Hundertwasser was a painter. But as of the early 1950s he increasingly focused on architecture, too, and since that time consistently pursued his goal of creating architecture in harmony with nature and humans.
He started with manifestos, essays and demonstrations. By reading out his Mouldiness Manifesto in 1958 he expressed his rejection of rationalism, of the straight line and of the so-called functional architecture.
In Munich in 1967 with his Speech in Nude for the Right to a Third Skin, and in Vienna in 1968 with his Nude Demonstration Against Rationalism in Architecture Hundertwasser condemned the enslavement of humans by the sterile grid system in architecture and denounced the mimetic reflex of the blind consumer of industrial mass products. In his lecture Los von Loos (Loose from Loos) or Architecture-Boycott Manifesto, held in Vienna in 1968 he demanded creative freedom of building. According to Hundertwasser the rational, sterile architecture, built following the guidelines of the Austrian architect Adolf Loos in its deadly monotony and sterile spirit is also responsible for human misery.
In the 1970s, Hundertwasser had his first architecture models built, such as the models for the Eurovision “Wünsch dir was” TV show in 1972, which he used to visualize his ideas on forested roofs, tree tenants and the right to one’s window. In these models he developed new architectural forms, such as the spiral house, the eye-slit house, the terrace house, the pit-house and the high-rise meadow house.
In the early 1980s Hundertwasser had the opportunity to act as an “architecture doctor” using non-regulated irregularities and beauty barriers in projects such as the redesigns for the famous porcelain Factory Rosenthal in Selb, Germany, and the Grain Silo in Krems, Lower Austria, or his “tongue beards” for the Rupertinum Museum in Salzburg.
Finally, he realized more than 40 architectural projects all over the world in which there are window rights for the tenants, uneven floors, woods on the roof, tree tenants and spontaneous vegetation.
In his architectural oeuvre, Hundertwasser puts diversity before monotony and replaces a grid system with an organic approach that enables unregulated irregularities.