After successful completion of the course, students are able to critically to identify and evaluate trends and developments in the phenomenon of the reception of antiquity in early modern Viennese architecture. They will have a basic knowledge of the architectural history and building typology of Viennese buildings from the 16th to the 20th/21st century from the perspective of ...

"The Antiquity and the Viennese Architecture".

 Vitruvian temple architecture, which epitomised antiquity, and the orders, mostly in the guise of Palladianism, provided the reference points for the design of public buildings on the continent, but above all in the north-north-eastern Alpine arc, from as early as 1600. The Habsburg Monarchy, and certainly the Tyrolean Archdukes, like their neighbours, liked to use the language of Roman antiquity, which had now become accessible throughout Europe through manuals and translations (from Böckler to Ryff to Scamozzi). The history of architecture has already recognised this in the earliest studies, especially on the spread of Palladian ideas in German-speaking countries (e.g. Hubala). The emergence of divergent styles does not detract from this insight: Northern Italian Baroque, in particular, such as the buildings of Baldassarre Longhena, is also dominated by temple-like complexes or colonnades, or at least by ancient Roman models and patterns.
What is the concrete effect of this formal apparatus in Austria in representative buildings, mostly designed for the government or the church? Which compositional or spatial elements of transalpine villa complexes were adopted in the construction of palaces or representative buildings?
The spectrum ranges from northern Italian architects in the Viennese neighbourhood (still recognisable in the reconstructible remains of the Neugebäude, but also in the Amalienburg (list to be continued...) to the creative phase of Theophil Hansen and the development of the Ringstrasse. Parallel developments in Austria's major cultural rivals such as Bavaria and neighbouring regions (Bohemia and Hungary) will be compared.

• Training in the theory of proportion, the sense of style, the recognition of planning and design elements in architecture and their function.
• Introduction to the subject (principles of ancient architectural theory, its independent formulation in the Renaissance by Palladio and Serlio, the most widely read in the North, its mediators in the North, excursus on treatise literatur

• Compulsory attendance
• Active participation in the course,
• Writing a research paper
• Presentation of the research results

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