A Study on the generative background and Characteristics of Gesamtkunstwerk Design Theory advocated by Wiener Werkstätte and Josef Hoffmann

빈 공방과 요제프 호프만이 주창한 총체예술(Gesamtkunstwerk) 디자인론의 생성배경과 특성에 관한 연구

  • Received : 2015.12.31
  • Accepted : 2016.02.22
  • Published : 2016.02.29


In the turn of the twentieth century, Vienna emerged as a great cultural centre that stood at the forefront of developments in music, psychology, and the natural sciences. Equally influential, and still tremendously popular today, are the designs of the Wiener $Werkst{\ddot{a}}tte$ a group that was at the heart of the city's cultural scene and whose collaborators included such luminaries as the architect Josef Hoffman and the designer Koloman Moser under the slogan of Gesamtkunstwerk. The term "Gesamtkunstwerk" was introduced in the romantic period. It describes the desire for and practice of combining various art forms into a whole, such as performances that combine text, visual arts, various design and architecture. Richard Wagner was one of the early theorists of the concept, inspiring many modernist artists. As a co-founder of the Wiener $Werkst{\ddot{a}}tte$, Josef Hoffmann had a decisive influence on modern Viennese architecture and Interior design on the basis of the concept of Gesamtkunstwerk. In this view point, this study is to analyze about the generative background and design characteristics of gesamtkunstwerk advocated Wiener $Werkst{\ddot{a}}tte$. Josef Hoffmann was by all accounts a very successful architect and Interior designer in Vienna. His influence would undoubtedly have been felt simply because of his talent and energy. His special ability to range across multiple domains, coupled with a willingness to collaborate with other artists has created a synthesis and synergy that is compelling to this day.


Gesamtkunstwerk;Josef Hoffmann;Wiener $Werkst{\ddot{a}}tte$;Wien Secession;Koloman Moser


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Supported by : 동양미래대학교