{"id":21766,"date":"2025-08-26T11:11:39","date_gmt":"2025-08-26T09:11:39","guid":{"rendered":"https:\/\/www.bauhaus.de\/entdecken\/artikel\/sie-waren-der-gegenpol-zur-wiener-architekturszene\/"},"modified":"2025-08-26T11:16:08","modified_gmt":"2025-08-26T09:16:08","slug":"sie-waren-der-gegenpol-zur-wiener-architekturszene","status":"publish","type":"magazine-article","link":"https:\/\/www.bauhaus.de\/en\/discover\/article\/sie-waren-der-gegenpol-zur-wiener-architekturszene\/","title":{"rendered":"\u201cThey were the polar opposites to the Viennese architectural scene\u201d"},"content":{"rendered":"<section class='wp-block-ho-pattern header-text' data-pattern='ho\/header-magazin'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='color-bg-highlight color-fg-highlight header-space header-height-read-only'>\n\n<div  class='container-fluid cf-gutter-1 cf-side-1'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-6'>\n\n<div  class='header-magazine-contents'>\n\n<div  class='cf-rem-max-width container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='padding-bottom-4'><div class=\"wp-block-ho-slot \"><div class=\"margin-bottom-3\">\n\t<swup-back>Back<\/swup-back>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-12'><div class=\"wp-block-ho-slot \"><\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n<h1 class='ho-sd-h3' style=\"white-space: normal;\">\u201cThey were the polar opposites to the Viennese architectural scene\u201d<\/h1>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-12 col-md-6'><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline  lazy-background-fill\" role=\"group\" aria-describedby=\"media_vwnktv\">\n<script type=\"application\/json\">{\n\"id\" : 21760,\n\"sizes\" : {\"medium\":{\"file\":\"7ed2c780-d58a-49c7-ba85-f5a57c2216b8-300x225.jpg\",\"width\":300,\"height\":225,\"mime-type\":\"image\\\/jpeg\",\"filesize\":11761},\"medium_large\":{\"file\":\"7ed2c780-d58a-49c7-ba85-f5a57c2216b8-768x576.jpg\",\"width\":768,\"height\":576,\"mime-type\":\"image\\\/jpeg\",\"filesize\":49412},\"small\":{\"file\":\"7ed2c780-d58a-49c7-ba85-f5a57c2216b8-440x330.jpg\",\"width\":440,\"height\":330,\"mime-type\":\"image\\\/jpeg\",\"filesize\":20692},\"semi\":{\"file\":\"7ed2c780-d58a-49c7-ba85-f5a57c2216b8-580x435.jpg\",\"width\":580,\"height\":435,\"mime-type\":\"image\\\/jpeg\",\"filesize\":32329},\"mobile\":{\"file\":\"7ed2c780-d58a-49c7-ba85-f5a57c2216b8-720x540.jpg\",\"width\":720,\"height\":540,\"mime-type\":\"image\\\/jpeg\",\"filesize\":44882},\"original\":{\"file\":\"7ed2c780-d58a-49c7-ba85-f5a57c2216b8.jpg\",\"width\":865,\"height\":649}},\n\"alt\" : \"Modern living space with curved lines, minimalist furniture, and plenty of natural light.\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2025\\\/08\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : {\"x\":0.5,\"y\":0.5},\n\"background\" : true,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script>\n<div class=\"height-container \" style=\"padding-bottom:75.028901734104%;   \">\n\t<div class=\"height-container-contents lazy-media-contents\">\n\t\n\t<div class=\"lazy-media-preview\" style=\"background-image: url('data:image\/jpeg;base64,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'); background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\t<lazy-media-inline inline-template>\n\t\t<div>\n\t\t\t<lazy-media :inline=\"true\" :alt=\"alt\" :sizes=\"sizes\" :scale=\"scale\" :zoom=\"zoom\" :brightness=\"brightness\" :path=\"path\" :video=\"video\" :autoplay=\"autoplay\" :youtube=\"youtube\" :crop=\"crop\" :youtubelabel=\"youtubelabel\" :annotations=\"annotations\" :background=\"background\" v-if=\"sizes\"><\/lazy-media>\n\t\t<\/div>\n\t<\/lazy-media-inline>\n\t\t\t<\/div>\n<\/div>\n\n\n\n\n\n\n<\/figure>\n\n\t\t<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<div  class='margin-bottom-5 padding-top-2'>\n\n<div  class='container-fluid'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-4 col-md-offset-1'>\n\n<div  class='container-fluid cf-gutter-1 cf-side-1'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='flex-align-center-center mobile-flex-align-center-center'><div class=\"wp-block-ho-slot ho-sd-metadata\"><a href=\"https:\/\/www.bauhaus.de\/en\/kategorie\/backstage-en\/\"><span>#Backstage<\/span><\/a>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-12'>\n\n<div  class='flex-align-center-center header-magazine-date'><div class=\"wp-block-ho-slot ho-sd-metadata\">8\/26\/2025<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='flex-align-center-center header-magazine-reading-time'><span class=ho-sd-metadata>11<\/span>\n\n\n<div class=\"wp-block-ho-slot ho-sd-metadata\"> min reading time<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='flex-align-center-center mobile-flex-align-center-center'><div class=\"wp-block-ho-slot ho-sd-metadata\"><div class=\"header-magazine-author\">by <a href=\"https:\/\/www.bauhaus.de\/en\/autor\/peter-stuiber-en\/\"><span>Peter Stuiber<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-12 col-md-6 col-md-offset-1 color-fg-highlight-2'>\t<p class='ho-sd-body-bold'>The new exhibition \u201cStudio Bauhaus, Vienna\u201d at the Wien Museum MUSA in cooperation with the Bauhaus-Archiv \/ Museum f\u00fcr Gestaltung highlights the work of Friedl Dicker and Franz Singer. 100 works from the Bauhaus-Archiv\u2019s collection are on display. In the following, co-curator Georg Schrom explains how Singer and Dicker delegated their responsibilities and what significance their studio in Vienna had.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline' data-pattern='ho\/text-option-headline'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-h5' style=\"white-space: normal;\">Lorem ipsum<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'><strong>Not only are you the architect and co-curator of the exhibition \u201cStudio Bauhaus, Vienna\u201d, you also have a familial connection to the subject, with which you\u2019ve been involved for almost 40 years. Can you explain the background to us?<\/strong><br><br>The place we\u2019re sitting in right now, at Lerchenfelder Stra\u00dfe 54 in the eighth district, used be an architect\u2019s office in the 1920s. Originally it belonged to the architects Berger and Ziegler who emigrated to Palestine in 1934. It was then taken over by my father\u2019s half-sister, Leopoldine Schrom, whom we used to call \u201cTante Poldi\u201d (Aunt Poldi). Back in those days, a woman working as an independent architect was a big deal. My Aunt Poldi had started studying architecture at the Technical University in Vienna in 1925. With a group of other young women, she was one of the first who dared take the leap. Around the same time, Friedl Dicker and Franz Singer, both of whom had studied at the Bauhaus, came to Vienna.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-links'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-10'>\n\n<div class=\"wp-block-ho-div\"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_3gzU3J\">\n<script type=\"application\/json\">{\n\"id\" : 21762,\n\"sizes\" : {\"medium\":{\"file\":\"a184d016-5fc7-4e08-b80e-0c5f79a9e68d-200x300.jpg\",\"width\":200,\"height\":300,\"mime-type\":\"image\\\/jpeg\",\"filesize\":9740},\"large\":{\"file\":\"a184d016-5fc7-4e08-b80e-0c5f79a9e68d-682x1024.jpg\",\"width\":682,\"height\":1024,\"mime-type\":\"image\\\/jpeg\",\"filesize\":73046},\"medium_large\":{\"file\":\"a184d016-5fc7-4e08-b80e-0c5f79a9e68d-768x1153.jpg\",\"width\":768,\"height\":1153,\"mime-type\":\"image\\\/jpeg\",\"filesize\":91408},\"small\":{\"file\":\"a184d016-5fc7-4e08-b80e-0c5f79a9e68d-293x440.jpg\",\"width\":293,\"height\":440,\"mime-type\":\"image\\\/jpeg\",\"filesize\":16898},\"semi\":{\"file\":\"a184d016-5fc7-4e08-b80e-0c5f79a9e68d-386x580.jpg\",\"width\":386,\"height\":580,\"mime-type\":\"image\\\/jpeg\",\"filesize\":26865},\"mobile\":{\"file\":\"a184d016-5fc7-4e08-b80e-0c5f79a9e68d-479x720.jpg\",\"width\":479,\"height\":720,\"mime-type\":\"image\\\/jpeg\",\"filesize\":38118},\"original\":{\"file\":\"a184d016-5fc7-4e08-b80e-0c5f79a9e68d.jpg\",\"width\":799,\"height\":1200}},\n\"alt\" : \"Black-and-white portrait of a woman with a serious expression, medium-length dark hair, and a neutral background.\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2025\\\/08\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script>\n<div class=\"height-container \" style=\"padding-bottom:150.18773466834%; 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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\n<div class=\"lazy-media loaded\">\n\t<img decoding=\"async\" src=\"https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a184d016-5fc7-4e08-b80e-0c5f79a9e68d.jpg\" srcset=\"https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a184d016-5fc7-4e08-b80e-0c5f79a9e68d.jpg 799w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a184d016-5fc7-4e08-b80e-0c5f79a9e68d-200x300.jpg 200w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a184d016-5fc7-4e08-b80e-0c5f79a9e68d-682x1024.jpg 682w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a184d016-5fc7-4e08-b80e-0c5f79a9e68d-768x1153.jpg 768w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a184d016-5fc7-4e08-b80e-0c5f79a9e68d-293x440.jpg 293w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a184d016-5fc7-4e08-b80e-0c5f79a9e68d-386x580.jpg 386w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a184d016-5fc7-4e08-b80e-0c5f79a9e68d-479x720.jpg 479w\" sizes=\"(max-width: 763px) 100vw, (qmin-width: 764px) and (max-width: 1023px) 100vw, (min-width: 1024px) 100vw\" alt=\"Black-and-white portrait of a woman with a serious expression, medium-length dark hair, and a neutral background.\" loading=\"lazy\" \/>\n<\/div>\t\t<\/div>\n<\/div>\n\n\n\n\n\n\n<\/figure>\n\n\t\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Friedl Dicker, um 1937\/38, Kunstsammlung und Archiv<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Universit\u00e4t f\u00fcr angewandte Kunst Wien <\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline' data-pattern='ho\/text-option-headline'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-h5' style=\"white-space: normal;\">Lorem ipsum<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>They began by doing arts and crafts projects, but after 1925 they started getting their first bigger commissions. The Bauhaus itself only established an architecture department in 1927, so Singer and Dicker didn\u2019t have any formal architectural training. As of 1926\/27, they began recruiting students from the Technical University to complete architectural sketches for their own atelier. That included Bruno Pollak, the Hungarian architect Anna Szab\u00f3, and then in 1929, my aunt Leopoldine Schrom. In one of her letters, she wrote that Singer\u2019s and Dicker\u2019s work was a \u201chot mess built on artistic talent\u201d and she wanted to finish her studies as quickly as possible. But as it were, she never graduated and ended up becoming its most senior employee until it closed in 1938. One of her colleagues, by the way, was Bernard Rudofsky who later became world-famous for his publications.<br><br><strong>What brought Friedl Dicker and Franz Singer to Vienna? They had both established themselves in Berlin after finishing at the Bauhaus.<\/strong><br><br>Singer and Dicker started the Fine Arts Workshops in Berlin. They had a broad range of interests, and their group of friends was correspondingly diverse. They were interested in all kinds of subjects \u2013 architecture, music, psychoanalysis, politics. While at the Bauhaus, they had received commissions to produce stage designs by Berthold Viertel (an Austrian writer who worked as a director in Berlin and later directed several hits in Hollywood, editor\u2019s note). In these projects, one can already recognise their architectural style which was not so much influenced by the Bauhaus as it was by the Russian constructivists, for which they were harshly criticised.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/text-zitat'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-12'>\n\n<div class=\"wp-block-ho-div\"><figure class='wp-block-ho-quote '>\n\t\t\t<blockquote>\u201cThe Fine Arts Workshops were supposed to be a kind of laboratory where artists of various genres could collaborate.\u201d<\/blockquote>\n\t\t\t\t<figcaption>Georg Schrom<\/figcaption>\n\t<\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline' data-pattern='ho\/text-option-headline'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-h5' style=\"white-space: normal;\">Lorem ipsum<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>This was no coincidence, because Berlin was a melting pot back then and was home to many Russians. Among Dicker\u2019s and Singer\u2019s circle of acquaintances were numerous artists, e.g. the architect Friedrich Kiesler and Max Bronstein, who, under the name Mordecai Ardon, later became one of the most influential artists of Israeli modernism. The Fine Arts Workshops were supposed to be a kind of laboratory where artists of various genres could collaborate. Unfortunately, this all happened in the time of hyperinflation. The production costs were exorbitant, the employees expected regular wages, and the whole experiment eventually failed.<br><br><strong>How did Dicker and Singer end up receiving commissions in Vienna? What kind of clientele were they able to attract?<\/strong><br><br>Singer came from an affluent Viennese family. If you look at the projects he completed from 1925 to 1937, most of his clients were Jewish intellectuals, doctors, analysts and journalists. Numerous contracts came from people directly connected to Singer. In terms of design, Singer and Dicker were the polar opposites to the Viennese art scene. As for their colours and their ideas, they were more radical and dazzling than Josef Frank, for instance. In 1988, I had the chance to speak with Milan Dubrovi\u0107, the former editor-in-chief of the \u201cPresse\u201d, who had personally known Dicker and Singer. He said something to the effect that if you were modern and progressive, then you would commission Dicker and Singer.<br><br><strong>The new Bauhaus chic?<\/strong><br><br>In the beginning Singer and Dicker designed rather opulent, heavy, expressive-expressionistic furnishings. Around 1928\/29 their designs became more technical, and they started working with tubular steel. A typical example from this period was the Villa Neumann \u2013 a job that involved renovating a multifamily house in the Czech town of Reichenberg which belonged to Franz Neumann, a cousin of Franz Singer\u2019s. Singer\/Dicker began by removing several walls to create a more spacious feeling and an open layout. By installing folding doors and foldable sliding doors, they created more flexibility on the top floor. Not only did they use tubular steel for the furniture, but also sugarcane bagasse panels and linoleum \u2013 materials which are both highly valued today in terms of environmentally-friendly construction.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-10 col-xs-offset-1 col-md-offset-6'>\n\n<div class=\"wp-block-ho-div\"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_3gzU3J\">\n<script type=\"application\/json\">{\n\"id\" : 21764,\n\"sizes\" : {\"medium\":{\"file\":\"a778e45a-acdf-4f2e-b9a6-891bb542bfe9-262x300.jpg\",\"width\":262,\"height\":300,\"mime-type\":\"image\\\/jpeg\",\"filesize\":11518},\"large\":{\"file\":\"a778e45a-acdf-4f2e-b9a6-891bb542bfe9-894x1024.jpg\",\"width\":894,\"height\":1024,\"mime-type\":\"image\\\/jpeg\",\"filesize\":81547},\"medium_large\":{\"file\":\"a778e45a-acdf-4f2e-b9a6-891bb542bfe9-768x879.jpg\",\"width\":768,\"height\":879,\"mime-type\":\"image\\\/jpeg\",\"filesize\":63072},\"small\":{\"file\":\"a778e45a-acdf-4f2e-b9a6-891bb542bfe9-384x440.jpg\",\"width\":384,\"height\":440,\"mime-type\":\"image\\\/jpeg\",\"filesize\":20335},\"semi\":{\"file\":\"a778e45a-acdf-4f2e-b9a6-891bb542bfe9-507x580.jpg\",\"width\":507,\"height\":580,\"mime-type\":\"image\\\/jpeg\",\"filesize\":32333},\"mobile\":{\"file\":\"a778e45a-acdf-4f2e-b9a6-891bb542bfe9-629x720.jpg\",\"width\":629,\"height\":720,\"mime-type\":\"image\\\/jpeg\",\"filesize\":46018},\"original\":{\"file\":\"a778e45a-acdf-4f2e-b9a6-891bb542bfe9.jpg\",\"width\":1048,\"height\":1200}},\n\"alt\" : \"Isometric representation of a room with tables, chairs, and a kitchenette, colorfully and simply designed.\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2025\\\/08\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script>\n<div class=\"height-container \" style=\"padding-bottom:114.50381679389%; 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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\n<div class=\"lazy-media loaded\">\n\t<img decoding=\"async\" src=\"https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a778e45a-acdf-4f2e-b9a6-891bb542bfe9.jpg\" srcset=\"https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a778e45a-acdf-4f2e-b9a6-891bb542bfe9.jpg 1048w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a778e45a-acdf-4f2e-b9a6-891bb542bfe9-262x300.jpg 262w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a778e45a-acdf-4f2e-b9a6-891bb542bfe9-894x1024.jpg 894w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a778e45a-acdf-4f2e-b9a6-891bb542bfe9-768x879.jpg 768w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a778e45a-acdf-4f2e-b9a6-891bb542bfe9-384x440.jpg 384w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a778e45a-acdf-4f2e-b9a6-891bb542bfe9-507x580.jpg 507w, https:\/\/www.bauhaus.de\/wp-content\/uploads\/2025\/08\/a778e45a-acdf-4f2e-b9a6-891bb542bfe9-629x720.jpg 629w\" sizes=\"(max-width: 763px) 100vw, (qmin-width: 764px) and (max-width: 1023px) 100vw, (min-width: 1024px) 100vw\" alt=\"Isometric representation of a room with tables, chairs, and a kitchenette, colorfully and simply designed.\" loading=\"lazy\" \/>\n<\/div>\t\t<\/div>\n<\/div>\n\n\n\n\n\n\n<\/figure>\n\n\t\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Activity room in the municipal Montessori preschool at Goethehof, Sch\u00fcttaustra\u00dfe 1 (1220 Vienna), axonometry, ca. 1931, Bauhaus-Archiv Berlin<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Daniela Singer <\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline' data-pattern='ho\/text-option-headline'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-h5' style=\"white-space: normal;\">Lorem ipsum<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'><strong>A typical feature of Dicker\/Singer\u2019s designs were their foldable and space-saving furniture. It seems somewhat paradoxical \u2013 most of their clients were very wealthy. People with lots of living space don\u2019t need furniture which you can instantly stow into a box.<\/strong><br><br>Friedrich Achleitner called it the \u201caesthetic luxury\u201d, to which the clients treated themselves. It was not just about its economical or functional character, it was also an aesthetic principle. And let\u2019s not forget that Singer\/Dicker were also interested in social issues as demonstrated by their project for the \u201cYouth at Work\u201d association. Many of the atelier team were involved. My Aunt Poldi went out with others to squalid flats and measured the rooms. Then they designed armchairs, stools, tables and beds which were produced by unemployed young people and given to the needy at no cost. Singer\/Dicker also received a great deal of attention for the furnishings they designed for the Montessori preschool at Goethehof in the 22nd district \u2013 a working-class district.<br><br><strong>How can we imagine the division of labour between Singer and Dicker?<\/strong><br><br>Upon returning to Vienna in 1925, Friedl Dicker opened an atelier in the 9th district on Wasserburggasse near the Franz Josef Train Station. Franz Singer joined her there, and that\u2019s where they spent the first four years. After that, they relocated to Schadekgasse in the 6th district. But the division of labour began taking shape from the start \u2013 he organised matters and catered to the clients and was responsible for the formal design.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/text-zitat'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-12'>\n\n<div class=\"wp-block-ho-div\"><figure class='wp-block-ho-quote '>\n\t\t\t<blockquote>\u201cHe never mentioned Dicker \u2013 that was the typical fate of women back then.\u201d<\/blockquote>\n\t\t\t\t<figcaption>Georg Schrom<\/figcaption>\n\t<\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline' data-pattern='ho\/text-option-headline'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-h5' style=\"white-space: normal;\">Lorem ipsum<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>Dicker brought the artistic element to the table, with colours and fabrics. Of course, it\u2019s hard to know what exactly each person contributed to the work. But when I took over the atelier from my Aunt Poldi in 1984 along with part of the Dicker\/Singer archive, she said: if you ever decide to devote yourself to this, don\u2019t forget Friedl Dicker because her influence on the atelier team was considerably larger than one would assume. All the publications were produced under Franz Singer\u2019s name, he had photos taken of all his works and claimed the designs as his intellectual property. He never mentioned Dicker \u2013 that was the typical fate of women back then.<br><br><strong>Is there any indication that Dicker took offense at that? <\/strong><br><br>I don\u2019t think she cared either way. That\u2019s why she often didn\u2019t even sign her works. At the end of the 1980s, I had the chance to talk with friends, relatives and former clients of the atelier. That\u2019s how I came in contact with Edith Kramer, a pioneer of art therapy who had taken drawing lessons from Friedl Dicker as a child. When she signed one of her drawings, Friedl Dicker teased her and said, \u201cAh, you are famous painter!\u201d So apparently Dicker didn\u2019t attach any value to such things.<br><br><strong>Most of the works from Singer\/Dicker\u2019s atelier have been lost or destroyed. Why then has the archive stood the test of time?<\/strong><br><br>It was pure luck because most architects\u2019 estates eventually land in the paper container. When he emigrated, Singer had taken his most important works for his portfolio which later ended up in the Bauhaus-Archiv in Darmstadt via the art trade. But for a long time, hardly anyone paid attention to them because people were fixated on the great men of the Bauhaus, such as Walter Gropius. Furthermore, it was difficult to classify many of the sheets because the source material had remained in Vienna. When the atelier in Vienna was dissolved in 1938, my aunt simply packed up the archived materials and stored them at her own atelier. Only very recently has Katharina H\u00f6velmann (who co-curated the exhibition at the Wien Museum MUSA with Georg Schrom and Andreas Nierhaus, editor\u2019s note) succeeded in meticulously examining both parts as a whole in relation to one another.<br><br><strong>Let\u2019s touch briefly on the reception history. Friedl Dicker was murdered in Auschwitz in 1944, Singer survived in exile in London. After the war, hardly anyone in Vienna was interested in the work of the atelier, and as you said, the Bauhaus reception was mainly focused on the big names \u2013 a Viennese spin-off didn\u2019t play any role. No wonder that Dicker and Singer\u2019s atelier had been forgotten for so long.<\/strong><br><br>With the Bauhaus centennial, a lot of things from the fringe shifted to the fore. We received massive praise for digging up the work for our first exhibition in 1988 at Heiligenkreuzer Hof. But then it faded again from memory. Very few people in Vienna know that Elena Makarova staged a Dicker exhibition at the Yad Vashem Museum in 1992. There was an exhibition at the Jewish Museum in Frankfurt in 1994, and then we put on an extremely successful project: a Friedl Dicker exhibition, commissioned by the Museum of Tolerance in Los Angeles. It opened at the Palais Harrach, a branch of the Kunsthistorisches Museum. The exhibition went on tour and was shown at the Joanneum in Graz, the Egon Schiele Centre in the Czech Republic, the Jewish Museum in Paris, and then onto Stockholm, New York, Los Angeles, Atlanta and four more museums in Japan. So a lot has happened although people haven\u2019t always taken notice in Germany.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/text-zitat'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-12'>\n\n<div class=\"wp-block-ho-div\"><figure class='wp-block-ho-quote '>\n\t\t\t<blockquote>\u201cIt means a lot to me to now present the work by Dicker and Singer even more extensively with the latest research findings.\u201d<\/blockquote>\n\t\t\t\t<figcaption>Georg Schrom<\/figcaption>\n\t<\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline' data-pattern='ho\/text-option-headline'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-h5' style=\"white-space: normal;\">Lorem ipsum<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-12 col-md-offset-6'>\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'><strong>After almost 40 years devoted to this topic, what does the current exhibition at the Wien Museum MUSA mean to you?<\/strong><br><br>Elena Makarova and I have been preparing for such a project for a long time. In 1988 we started the process on a shoestring budget. It means a lot to me to now present the work by Dicker and Singer even more extensively with the latest research findings. We attended the exhibition on Saturday with Sir Norman Foster, and he was thrilled. You can now recognise the art-historical value of the work. Naturally, you could also criticise it for being so \u201cartistic\u201d even though it all happened under the banner of functionality. It was also important to me that Friedl Dicker\u2019s work wasn\u2019t reduced to the time after 1942 when she was imprisoned in the Theresienstadt ghetto and gave drawing and art lessons to the children there. Because apart from this horrible end, there was so much in Dicker\u2019s life that was positive \u2013 they had so much fun and vitality. Just imagine after World War I in a time of hunger and misery and the Spanish flu, to go to the Bauhaus to make abstract art! What optimism despite the circumstances! It\u2019s an example we could all certainly follow today.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-copy' data-pattern='ho\/text-infobox'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-5'>\n\n<div  class='color-bg-highlight color-fg-highlight color-bg-fg-revsersed'>\n\n<div  class='margin-right-2 padding-top-2 padding-bottom-2 margin-left-2'>\n\n<div  class='container-fluid cf-rem-max-width cf-gutter-1 cf-side-1'>\n\n<div  class='row'>\n\n<div  class='col col-md-10 col-xs-10 col-md-offset-1 col-xs-offset-1'>\n\n<div  class='margin-bottom-4 text-align-center margin-top-4'>\t<p class='ho-sd-metadata'>Georg Schrom lives and works as an architect in Vienna. In addition to his architectural endeavours, his atelier explores the interplay of artistic and architectural production and is involved in national and international museum and exhibition design. His projects have been presented at museums around the world, including the Kunsthistorisches Museum\/Weltmuseum and Volkskundemuseum in Vienna; Wien Museum; Museum of Tolerance, SWC Los Angeles; Terezin Memorial; Tokyo Fuji Art Museum, Bauhaus-Archiv, Berlin; Mus\u00e9e d\u2019art et d\u2019histoire du Judaisme, Paris; Patan Museum, Nepal. Georg Schrom studied at the University of Applied Arts in Vienna under the architect Johannes Spalt, and at the Harvard Graduate School of Design where he earned his Master of Architecture and Urban Design (MAUD93).<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-copy' data-pattern='ho\/text-hinweisbox'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-6 col-md-offset-6'>\n\n<div  class='color-bg-highlight color-fg-highlight color-bg-fg-revsersed'>\n\n<div  class='padding-top-1 padding-bottom-1 margin-left-4 margin-right-4'>\n\n<div  class='container-fluid cf-rem-max-width cf-gutter-1 cf-side-1'>\n\n<div  class='row'>\n\n<div class=\"wp-block-ho-div\">\n\n<div  class='text-align-left margin-bottom-3 margin-top-3'>\t<p class='ho-sd-metadata'><strong>Interviewer<\/strong><br><br>Peter Stuiber studied history and German studies. He now heads the Publications and Digital Museum department at Wien Museum and is editor-in-chief of the Wien Museum magazine.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>The new exhibition \u201cStudio Bauhaus, Vienna\u201d at the Wien Museum MUSA in cooperation with the Bauhaus-Archiv \/ Museum f\u00fcr Gestaltung highlights the work of Friedl Dicker and Franz Singer. 100 works from the Bauhaus-Archiv\u2019s collection are on display. In the following, co-curator Georg Schrom explains how Singer and Dicker delegated their responsibilities and what significance their studio in Vienna had.<\/p>\n","protected":false},"author":9,"featured_media":21760,"template":"","meta":{"_acf_changed":false},"artist_taxonomy":[],"teaser_indicator":[],"magazin_tag":[],"magazine-article-type":[],"magazine-article-category":[98],"magazine-article-author":[126],"class_list":["post-21766","magazine-article","type-magazine-article","status-publish","has-post-thumbnail","hentry","magazine-article-category-backstage-en","magazine-article-author-peter-stuiber-en"],"acf":{"seo_titel":"","keywords":"","noindex":false,"redirect":"","short_url":""},"_links":{"self":[{"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/magazine-article\/21766","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/magazine-article"}],"about":[{"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/types\/magazine-article"}],"author":[{"embeddable":true,"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/users\/9"}],"version-history":[{"count":2,"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/magazine-article\/21766\/revisions"}],"predecessor-version":[{"id":21769,"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/magazine-article\/21766\/revisions\/21769"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/media\/21760"}],"wp:attachment":[{"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/media?parent=21766"}],"wp:term":[{"taxonomy":"artist_taxonomy","embeddable":true,"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/artist_taxonomy?post=21766"},{"taxonomy":"teaser_indicator","embeddable":true,"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/teaser_indicator?post=21766"},{"taxonomy":"magazin_tag","embeddable":true,"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/magazin_tag?post=21766"},{"taxonomy":"magazine-article-type","embeddable":true,"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/magazine-article-type?post=21766"},{"taxonomy":"magazine-article-category","embeddable":true,"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/magazine-article-category?post=21766"},{"taxonomy":"magazine-article-author","embeddable":true,"href":"https:\/\/www.bauhaus.de\/en\/wp-json\/wp\/v2\/magazine-article-author?post=21766"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}