ABSTRACT
This chapter focuses on the essay on Vienna Spring that explores the ideological and metaphysical core of modern architecture. It expresses that modern design in general, and architecture in particular, arrived at its stylistic peak and consistency in turn-of-the-century Vienna. The Wiener Moderne movement between 1890 and 1918, also known as the Vienna Secessionist movement, was propelled by the growing awareness that the then prevailing forms of expressions in art, architecture, music and also urbanism, still directed by the academic traditions, no longer corresponded with the emerging patterns of social life and needed to change. Two characteristics define this movement. One, its extraordinary ability to co-populate, in an art object, both the emotional and the rational realities. And this had something to do with the second characteristic, that is, the social recognition of the autonomous individual and subsequently the emergence of an artist with the freedom to freely express reality as they see it.
