The romantic and the architectural works of the world

In construction art, too. The need for accommodation is at the forefront of all human aspirations, and in fact we have to be grateful for the many romantic people in the art of construction, only for them will the humans have to wear uniforms for aesthetic appeal.


Amateur artist Hundertwasser was born to be a playboy. At first, he wrote an essay and organized a protest demanding a suitable living environment for nature, and then he had to hold a brush to illustrate his ideas, sometimes he sat on the weaving machine or the printer himself because he did not Which craftsmen follow his ideas.

All his life he called himself the enemy of straight lines, not just figuratively, because the lines are simply made up by humans.

In the boycott of building uniform industry, he was the father of the Fensterrecht concepts (The right to vote: every resident must be able to decorate the borders of his home window within reach) and Baumpflicht ( Tree obligations: people have to “dialogue” daily with plants, flowers, sandy soil and let trees grow wild in urban areas, not just trees under “planning permits”).

The idea of ​​planting a forest on a rooftop was crazy, which led him to a series of lectures at architecture universities as well as the Architects’ Association. Understandably, Hundertwasser amateurs often face resistance from academia.

But luck also came to him, when the Austrian Prime Minister Bruno Kreisky (1911-1990) was convinced and suggested to the Mayor of Vienna to find Hundertwasser an opportunity to implement his not-so-classic idea.

Because Hundertwasser was not a construction engineer, he asked the city an architect who could convey his ideas to the drawings.

After years of searching for land, in 1979, the city of Vienna chose for him and architect Josef Krawina a social housing project in the capital. Krawina was pushed into the irony, constantly obeying the current construction regulations and breaking ideas of his friend.

The first solution was rejected by Hundertwasser, but he also asked the city to do it again. The second proposal was indeed approved, though there were many conflicts with the construction law. In the 89th minute, two personalities like water and fire clashed again when it came to decorating the facade and Krawina desperately hung the pen.

Architect Peter Pelikan jumped in, and stayed with Hundertwasser as well as many subsequent projects. At least the house named Hundertwasser was inaugurated in 1985, a total of 52 apartments and 4 shops have room in this strange architecture.

And probably no one to Vienna to forget to see the fairy tale of this daily life, no different from “brand” Wolfgang Amadeus Mozart for Austria. The showy building and the way there is a corridor “up and down the hill”, no room is like any room, and the roof is a green park, of the 250 plants in 1985, there were many trees. realm of “ancient”.

By the time of his death in 2000, Hundertwasser and Peter Pelikan built about 40 more buildings, all of which were full of dreamlike and romantic imprints of the author. His work spread throughout Austria, neighboring Germany, and he was also invited to Israel, Switzerland, New Zealand, the United States, Japan.

In the design language, there is now the concept of the Hundertwasser house, obviously not only to emphasize the visual impression, but also to jealously mention the overly happy residents living in a house not built with a ruler. worker …


The postmodern concept is controversial, depending on which cultural field. But if you call the Catalan architect Art Nouveau, the never-growing kid, the postmodern artist, no one will argue. By the way, it must be speculated that he is definitely the “poet” of Friedensreich Hundertwasser.

Young Antonio is severely rheumatism, not running around with his friends, just sitting in one place to observe nature. It is thought that this is the reason why Gaudí architect could not stand the straight line.

Typical of his writing language is the Casa Batlló building with wavy curves from the roof to the entire facade. The theme of Gaudí’s writing in this work is to honor San Jordi, the God of the Dragon, which is the patron saint of the whole Catalan country.

The cross on the roof is the spear, and the stone motifs are in five colors to represent dragon scales. The people of Barcelona call it a bone house, maybe because of the column of the house?

Currently the homeowners are Bernat family, but they are also partially open to each year 1 million visitors visit.

Gaudí’s eternal work is undoubtedly the basilica of Sagrada Família of the Roman Catholic Church. Unfortunately, Gaudí did not witness the moment of inauguration of this unique work.

The builder laid the foundation brick in 1882, and if there were nothing unusual, it would be 2026 before the opening of the lower house of God, on the occasion of the 100th anniversary of the death of architect Gaudí.

It is not only a symbol of Barcelona, ​​but also the “most famous” construction site in Europe because last year the authorities issued a license to build it correctly, ie after 136 years “under construction”.

The highlight of this unique work is the 18 towers that look like children covered with sand on the beach, by slowly dripping water and sand into a pyramid. No wonder, when Gaudí was born, he considered the natural world as his teacher.

Rarely, in fact, no other church or chapel in the world bears the mark of a mischievous child like Sagrada Família. And so much of the Church’s life has never been mocked by any cardinal. In 2010, the church was elevated to the basilica of Benedict XVI.

From the first lines of architecture until the death of a traffic accident in 1926 while on the way to the site of Sagrada Família, Gaudí was associated with this work. The Spanish government was allowed by the Pope to bury him in an unfinished church, and since 2000 the Church has been preparing his canonization.


This name proves the fact that the iron will of man does not only appear in outstanding figures. Gaudí, even though he was poor all his life, yet he was also known by the king, the Lord knew his name. Hundertwasser was at least lectured at university.

And Cheval was just a poor postman in France. Because he dropped out of school at the age of 13 and did not learn any goose job, he applied to the post office, specialized in delivering letters through the foothills of the Alps. Of course walking. Every day about thirty kilometers.

But thanks to that slow pace, he had a special affection for the surrounding landscape, with postcards from foreign lands in the booklet, and was also free to daydream about the philosophy of life.

After stumbling upon a strange-shaped stone, he came up with an intention to give it a “more noble” function. From then on, he picked up stones and gravel along the road, piled up in the evening to pick up a wheelbarrow, and set out to build a tomb in a local graveyard.

Cheval’s life was very much related to the graveyard: he was orphaned at 11 years old, his father died when he was 17, shortly after he got married, his wife left the earth at the age of 32, the daughter lived only 15 years and her son also died when 1 year old.

Every evening when he got home, he dumped the gravel he picked up and built a little more on his property. For dozens of years, from the plan of the tomb of the baby tomb has become a huge project, although it is difficult to name, although he named it Palais Idéal, the ideal castle.

At first, the villagers considered what Cheval did as a warm game, everyone came to look once, just to sneer and shake his head bored. It is not only a house, but also decorated with countless strange shapes. A horned demon, the emperor Caesar, the scientist Archimedes, the lion, the tiger, the waterfall, the coconut tree, both Adam and Eva were also present to cast the punishment of heaven on the shoulders of the postman.

Among these figures was soaring many towers that were not included in any architectural textbooks. Cheval is not an architect, nor a mason.

The substance that links all his imaginary products is not cement, but a dream. A big, big dream: 3,500 sacks of lime and cement, 1,000 cubic meters of gravel, 33 years of construction.

Regardless of who laughed, Cheval persisted in doing what he wanted: “I realized that people always ridiculed and bullied people they didn’t understand” – a very philosophical statement.

But there was one person who understood him: the artist Pablo Picasso visited him many times, took pictures and studied the details. Gradually the press also spread rumors and dragged in, from Paris, London, USA. The painter La Vie Illustrée posted a very detailed article. Cheval must hire a receptionist.

By 1912, he could rub his hands satisfied and finish the work that he carefully recorded in the diary: 10,000 days, 93,000 hours, 33 years, 26 meters long, 14 meters wide, 10 meters high. Ferdinand had done something that no one else besides him could do. Later he wanted to sleep in it like an Egyptian Pharaoh in the Pyramid.

But the law does not allow buried in the house, to the cemetery. And the nearest graveyard is a kilometer away.

Then again from the beginning. In 1914, he set out again with a wheelbarrow. Pick up a stone to build a tomb for yourself. In 1922, eight years later, Cheval rubbed his hands with pleasure, watching a small castle with lions, trees, gods, waterfalls … Then he proudly carved into the wall: “One has to see to believe it! “.

Two years later, on August 19, 1924, Cheval died, aged 88 years old.