BWM revitalised the Rathauskeller in Vienna’s historic City Hall, including its largely heritage-protected event spaces and the 110m-long corridor, restoring and emphasising the building’s original fabric.
The Vienna City Hall is one of the most impressive buildings on Vienna’s renowned Ringstrasse. With its Neo-Gothic design, which was bold and original for its time, and its imposing tower, it rivalled the city’s major church buildings and became a symbol of the growing metropolis and the rising bourgeoisie – a kind of secular cathedral of the people. When it was built between 1872 and 1883, the ideologically conceived plans did not include a Ratskeller (cellar tavern). Historically, large city halls and manor houses, especially in northern Europe, often had a dedicated room for entertaining citizens and guests or hosting events. Vienna, however, resisted this tradition at first. Thankfully, architect Friedrich von Schmidt had taken measures that later allowed for one to be added. On 11 February 1899, following a decision by Mayor Lueger, the time had finally come for Vienna to get its own Ratskeller. It was intended not just as a place for socialising but above all as a showcase for the wine of Lower Austria, which was then proudly displayed there in vast wine cellars and taverns (Weinstuben). Originally, the cellar could only be accessed from the courtyard on Magistratsstrasse.
The artistic design was entrusted to architect Josef Urban and his business partner, the painter Heinrich Lefler. Within a few months, together with several additional artists commissioned to assist with the murals – Hugo Darnaut, Karl Friedrich Gsur, Hans Ranzoni, Max Suppantschitsch and Charles Wilda – they brought an elaborate Gesamtkunstwerk to life.
Joseph Urban, one of the founders of the Hagenbund, was a master of staging, lavish interiors and ephemeral designs and was frequently criticised by contemporary architects for his eclectic approach. In 1911 he was appointed chief stage designer at the Boston Opera and left Austria for the United States, where he became widely known not only as the founder of the Wiener Werkstätte’s New York branch but also as a sought-after designer of prominent villas – including Mar-a-Lago. The Vienna Rathauskeller is one of the few places in Vienna where traces of Joseph Urban’s work still remain, at least in part.
In 1930 architect Stefan Fayans was commissioned with redesigning some parts of the Ratskeller. Extensive renovation work took place in 1964/65 and again in the 1980s, during which the wall and ceiling frescoes were restored, although many elements of the original design were altered.
BWM have revitalised these largely heritage-protected spaces. “Our goal was to highlight the original fabric and capture the intensity of Joseph Urban’s design. As with all our design projects, we started with a thorough historical analysis,” explains Erich Bernard of BWM Designers & Architects. The Vienna Rathauskeller is a complex ensemble of highly diverse spaces that, nevertheless, share many design elements. In the course of the revitalisation, BWM brought these elements back to the fore – specifically the vaults, panelling, chandeliers, latticework, wall paintings, windows, and the coat of arms of the City of Vienna.
Completely restructured from the ground up.
And it already begins at the entrance … with a piece of history: original objects from the Knights’ Hall are presented in a glass cabinet as a carefully composed tableau. A centrally positioned table with an inset mirror accentuates the chandelier suspended above and draws attention to the vaulted ceiling. The reopening of the clerestory restores the space’s original character and ambience, while discreet technical upgrades, including a new folding sliding door, bring it into the present.
A wide stone staircase leads guests down to the basement level. They are then welcomed at the reception, which includes a revitalised cloakroom, with a meeting room located directly adjacent. A central dome with indirect lighting highlights the entrance area, while the red marble floor design mirrors the dome’s shape. The reception desk itself reflects the structure of the wooden panelling, clad in Adnet marble, while indirect lighting enhances the relief effect.
The entire floor structure of the corridor connecting the halls was completely renovated and redesigned. To give structure to its considerable length, friezes were created in spatial alignment with the cross vaults and pillars, using new stones in green (Rauris marble in Dorfer green), white (Rauris white) and red (Breccia Pernice).
Concept for linking spaces.
The corridor connecting all the event spaces spans 110m in length. “Each of the entrances to the six halls is now clearly marked by a circle of red marble on the floor, a specially designed chandelier above, and brass signage suspended in the arches,” explains BWM project manager Elisabeth Albenberger.
The new beige and green colour scheme highlights the ribs of the impressive vaulted ceilings, with lighter tones drawing attention to the hall entrances, and darker shades guiding guests along the corridor. The custom chandeliers highlight the entrances and, together with the specially designed wall lights, add the final touch for a harmonious overall effect. Built-in service furniture in the niches is seamlessly integrated into the wainscoting, and the red floor stone, Breccia Pernice, is used for the countertops. The addition of intimate, built-in seating areas completes the corridor’s welcoming atmosphere.
