these developments was divided. On the one hand, he recognized cultural fragmentation and argued for the separate development of art and architecture. On the other hand, his vision of a design world dominated by the hand crafts and aristocratic values constitutes the Enlightenment vision of stability amidst progress.
[Mitchell Schwarzer].
Ph.D.
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Blower, Jonathan Barnabas. "Monument question in late Habsburg Austria : a critical introduction to Max Dvořák's Denkmalpflege." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/8723.

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The present thesis is a critical introduction to a body of writings on heritage conservation by the Czech-born art historian Max Dvořák (1874–1921). From 1905 onwards, Dvořák was both professor of art history at the University of Vienna and Conservator General at the state institution responsible for heritage conservation in Austria: the ‘Royal and Imperial Central Commission for the Research and Preservation of Artistic and Historical Monuments’ (est. 1850). His published and archival texts on the subject are presented here for the first time in English translation. In this sense, the thesis follows the model of existing scholarship on the visual arts in Vienna around 1900, namely the combined English translations and critical introductions to the writings of Camillo Sitte (Collins & Collins, 1986), Otto Wagner (Mallgrave, 1988) and Alois Riegl (Forster & Ghirardo, 1982). A translation-based approach to foreign textual sources is essential to cross-cultural understanding in the study of art and architectural history, particularly in the case of German, which is no longer accessible to the great majority of scholars working in these fields. As an introduction to Dvořák’s Denkmalpflege, this thesis provides the historical context necessary for an informed reading of the texts and, on this basis, evaluates his considerable contribution to the conservation of Austrian cultural heritage. The institutional history of the Central Commission and the emergence of modern conservation theory around the turn of the century are outlined as the preconditions of Dvořák’s activity, which included inventorization, institutional reform, published propaganda and a number of case-specific polemics. His responses to conservation issues in Vienna and Split are analyzed in detail as representative case studies from the centre and periphery of the empire, where modern conservationists were fighting a battle on two fronts against the incursions of modernity on the one hand and the destructive practices of nineteenth-century restoration on the other. Dvořák’s close collaboration with the Austrian heir apparent Franz Ferdinand is then investigated, followed by a critique of his reaction to the devastation of the First World War. In each case, it is argued that the state administration of cultural heritage in late Habsburg Austria, with its diverse peoples, languages and histories, was an inherently political issue and part of a cultural effort to preserve the empire itself.
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Davies, Bernard William. "Central Europe – Modernism and the modern movement as viewed through the lens of town planning and building 1895 - 1939." Thesis, Brunel University, 2008. http://bura.brunel.ac.uk/handle/2438/3444.

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This thesis sets out to re-locate and redefine the historical arguments around the development of the Modern Movement in architecture. It investigates the development of architectural modernism in Central Europe from 1895-1939 in the towns and cities of the multinational Habsburg Empire, in a creative milieu in which opposition, contrast and difference were the norm. It argues that the evolution of the Modern Movement through the independent nations that arose from the Empire constituted an early and significant engagement with urbanisation, planning and architectural modernism that has been largely overlooked by western scholarship. By reviewing the extant literature in discussion with Central European authorities and by drawing upon a little known range of sources, this thesis brings into focus the role of key individuals such as Plečnik, Fabiani and Kotěra and it explores the significance of developments in town planning in places like Zagreb and Ljubljana. In restoring some of this missing detail and revisiting some of the key sites, the thesis reveals how Central European individuals made early and significant contributions to the development of architectural modernism and the Modern Movement that have hitherto received little critical acknowledgement. What this research reveals is how these figures developed what can be seen as local solutions, rooted in the context and culture of individual towns and cities and their unique histories. However more significantly, this thesis also demonstrates that these independent initiatives were formed with an understanding of - and in response to - wider national and international developments in the field of architectural modernism. In this connection, the thesis can be regarded as part of an emerging academic effort to redress the history of the Modern Movement and an attempt to set in motion a raft of suggestion for further research into this rich field of cultural endeavour.
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Moss, Katie Nicole 1982. "Constructing a Modem Vienna: The Architecture and Cultural Criticism of Adolf Loos." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10690.

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vii, 82 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Adolf Loos is most widely known for his essay Ornament and Crime (Ornament und Verbrechen), in which he sarcastically compares architectural ornament to the tattoos of "savages." Loos sought to modernize Vienna through the introduction of American and British culture and was known as one of Austria's most notorious cultural critics. Celebrated for breaking with the historicist culture of the late nineteenth century, Loos is often heralded as the father of the Modem Movement, but many of his writings and designs contradict such a classification. This thesis will explore the origins and motives behind Loos' s conception of modernism to suggest a better understanding of his role as cultural critic and architect in Vienna as well as his relationship to the architects and architecture of the subsequent generation.
Committee in Charge: Dr. Leland M. Roth, Chair; Dr. William Sherwin Simmons; Dr. Marilyn S. Linton;
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MacDonald, Deanna. "Acknowledging the "Lady of the house" : memory, authority and self-representation in the patronage of Margaret of Austria." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38227.

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Margaret of Austria (1480--1530) ruled the Burgundian Netherlands for over twenty years and was an integral member of the joint Houses of Burgundy and Habsburg. She was also one of the most prolific patrons and collectors of her time. This dissertation examines Margaret's patronage in relation to her contemporary environment with the aim of extending and deepening our understanding of her commissions within the dynamics and discourses of the culture of the early sixteenth century.
Margaret of Austria was a highly conscientious patron and the art and architecture she commissioned intimately reflected her life. Chapter one introduces the historical facts of Margaret's life as well as issues affecting her patronage. Chapter two considers the monastery of Brou in Savoy as Margaret's architectural autobiography. Drawing on documentation and the building itself, it examines Margaret's involvement in Brou's creation. Chapter three looks at several of Margaret's other commissions such as her residence, the Palace of Savoy in Mechelen and the Convent of the Annunciate in Bruges. This chapter considers the potential goals of these projects, as ambitious as founding a capital city, embellishing her authority as a ruler, or attaining sainthood. Chapter four turns to Margaret's self-portraits, that is, images she commissioned of herself. Created in several mediums for a variety of audiences (including herself), Margaret's self-portraits portray her as everything from a widow to a goddess to a saint. Each image was designed for a specific audience and demonstrates Margaret's understanding of the function of images in negotiating a place in the contemporary world and history. Chapter five presents Margaret's view of herself as one of the rulers of a New World Empire with her pioneering collection of artefacts from the Americas. The conclusion considers the unique image of Margaret of Austria that emerges from her commissions.
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Lange, Cathrin. "Grüß Gott! : An Architectural Exploration of Religion in an Austrian Context through a Community Centre and an Urban Park Landscape." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-36057.

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How can the different religions of Austria be made visible? How can the believers claim space and right in the Austrian context? How can architecture contribute to educate about these religions? How can architecture encourage this multitude of religions to be regarded as positive and a strength of the Austrian society?
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Scherer, Solène. "Das Haus am Ring : construction et reconstruction de l'Opéra de Vienne, monument symbole de l'Autriche." Electronic Thesis or Diss., Toulouse 2, 2022. https://dante.univ-tlse2.fr/s/fr/item/32286.

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À l’instar d’autres grands bâtiments en Europe centrale, l’Opéra de Vienne est endommagé durant la Seconde Guerre mondiale par des bombardements détruisant une grande partie de sa structure originale. Reconstruit et rouvert en moins de dix ans, il accompagne le retour à la souveraineté de l’Autriche, se faisant d’une certaine manière le miroir de la reconstruction nationale. Partant de la construction de l’Opéra, pour remonter les étapes de sa destruction, puis de sa reconstruction, ce travail de thèse propose une exploration et une synthèse des problématiques de mémoire et de transmission inhérentes à la notion de monument et ce qu’on appelle en France, le patrimoine L’étude minutieuse des chantiers de construction entre 1860 et 1869 et de reconstruction entre 1945 et 1955, ainsi que de la période intermédiaire permet de saisir l’évolution du statut de monument de l’Opéra et la place qu’il a occupée dans les discours autour de l’État, la nation, la culture et l’identité au fur et à mesure que l’Autriche contemporaine s’est construite. D’un chantier à l’autre, l’Opéra est un symbole reflétant la relation qu’entretiennent Vienne et l’Autriche avec leur histoire et leur territoire. Le choix de reconstruire les parties détruites en 1945 de manière contemporaine réactualise le statut de l’Opéra et fait co-habiter deux architectures et deux époques. L’Opéra est un édifice-palimpseste sur lequel se greffe toute une dimension mythique, les anecdotes historiques et les légendes participent à un grand récit autour de l’institution, qui brouille la frontière entre fiction et réalité. En croisant les archives de l’État, de la ville de Vienne, celles des architectes employés sur les chantiers du bâtiment avec des sources imprimées – presse, critiques, livres, mémoires –, on parvient à dessiner de manière précise les contours de ce monument, qui frappe par l’ampleur de sa dimension discursive, tant les discours en ont forgé le statut. Aujourd’hui dans ses murs comme par sa mise en valeur, l’Opéra incarne toujours une certaine histoire de l’Autriche et il alimente encore l’image qu’on se fait du pays à l’international
Like other significant buildings in central Europe, the Vienna State Opera was damaged during World War II bombings, thus destroying a great part of its original structure. Rebuilt less than ten years after, the re-opening of the Opera was symbolic of Austria regaining control of its sovereignty, thus reflecting the national reconstruction of the country. Going from the building of the Opera house, then through the stages of its destruction, to finally look at the rebuilding process, this thesis is an exploration and a synthesis of the questions of memory and transmission inherently connected to the notion of monument, and of what we call in France, patrimoine. The meticulous study of construction works during its building between 1860 and 1869, and through reconstruction between 1945 and 1955, but also in the time between these periods, enables to understand the evolution of the Opera regarding its status and the role it had in debates centered on culture, identity and the nation. From one construction work to another, the Opera is a symbol mirroring the perspective of Vienna and Austria on their history and territory. To rebuild the parts destroyed in 1945 in a contemporary way renews its status as a monument. The Opera house is a "palimpsest building” and the mythical dimension of the building, fed by historical events and legends, participates in a collective narrative which blurs the limits between fiction and reality. By cross-referencing state archives, those of architects employed in the Opera’s construction works and printed sources, we manage to have a clear perspective on this building, which was also forged by what was said about it. To this day, the Vienna State Opera embodies a certain history of Austria, and still influences the way we see the country abroad
Während des Zweiten Weltkriegs wurde auch die Wiener Staatsoper wie andere große Gebäude in Mitteleuropa durch Bombenangriffe beschädigt, die einen großen Teil ihrer ursprünglichen Struktur zerstörten. Nach dem in weniger als zehn Jahren abgeschlossenen Wiederaufbau und der Wiedereröffnung begleitete die Oper die Wiedererlangung der Souveränität Österreichs und war in gewisser Weise ein Spiegelbild des nationalen Wiederaufbaus. Vom Bau des Opernhauses, über seiner Zerstörung bis zu dem anschließenden Wiederaufbau, strebt diese Dissertation eine Erforschung und Synthese der Probleme der Erinnerung und der Vermittlung an, die mit dem Begriff des Denkmals und dem, was man in Frankreich als „patrimoine“ bezeichnet, einhergehen.Die sorgfältige Untersuchung der Bauarbeiten zwischen 1860 und 1869 und des Wiederaufbaus zwischen 1945 und 1955 sowie der Zeit dazwischen ermöglicht es, die Entwicklung des Denkmalstatus der Oper und die Stelle, die die Oper in den Diskursen um Staat, Nation, Kultur und Identität eingenommen hat, zu erfassen, während das zeitgenössische Österreich aufgebaut wurde.Von einer Baustelle zu der nächsten ist das Opernhaus ein Symbol, das die Beziehung Wiens und Österreichs zu ihrer Geschichte und ihrem Territorium widerspiegelt. Die Entscheidung, die 1945 zerstörten Teile auf zeitgenössische Weise wiederaufzubauen, aktualisiert den Status des Opernhauses. Historische Anekdoten und Legenden sind Teil einer großen Erzählung über die Institution, die die Grenzen zwischen Fiktion und Realität verwischt. Durch die Verknüpfung der Archivdokumente des Staates, der Stadt Wien, sowie der Architekten, die auf den Baustellen des Gebäudes beschäftigt waren, mit gedruckten Quellen - Presse, Kritiken, Bücher, Memoiren – ist es gelungen, die Konturen dieses Denkmals genau zu umreißen, das durch das Ausmaß seiner diskursiven Dimension auffällt, da die Diskurse seinen Status geprägt haben. Die Oper verkörpert auch heute noch eine bestimmte Geschichte Österreichs und prägt das internationale Bild des Landes
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Doušová, Aleška. "Řízení architektonických soutěží v Rakousku a ČR s přihlédnutím k významu kritérií udržitelnosti staveb." Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-262181.

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This thesis analyses issues with the management of architectural competitions in the Czech Republic and Austria. The first part focuses on the contest participants and methods for public procurement in architecture in the Czech Republic, and analyses the critical parts of the competition. This is followed by a chapter dedicated to Austrias legal code on architectural competitions. The theoretical part concludes with a description of the current situation with regard to the sustainability of buildings and to their management in architectural competitions in the Czech Republic and Austria. The final chapters compare the process of building retirement homes in Austria and the Czech Republic. The projects compare the announcement of the architectural competition, the management of the competition and the overall process. Both projects are compared for the implementation of sustainability requirements. The aim of my paper is to present and compare architectural competitions in the Czech Republic and Austria, with an analysis of how much the sustainability of buildings is taken into account within the competition rules. This thesis was completed using an analysis of available materials, a description of the situation and a comparative study.
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Vial, Françoise. "La visibilité de la mort et l’expression de la vie : la fondation funéraire de Philibert II de Savoie et Marguerite d’Autriche à Brou (1504-1532)." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040017.

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Traditionnellement perçu comme expression de la politique impériale de Marguerite d’Autriche, régente des Pays-Bas, dans le duché de Savoie dont elle était douairière en Bresse, le couvent Saint-Nicolas de Tolentin à Brou monumentalise en fait la dévotion de son défunt époux Philibert II. Le souverain avait hérité des derniers ducs de la branche aînée son inclination ignorée pour l’influente congrégation observante des Augustins de Lombardie qui participant de la création renaissante, fournit, transcrit dans un style local, le schéma claustral de Brou. L’idée maîtresse de Marguerite fut le prestige de la Renaissance, découverte au dôme Saint-Jean de Turin. A l’encontre des lectures erronées du XIXe siècle, la princesse ne s’inspira pas de Champmol. Pour son italianisme, elle confia les tombeaux et l’église au français Perréal. Seules des impossibilités pratiques l’amenèrent à recruter fin 1512 le bruxellois van Boghem. Son art et son réseau brabançons accompagnaient le tropisme ibérique de la cour de Bourgogne mais dès 1524-25, il insuffla à Brou les touches maniéristes que permettait la pénétration de la Renaissance aux Pays-Bas, plus tardive qu’en France. Le programme de l’église sotériologique emphatise la piété du duc et à un second rang, celle de la maison de Marguerite, mais aussi les devoirs du regnum, que Philibert et sa veuve exercèrent dans des pays distincts : ils culminent dans l’exercice de la justice dont le modèle est le Christ du Jugement dernier qui jadis, figurait sur le vitrail nord du transept de Brou. Marguerite signa l’œuvre : promouvant l’échange compassionnel, elle incitait autant à la conversion de chacun qu’à la prière d’intercession et à la mémoire, par-delà les siècles, de l’archiduchesse dont la naissance d’exception, impériale, avait engagé la vie et le monument d’exception
Instead of expressing, as it is traditionally regarded, the imperial politics in Savoy of Margaret of Austria, regent of the Netherlands, the convent Saint Nicolas of Tolentino in Brou she erected in her dower of Bresse embodies the devotion of her late husband Philibert II, duke of Savoy. The sovereign had received from the last dukes of the eldest branch that unrecognized inclination towards the soaring observant congregation of the Austin Friars of Lombardia, which joined the Renaissance and provided the claustral scheme of Brou. Margaret’s main idée was the search of the Renaissance she had discovered through the Duomo San Giovanni of Torino. Against the incorrect readings of the XIXth century, she was not inspired by Champmol. She entrusted the graves and the church of Brou to the Italianizing French artist Perréal, and only practical impediments prompted her to sign on van Boghem at the end of 1512. His brabantine Gothic’s practice and circle accorded to the Spanish tropism of the burgundian court but around 1524-1525, the arrival of the Renaissance in the Netherlands allowed him to bring mannerist accents. The iconology of Brou reveals its soteriological aim. It magnifies the duke’s devotion and at a second rank, the one of Margaret’s house, but also the duties of the regnum that Philibert and his widow both practiced in different countries. Their acme is the ministry of Justice whose reference is the Christ of the Last Judgment, which once figured on the lost northern glass window of the transept. Margaret signed the work: ruled by a will of compassion and exchange, it induced anyone both to the conversion for one’s own salvation, to intercede for the princes, and to remind through ages the memory of the archduchess, whose exceptional imperial birth had involved her unique life and memorial
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Books on the topic "Architecture in Mödling, Austria"

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Kretz, Hans. Chronik der Evangelischen Gemeinde Mödling. Mödling: Evangelische Gemeinde Mödling, 2000.

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(Mödling, Austria) Kunstraumarcade. Kunstraumarcade: Galerie Arcade : 1974-2020. Mödling: Kunstverein, Galerie Arcade, 2020.

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Vance, Mary A. Architecture of Austria: A bibliography. Monticello, Ill: Vance Bibliographies, 1987.

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Barlow, Nic. Follies and fantasies: Germany and Austria. New York: Harry N. Abrams, 1994.

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1934-, Hollein Hans, Zhongguo mei shu guan, and Guangdong mei shu guan, eds. Sculptural architecture in Austria =: Aodili jianzhu yishuzhan. Salzburg: Anton Pustet, 2006.

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Dietmar, Kapfinger, Steiner Dietmar, Stiller Adolph, Pirker Sasha, Salazar Jaime 1964-, Kuznay Marion, Cooper Julian, and Architektur Zentrum Wien, eds. Architecture in Austria: Survey of the 20th century. Basel: Birkhäuser, 1999.

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Blau, Eve. The architecture of Red Vienna, 1919-1934. Cambridge, Mass: MIT Press, 1999.

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1974-, Hauenfels Theresia, ed. Architekturlandschaft Niederösterreich =: Lower Austria : the architectural landscape. Salzburg: A. Pustet, 2007.

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Museum of Modern Art (New York, N.Y.), ed. Vienna 1900: Art, architecture & design. New York: Museum of Modern Art, 1986.

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Leitgeb, Michael. Oberwölz: Versuch einer neuen Sehweise der historischen Stadtgestalt. Wien: Lit, 2012.

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Book chapters on the topic "Architecture in Mödling, Austria"

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Gallistl, Jakob, Hannes Schiel, Ralf Totschnig, Alois Hinterleitner, Mario Wallner, Ingrid Schlögel, Klaus Löcker, and Helmut Scharsching. "Integrated archaeological and engineering geophysical investigation of the castle ruin Mödling (Austria)." In Advances in On- and Offshore Archaeological Prospection, 231–40. Kiel: Universitätsverlag Kiel | Kiel University Publishing, 2023. http://dx.doi.org/10.38072/978-3-928794-83-1/p24.

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An extensive multi-method investigation of a castle ruin has been conducted that extends the spectrum of geophysical methods used in archaeological prospection. For complex sites like a castle ruin, the incorporation of seismic and geoelectrical methods can facilitate the interpretation of ground penetrating radargrams, particularly in the existence of bedrock.
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Meisel, Marcus, Angela Berger, Lucie Langer, Markus Litzlbauer, and Georg Kienesberger. "The RASSA Initiative – Defining a Reference Architecture for Secure Smart Grids in Austria." In Energy Informatics, 51–58. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25876-8_5.

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"Weingut Heinrich in Gols, Austria." In Wine and Architecture, 110–13. DETAIL, 2012. http://dx.doi.org/10.11129/detail.9783955530556.110.

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"Weingut Claus Preisinger in Gols, Austria." In Wine and Architecture, 34–37. DETAIL, 2012. http://dx.doi.org/10.11129/detail.9783955530556.34.

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"Weingut Leo Hillinger in Jois, Austria." In Wine and Architecture, 56–59. DETAIL, 2012. http://dx.doi.org/10.11129/detail.9783955530556.56.

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"Weingut Erich Sattler in Tadten, Austria." In Wine and Architecture, 90–93. DETAIL, 2012. http://dx.doi.org/10.11129/detail.9783955530556.90.

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"M-Pries Supermarket Wattens, Austria Dominique Perrault Architecte." In International Architecture Yearbook: No. 8, 208–9. Taylor & Francis, 2014. http://dx.doi.org/10.4324/9781315012629-57.

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FULLÉR, ANDREA. "EGYPTIANISING FUNERARY ARCHITECTURE IN BUDAPEST." In Egypt and Austria XII - Egypt and the Orient: The Current Research, 353–574. Archaeopress Publishing Ltd, 2020. http://dx.doi.org/10.2307/j.ctv177tjz3.26.

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Pappalardo, Salvatore. "Modernism in Austria-Hungary." In Routledge Encyclopedia of Modernism. London: Routledge, 2021. http://dx.doi.org/10.4324/9780415249126-rem2134-1.

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Modernism in Austria-Hungary developed in the imperial capital Vienna and other major cities such as Prague, Budapest, and Trieste. In the coffees houses of these polyglot and multicultural centres of intellectual exchange, modernists discussed new approaches and experimented with original ideas. This cultural ferment led to a burst of creativity in urban planning, the visual arts, interior design, literature, music, architecture, and psychoanalysis. Many of the groundbreaking ideas that developed in these cities reached beyond cultural boundaries, making modernism in Austria-Hungary a transnational phenomenon. Although Austria-Hungary ceased to exist after the First World War, its authors and intellectuals continued their work in the successor states, often reflecting on the legacy of the defunct empire.
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"Anna Plischke and Helene Wolf: designing gardens in early twentieth-century Austria." In Women, Modernity, and Landscape Architecture, 91–128. Routledge, 2015. http://dx.doi.org/10.4324/9781315732961-10.

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Conference papers on the topic "Architecture in Mödling, Austria"

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Geissler, S., and C. Spitzbart. "Sustainable buildings in Austria–performance indicators and implications on the construction industry." In ECO-ARCHITECTURE 2010. Southampton, UK: WIT Press, 2010. http://dx.doi.org/10.2495/arc100461.

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Petr, Lukáš. "Spatial Planning Tools for Agricultural Land Protection in the Czech Republic and Austria: A Comparative Study." In 11th Annual Conference on Architecture and Urbanism 2022: New Research Directions in th Volatile World. Brno: VUT v Brne, Fakulta architektury, 2022. http://dx.doi.org/10.13164/phd.fa2022.16.

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Rasmussen, A., M. Radziszewski, B. Khatri, K. L. Tessneer, E. Pontarini, M. Bombardieri, M. Rischmueller, et al. "OP0113 GENOME-WIDE ASSOCIATION STUDY OF Ro/SSA+ AND Ro/SSA-SJÖGREN’S CASES IN THE SJÖGREN’S GENETIC NETWORK (SGENE) DEMONSTRATES DIVERGENT GENETIC ARCHITECTURE IN PATIENT SUBPHENOTYPES." In EULAR 2024 European Congress of Rheumatology, 12-15 June. Vienna, Austria. BMJ Publishing Group Ltd and European League Against Rheumatism, 2024. http://dx.doi.org/10.1136/annrheumdis-2024-eular.3188.

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Bilić, Darka, and Krasanka Majer Jurišić. "Fort Oštro and the first defensive line at the entrance to the Bay of Kotor - 19th century Austro-Hungarian military architecture." In FORTMED2024 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.17945.

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The Austro-Hungarian monarchy in the middle of the 19th century not only strengthened its defensive line toward the Ottoman territories in the hinterland of the Bay of Kotor, but also constructed a network of shoreline defences to safeguard its newly acquired territories from naval attacks. As part of the same initiative, the sea entrance to the Bay of Kotor, strategically very important part of the Adriatic coast at the time, was also fortified. Three forts were built as the first defensive line, one on the cape Ostro, one on the islet Žanjica, called Mamula, and the third one on the Cape Arza. Their bases were stone-built casemates with flanking guns and open mercer batteries placed on platforms. Unfortunately, they became obsolete very quickly because they could not meet modern defensive requirements. Given that they were very visible and therefore an easy target for increasingly sophisticated naval weapons, a number of minor and major adjustments were made over time that resulted in changes and adjustments to the building structure. With the end of the importance and political influence of Austria-Hungary, the fortification systems it built lost their value and deteriorated over time. Today, they not only reflect an important historical and political moment, the way of warfare and defence at that time, but also the monarchy's need for the appearance of forts to be a combination of certain architectural taste and military needs.
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Fratini, Fabio, Manuela Mattone, and Silvia Rescic. "The building materials of “Colle del Melogno” Central Fort (Liguria, Italy)." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11544.

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The Melogno pass (Colle del Melogno) is located at 1026 m above sea level, between the high Val Bormida and the hinterland of the Finalese (province of Savona) and is one of the highest mountain passes in the Ligurian Alps. In ancient times, this zone was considered strategically important from the military point of view since it is located at the crossroads of many communication routes. In these areas, in November 1795, during the “Battle of Loano”, the French army, commanded by Andrea Massena and the allied army of Austria, prevailed over the Kingdom of Sardinia, led by Oliver Remigius von Wallis. However, the territory remained possession of the Kingdom of Sardinia and, between 1883 and 1895, the worsening of relations with France induced the government to erect, near the pass, three imposing fortifications (Tortagna, Settepani and Centrale) to prevent an entry into Piedmont by armies coming from the coast. For the same purpose other fortifications were erected near the passes of Tenda, Nava, Turchino and near the villages of Zuccarello, Altare and Vado. The most impressive among the three fortifications of Melogno pass is the Central Fort. It occupies all the saddle of the pass and it is crossed by the provincial road 490 connecting the coast of Finale Ligure to Piedmont. The fort, still of military property, is a listed historical artefact. It has a polygonal shape, with a main barrack developed on two floors. Four defensive and attacking emplacements were located outside the main complex, along a detached hill, with heavy artillery pointed towards the coast. The study will examine the natural and artificial stone materials used for the building through mineralogical and petrographic analysis and will verify both the variations occurred during the construction phases and the relations with the local supply sources.
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Paton, D., M. Carr, H. Ortner, R. Amerman, J. Borer, P. Plink-Bjorklund, D. R. Pyles, B. Trudgill, and R. J. Wild. "The Influence of Tectonics on Temporal and Spatial Variations in Sandbody Architecture – Cretaceous Gosau Basin, Western Calcareous Alp, Austria (Best of AAPG)." In 70th EAGE Conference and Exhibition - Workshops and Fieldtrips. European Association of Geoscientists & Engineers, 2008. http://dx.doi.org/10.3997/2214-4609.20147570.

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Zunno, Antonio. "La fortezza e il suo giardino: uno sguardo dal mare." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11368.

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The fortress and its garden: a view from the seaThe Fortress was built from 1554, on the ruins of an ancient convent, at the behest of Philip of Austria, and it was completed in about 55 years under the direction of Giulio Cesare Falco, knight of the Order of Malta and Captain General against the Turks. The maine structure, called Forte a Mare, was joined with the Opera a Corno, a mighty rampart with the function of enclosure of the intermediate island, separated from the other island in 1598 by the construction of the Angevin canal: here were arranged the lodgings of the troops and garrisons. Castello and Forte, were named by the Spaniards Isla Fortalera que abre el Puerto Grande, because of its particular position to protect the port. The complex was entrusted to the Germans in 1715, then conquered by the French Revolutionaries and, in 1815, re-annexed to the Kingdom of Naples and destined to lazaretto. A period of decline follows until the end of the 19th century when Brindisi became a first class naval base and the fort became a garrison of the Royal Navy, destined, during the Great War, to recover torpedoes and detonators The recovery of the complex, starting in the 1980s, allowed the conservation of the structures but was never included in a real valorisation program. With this intervention in progress, a first visit is expected through the visit from the walkways through a circular route from the Castle to the whole Opera in Corno: the itinerary will allow you to retrace the history of the Fortress and enjoy a unique view from the high towards the sea, also through the passage in a curtain of Mediterranean scrub that has colonized the walls over the centuries, creating a veritable hanging garden on the sea. The aim is to lead the visitor to the rediscovery a forgotten place that is closely connected to the coastal landscape, for which it is a privileged point of view also in relation to the city and the port.
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Kyselka, Mojmir. "Regional Plan of Integration of South Moravian and Lower Austrian Border Regions." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.15.

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This transborder regional plan represents the final result of the collaboration of three universities: Faculty of Architecture, Technical University of Bmo – Czech Republic, Institutes of Regional and Landscape Planning TU Vienna – Austria and the Institute of Regional and Environmental Planning, University of Kaiserslautern – Germany. All the participants, students and teachers, architects, urban and regional planners enjoyed the four common workshops – both on the Czech and on the Austrian territory, which was divided till 1989 by the “iron curtain”. They compared the differences of the local culture in architecture, urban and landscape structure, but found the majority of similar ways of life. This was what created the idea of the transborder zone.
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Paletta, Lucas, Michael Schneeberger, Martin Pszeida, Jochen Mosbacher, Florian Haid, Julia Tschuden, and Herwig Zeiner. "Resilience Scores from Wearable Biosignal Sensors for Decision Support of Worker Allocation in Production." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004713.

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Mental health and well-being have to be considered on an equal footing when designing digitalized workplaces in production. We present the configuration of selected wearable sensor technologies together with the architecture of the Intelligent Sensor Box to enable monitoring resilience scores at the production site. The wearables include a Garmin vivosmart 5 fitness tracker to provide cardiovascular data, the greenTEG CORE body temperature sensor, Pupil Labs Neon eye tracking glasses and an optional sanSirro QUS smart shirt with textile biosignal measurements of vital parameters. We provide a framework to integrate a sequence of daily strain scores within a pre-determined time window of a preceding working period, and finally integrate this into a current resilience score. We present the estimation of the daily strain score based on the wearable sensing data that were captured in the Human Factors Lab in Austria during activities that are characteristic for the car production workplace. Furthermore, we demonstrate how resilience scores would impact the decision-making in the use case of daily dynamic worker allocation.
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Wultsch, Thomas, Anna Briefer, Rosemarie Stangl, and Rudolf Bintinger. "RETROFITTING THERMALLY STRESSED GLAZED BUILDINGS BY USING VERTICAL GREENERY � A DESIGN STUDY BASED ON SELECTED CLIMBER SPECIES AND PLANT PHYSIOLOGICAL PARAMETERS." In 22nd SGEM International Multidisciplinary Scientific GeoConference 2022. STEF92 Technology, 2022. http://dx.doi.org/10.5593/sgem2022v/6.2/s26.59.

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In contemporary architecture, glass is one of the most popular materials and considered a fundamental source for natural lighting. However, the advantage of high light transmittance has shortcomings: Intense solar radiation affects the energy balance and the well-being in indoor spaces with inadequate cooling. Vertical greenery systems (VGS) can contribute to an improvement of indoor climatic conditions behind glazed facades through natural shading and cooling of the surroundings. Natural light input is only partially reduced and can be determined by selecting proper plant species with target leaf characteristics. However, there still is a limited database in green shading effects and cooling potentials/capacities of climber species, although there exists evidence on beneficial contributions to indoor and outdoor microclimate. Green retrofitting of glass facades and building fronts is a huge knowledge gap, and currently there are no standard applications for plant shaders and plant-based isolation of glazed building elements available. This research focuses on the design of specific VGS to be installed at a heat stressed glazed building in the Tyrol (Austria), June 2022. We collect plant physiological data of four climber species (Aristolochia macrophylla, Humulus lupulus, Parthenocissus inserta, Wisteria sinensis) regarding transmissivity, potential transpiration rates, daytime cooling capacities, plant growth in order to quantify the impact of vertical greenery systems on glazed buildings and to generate comparable and predictable data. Data on outdoor conditions are correlated with indoor data and form the basis for deriving design recommendations for architects and property developers. Our contribution presents data sets from the first vegetation period after installation and initial findings on individual plant growth.
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