SCHUBERTH AND SCHUBERTH

SCHUBERTH AND SCHUBERTH

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Colors

Sample

Words

font

Time and change

Stage

Foreign ideas

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/ Colors /

Gumpen­dorf office, ceil­ing and floor plan.
Light gray: NCS 1500‑N; Medi­um gray: NCS 2502‑Y, Black: NCS 8502‑B, Salmon ceil­ing: NCS 2030-Y60R (Latex), Mus­tard yel­low ceil­ing: NCS 3060-Y10R, Petrol wall: NCS 5540-B20G, Turquoise: NCS 1005 B50G, Pink dot: NCS 1060-Y70R (Latex)

“The Vien­nese Roth­schilds. A thriller”, exhi­bi­tion at the Jew­ish Muse­um Vien­na, 2021/ 2022. Wall col­ors: NCS S1505-Y30R (beige), NCS S2005-Y40R (dark beige), NCS S2000‑N (light gray) “Crises”: NCS S7010-Y90R (Aubergine), NCS S8502‑B (Anthracite) “High­lights”: NCS S4030-Y80R (Ter­ra­cot­ta Red) Spe­cial col­ors: NCS S2010-B30G (light blue), RAL 9003 (sig­nal white) Fab­rics: SAHCO — Aval­on 2, 055 (approx. moss green), 007 (light beige)

Col­or sam­ple con­ver­sion Vien­na-Hiet­z­ing.
Blue ceil­ing pan­el: 4550‑B, light green (right): NCS 2020-G30Y, dark green (left) NCS 4020_B50G, mus­tard yel­low ceil­ing pan­el: NCS 2070-Y10R, light beige: NCS 2010-Y10R, dark beige: NCS 3005-Y20R, red (left): NCS 3560 Y90R

12_Farbaxo

Col­or con­cept Haus Wasserstraße/ Weiss-Döring.
Black-blue: NCS 8005-B20G, blue: NCS 1565‑B, white: NCS 0300‑N, green-yel­low: NCS 1075-G80Y

For inspi­ra­tion: Süd­bahn­ho­tel Sem­mer­ing, archi­tects Emil Hoppe, Otto Schön­thal.
Architek­turzen­trum Wien, Col­lec­tion, Pho­to: Margheri­ta Spi­lut­ti­ni

/ Sample /

Mauer­bach vil­la park, win­dow films

Check it, chalk lines on black­board paint, design by Eleonore Bujat­ti

Ani­mal wall­pa­per, for the floor-to-ceil­ing chalk­boards in the Vinothek Café Ate­lier,
Design Eleonore Bujat­ti

Alberti­na sausage stand with rab­bit

06_Green
07_Glass

Glaz­ing sausage stand Prater with stick­ers

/ Words /

Words that are hyphen­at­ed to form new com­bi­na­tions.
Used as a tem­po­rary chalk motif for the black­boards at “Check it”.
By Eleonore Bujat­ti.

WORK
SAUF
WALL

MULTI
TAL
DUCK

STATE
SEX
AMEN

EGO
IS
IN

HUMAN
ENGE
QUANTITY

ALL
IN
GANG

PUFF
ERZ
ONE

CONSUMPTION
ENTEN

DELICATE
EATING

KOMM
ISS
IONES

HAU
STIER

HORTEN
YOU

FLIEG
ENGE
WEIGHT

VERY
OHR

List of mir­ror words that did not make it:

Fresh­man
Earth­ling
Wait a minute
One moment
I am me
Now

Sky blue
Cloud­less
Three-cheese high
Bon Voy­age
Five sec­onds of beau­ty
Beau­ti­ful views

“Now”, Johan­na Schu­berth, plas­ticine on paper, 2008

/ font /

“CHECK IT” (Post-its as busi­ness cards) and “585 12 12” (advice tele­phone)
Design: Eleonore Bujat­ti

Design: Eleonore Bujat­ti, brass plates on traver­tine façade pan­els

Design: Eleonore Bujat­ti, brass let­ters on traver­tine

Door sign, plas­ticine on alu­minum

SEPTEMBER 12 TO OCTOBER 31 THU/FR 16.00 TO 21.00 BEER/WINE 3
Graph­ic trans­la­tion of the Onyx wall, for Amer­i­can Bar REMAKE.
Design: Eleonore Bujat­ti

Design: Eleonore Bujat­ti

07_Schriftstudie
08_Lochblech

“The cell”, room label­ing

Georg Trakl “The Sun”, plas­ticine on brass, 32x32cm

/ Time and change /

Vari­ants:
STAY IN TIME
CONSUMPTION
OPPOSITE
WINTER SLEEP
IMMEASURABLE
(TRZESNIEWSKI)

Let­ter clock in the foy­er of the Het­zen­dor­fer Straße res­i­den­tial build­ing, 2006

Dis­card­ed text attempts:

“Una dabit, quod negat altera“
One hour grants what the oth­er fails to

“Ulti­ma latet“
The last hour is hid­den

“Vul­ner­ant omnes, ulti­ma necat“
All hours wound, but the last one kills

In the mirror of time

Pub­lished in “Die PRESSE”, Freiraum, Jan­u­ary 3, 2009.
Mate­r­i­al: School exer­cise 15th sheet, water­col­or on paper, June 23, 1914 and school exer­cise 10th sheet May 1, 1915 by Wil­helm Schu­berth (born 1902).

Com­par­i­son of our grandfather’s old school water­col­ors from 1914/1915 with a plas­ticine pic­ture from 2008. Illus­tra­tion tech­niques and pit­falls: A but­ter­fly can be paint­ed with a lit­tle prac­tice. It is more dif­fi­cult to grasp the course of time.

Rendezvous on the Strudlhofstiege

Illus­tra­tion of the key scene from the nov­el “Die Strudl­hof­stiege” by Heim­i­to von Doder­er. The bro­ken ren­dezvous — Schmelz­er and Etel­ka Stan­gel­er, who were actu­al­ly hired as chap­er­ones, notice Schmeller Senior, who has secret­ly fol­lowed his daugh­ter in a cab to pre­vent Ingrid from meet­ing Stephan von Sem­s­ki. At the same time, René Stan­gel­er, Paula Schachl and Grauer­mann appear at the foot of the stairs and wit­ness the scene. Stan­gel­er has found the stage he had expect­ed to find at this loca­tion.

(From: “Scenes from a neigh­bor­hood”, office mag­a­zine no. 2, 2019)

Detail of the Strudl­hof­stiege in August 2019

Foy­er and entrance Julius-Tan­dler-Platz 4

Jol­ly ice cream on paper and as a linocut

/ Stage /

Alberti­na, April 2018
Ren­der­ing @ievgen_kalinovych, col­lage with plas­ticine image SUS

Two ways of read­ing:
The city as a stage 1

The metaphor has been giv­en dif­fer­ent, almost oppos­ing inter­pre­ta­tions. In her “Vita acti­va”, pub­lished in 1958, Han­nah Arendt exam­ined a the­o­ry of the pub­lic sphere and polit­i­cal action. It was based on the ancient Greek polis, the city-state as an asso­ci­a­tion of peo­ple.
“The polit­i­cal sphere in the sense of the Greeks resem­bles such a per­pet­u­al stage, on which there is, so to speak, only an appear­ance, but no depar­ture, and this sphere aris­es direct­ly from a togeth­er­ness, the com­mu­nica­tive par­tic­i­pa­tion in words and deeds”. It is about the pres­ence of a fel­low world, being seen and heard, appear­ing in front of oth­ers. This audi­ence in an audi­to­ri­um, in which every­one is both a spec­ta­tor and a par­tic­i­pant, is the polis.
The Amer­i­can soci­ol­o­gist Richard Sen­net went even fur­ther. In the mid-1970s, he described in his book “Ver­fall und Ende des öffentlichen Lebens. The tyran­ny of inti­ma­cy”, he described how the pri­vate and the pub­lic inter­pen­e­trate. His the­sis: pub­lic action is always action with masks. When these masks are miss­ing, some­thing like a “ter­ror of inti­ma­cy” aris­es. Express­ing one­self” replaces polit­i­cal dis­course.
The city as a stage and polit­i­cal loca­tion is giv­en a clear­ly pos­i­tive charge.

(Arendt, Munich: Piper 2020, pp. 278, 279)

The city as a stage 2

We also enjoy strolling through sum­mery old towns (such as Alberti­naplatz, with our Bitzinger sausage stand) after the beau­ti­ful for­mu­la. One could also con­clude from this that the archi­tects’ project is pri­mar­i­ly one of stag­ing. It’s about cre­at­ing scenes and atmos­pheres: scenes of enter­tain­ment and con­sump­tion — and scenes of liv­ing and work­ing. The task of archi­tec­ture could hard­ly be dis­tin­guished from that of stage design. Life as a stag­ing in which we are par­tic­i­pat­ing vis­i­tors to our own exhi­bi­tion? As ear­ly as 1988, the urban his­to­ri­an Wern­er Durth not­ed that the “con­cepts of the stag­ing and dra­matur­gy of cities, which were put up for dis­cus­sion with crit­i­cal intent, were increas­ing­ly being turned into some­thing pos­i­tive and affirmed”.

(For fur­ther read­ing e.g.: Ger­not Böhme, Architek­tur und Atmo­sphäre, Munich 2013 and Wern­er Durth, Die Insze­nierung der All­t­agswelt, 2nd edi­tion, Braun­schweig 1988, after­word)

Corinne l. Rusch, Alberti­naplatz sausage stand

Bitzinger sausage stand on Alberti­naplatz
Three pho­to­graph­ic works by Corinne l. Rusch, 2009
Lamb­da Print mount­ed on Alu-Dibond pan­els

Con­tact: www.corinnerusch.com;
E‑Mail: corinne@theselection.net

Theater and exhibition

“Prac­tice makes per­fect”. Lisa Kröll at the Pyg­malion The­ater in Vien­na.
Pho­tographed by Michael Dürr. From the “Metaphors” series, office mag­a­zine no. 4, 2023

Exhi­bi­tion “The Vien­nese Roth­schilds”, Jew­ish Muse­um Vien­na, 2022
Pho­tographed by Christoph Panz­er

Semi­cir­cu­lar hall of the exhi­bi­tion “Verehrt-Begehrt”, The­ater­mu­se­um Vien­na, 2022.
Pho­tographed by Christoph Panz­er

The city as a stage 3

Garage Freyung, video by Michael Dürr, 2022

/ Foreign ideas /

Ideas that we did­n’t have our­selves and had to steal 1

10 tips for better architecture

1 Don’t invent any­thing
2 Mix every­thing
3 Ask artists
4 Sim­ple refine­ment
5 Spin­ning for­eign ideas fur­ther
6 Remain­ing enig­mat­ic
7 Embrac­ing the old
8 Sep­a­rate cov­er from con­tents
9 Taste gen­er­ous­ly
10 Learn­ing from the large num­ber

Ideas that we did­n’t have our­selves and had to steal 2

“The axe in the for­est”, pho­tographed by Michael Dürr. From the series “Metaphors”, office book­let no. 4, 2023.
After the motif: Robert Lebeck, “Josef Beuys in his Düs­sel­dorf stu­dio apart­ment”, 1970

Ideas that we did­n’t have our­selves and had to steal 3

“Mask 1”, exe­cut­ed by Flo­ri­an Schauhu­ber, 2023
After a pho­to series about Mar­cel Breuer’s tubu­lar steel chair