ARCH 25/IX
HOCH-WIESEN-HAUS - DIE HÄUSER HÄNGEN UNTER DEN WÄLDERN
HIGH-RISE MEADOW HOUSE - THE HOUSES ARE HANGING UNDERNEATH THE FORESTS

Architecture model no. 9 by Peter Manhardt
Vienna, 1975
85 cm x 100 cm x 100 cm
Balsa wood
  • Haus der Kunst, Munich, 1975
  • World Travelling Museum Exhibition:
  • Musée d'Art Moderne de la Ville de Paris, 1975
  • Musée de l''Etat, Luxembourg, 1975
  • Musée Cantini, Marseille, 1975
  • A.S.U. Hall, Cairo, 1975
  • The Tel Aviv Museum, 1976
  • Muzeum Narodowe, Warsaw, 1976
  • National Gallery of Iceland, Reykjavik, 1976
  • Statend Museum for Kunst, Copenhagen, 1976
  • Musée Dynamique, Dakar, 1976
  • Seibu Museum of Modern Art, Tokyo, 1977
  • Yokohama Citizen's Gallery, 1977
  • Hong Kong Museum of Art, 1977
  • South African National Gallery, Cape Town, 1977
  • Pretoria Art Museum, 1977
  • Museu de Arte Moderna, Rio de Janeiro, 1977
  • Museu de Arte, São Paulo, 1977
  • Museo de Bellas Artes, Caracas, 1977
  • Museo de Arte Moderno, Mexico City, 1978
  • Musée des Beaux-Arts, Montreal, 1978
  • Royal Ontario Museum, Toronto, 1978
  • Palais des Beaux-Arts, Brussels, 1978
  • Mücsarnok, Budapest, 1978
  • Museo Español de Arte Contemporáneo, Madrid, 1979
  • Seedamm-Kulturzentrum, Pfäffikon/Lake Zurich, 1979
  • Palazzo Barberini, Rome, 1980
  • Palazzo Reale, Milan, 1980
  • Henie/Onstad Stiftelser Kunstsentret, Hovikodden,1980
  • Museum Ludwig, Cologne, 1980/81
  • Secession, Vienna, 1981
  • Kulturhaus, Graz, 1981
  • Neue Berliner Galerie, East Berlin, 1981
  • Helsingin kaupungin taidemuseo, Helsinki, 1981
  • Sala Dalles, Bucharest, 1981/82
  • Schipka gallery, Sofia, 1982
  • Barbican Art Gallery, London, 1983
  • City Art Gallery, York, 1983
  • City Art Centre, Edinburgh, 1983
  • *
  • Travelling exhibition 1998/99:
  • Isetan Museum of Art, Tokyo, 1998
  • Museum "EKi", Kyoto, 1998
  • Sakura City Museum of Art, Chiba, 1998/99
  • *
  • Travelling exhibition 1999:
  • Takamatsu City Museum of Art, 1999
  • Nagoya City Art Museum, 1999
  • Hyogo Prefectural Museum of Modern Art, Kobe, 1999
  • The Museum of Modern Art, Saitama, 1999
  • IDEA Designcenter, Schrems, 2001/02
  • *
  • Travelling exhibition 2006/07:
  • The National Museum of Modern Art, Kyoto, 2006
  • Musee d`art Mercian Karuizawa, 2006
  • Mitsukoshi Museum, Tokyo 2007
  • Shimonoseki City Art Museum, Yamaguchi, 2007
  • *
  • Minoritenkloster, Tulln, 2008
  • Fernwärme Wien (Hundertwasser Path), Vienna, 2009
  • Buchheim Museum, Bernried, 2016/17
  • Constructa 74, Hanover, 1974
  • Bouwbeurs, Utrecht, 1974
  • Galerie im Ministerium, Bonn, 1974
  • Galerien Maximilianstraße, Munich, 1978
  • Das Hundertwasser Haus, Vienna, 1985, p. 94 (c)
  • Y. Shirakura (Ed.), Shinchosha's Super Artists: Hundertwasser, Japan, 1991, pl. 52 (c), p. 79
  • Hundertwasser Architektur, Cologne, 1996, p. 95 (c) and ed. 2006, pp. 77 (c), 311
  • R. Schediwy, Hundertwassers Häuser, Vienna, 1999, p. 29 (c), p. 244
  • A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, pp. 1203/1204 (and c)
  • F. Hundertwasser / P. Restany, Hundertwasser, New York, 2008, p. 129 (c)
  • Haus der Kunst, Munich, 1975, p. 385 (c)
  • World Travelling Museum Exhibition:
  • The Tel Aviv Museum, 1976, p. 398 (c)
  • Muzeum Narodowe, Warsaw, 1976, p. 385 (c)
  • National Gallery of Iceland, Reykjavik, 1976, p. 341 (c)
  • suppl. ed., Reykjavik, 1976, p. 60 (b)
  • Seibu Museum of Modern Art, Tokyo, 1977, p. 398 (c)
  • South African National Gallery, Cape Town/Pretoria Art Museum, 1977, p. 398 (c)
  • Museu de Arte Moderna, Rio de Janeiro/Museu de Arte, Sao Paulo/Palácio Itamaraty, Brasilia, 1977, p. 398 (c)
  • Museo de Bellas Artes de Caracas, 1977, p. 398 (c)
  • suppl. ed., Caracas, 1977 (b)
  • Museo de Arte Moderno, México City, 1978, p. 398 (c)
  • Royal Ontario Museum, Toronto, 1978, p. 398 (c)
  • suppl. ed., Brussel, 1978, p. 51 (b)
  • suppl. ed., Budapest, 1978, p. 51 (b)
  • Galerien Maximilianstraße (Ed.), Architektur, Räume, Projekte, Munich, 1978 pl. 9 (b)
  • Museo Español de Arte Contemporáneo, Madrid, 1979, cat. 179, p. 44 (b)
  • Seedamm-Kulturzentrum, Pfäffikon/Lake Zurich, 1979, p. 385 (c)
  • Palazzo Barberini, Rome, 1980, p. 398 (c)
  • Palazzo Reale, Milan, 1980 (b)
  • Sonja Henies og Niels Onstads Stiftelser Kunstsentret, Hovikodden, 1980, p. 398 (c)
  • Museum Ludwig, Cologne, 1980, p. 488 (c)
  • Secession, Vienna, 1981, p. 488 (c)
  • Kulturhaus, Graz, 1981, p. 488 (c)
  • Neue Berliner Galerie, East Berlin, 1981, p. 40
  • Helsingin kaupungin taidemuseo, Helsinki, 1981, p. 398 (c)
  • suppl. ed., Helsinki, 1981, p. 93 (b)
  • Sala Dalles, Bucharest, 1981, p. 37 (b)
  • suppl. ed., Sofia, 1982, p. 37 (b)
  • Barbican Art Gallery, London, 1983, p. 398 (c) **
  • Architektur - Räume - Projekte, Galerien Maximilianstraße, Munich, 1978, pl. 9 (b)
  • Travelling Exhibition. 1998/99: Japan, p. 123 (c),
  • Leaflet, Isetan Museum of Art, Tokyo, 1998 (c)
  • Leaflet, Museum "EKi", Kyoto, 1998 (c)
  • Leaflet, Sakura City Museum of Art, Chiba, 1998/99 (c)
  • Travelling Exhibition 1999: Japan, p. 62 (c)
  • IDEA Designcenter, Schrems, 2001, cat. 7 (c)
  • Leaflet, The National Museum of Modern Art, Kyoto, 2006
  • ARKEN Museum of Modern Art, Ishoj, 2014, p. 30 (c)
  • Hundertwasser Schön & Gut, Buchheim Museum, Bernried, 2016, p. 182 (and c)
  • W. Broer, A. Schulze-Weslarn, Moderne Architektur, Hanover, 1976, p. 112 (b)
  • Neues Wissen, Munich, 1978, p. 115 (c)
  • K. Bering - R. Niehoff, Bildkompetenz, Oberhausen, 2014, p. 184f. (and c)
  • Austria Today, no. 2, 1975, Vienna, p. 58 (c)
  • pardon, no. 2, Feb. 1977, Frankfurt, p. 19 (c)
  • The Mother Earth News, no. 50, March/April, 1978, Hendersonville, p. 117 (c)
  • Seedamm Kulturzentrum Bulletin, no. 6, summer/autumn 1979, Pfäffikon/Lake Zurich, p. 5 (b)
  • Sarnafil aktuell, no. 10, 1979, Sarnen, p. 5 (b)
  • Detail, Zeitschrift für Architektur + Baudetail, no. 5, Sep/Oct. 1983, Munich, p. 422 (b)
  • Kunst + Unterricht, April, 1984, Seelze, p. 54 (b)
  • Exhibition poster, The National Museum of Modern Art, Kyoto, 2006

Hundertwasser's comment on the work

"It is definitely possible to have meadows and forests in the centre of the city, too, where there is little room - at superimposed levels. Why should only people live in superimposed storeys, when forests, meadows, parks and vegetable gardens can also be situated this way?A building of this kind only seems to be more expensive, for the savings in health care, heating fuel and air-conditioning are enormous, because the building produces much oxygen and promotes health. The upkeep of the roofs will be less costly, and the most important thing is that people will be happy, and happiness cannot be measured monetarily.In addition, there is the following advantage: should it later be possible to produce soil with humus toilets, this soil can be put on the roofs, i. e., once people's waste has been turned into soil, they will be able to use it on their own roofs and to a limited extent even produce food with it: an apple which grows on your own roof is ten times more valuable than one you buy. Moreover, sewage water can be purified by grass roofs by pumping the dirty water up there and having it trickle down in spiral form: by the time it comes back, it will already be pure.Grazing animals will be brought up to an upper storey by means of an elevator and will eat the grass there. The apartments hang like the gondolas of dirigibles underneath the meadows, and you can look through the window at the hanging forest underneath - the hanging houses of Babylon. But most important: the high-rise woodland house is a landmark for the reconciliation of man with nature.(from: Hundertwasser Architecture, Cologne, 1997, pp. 93-94)"