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Figs. 24 | Built Heritage

Figs. 24

From: White, everything white? Josef Frank’s Villa Beer (1930) in Vienna, and its materiality in the context of the discourse on ‘white cubes’

Figs. 24

Josef Frank and Oskar Wlach, Villa Beer in Vienna-Hietzing, 1930, paints on metal, sections of samples; binders: linseed oil or alkyd varnish. a: façade, main entrance, door frame metal, ‘japan red’, 1: minium primer with some iron oxide red, 2: primer: chalk, zinc white or zinc siccative / drip nose, 3: titanium white KRONOS (?), Chalk, 4: titanium white (KRONOS), Silicates (fine sand), 5: lead chromate as bichromate, red, 6: lead chromate like (5), orange red. 7–16: later coatings. b: library, window frame, outside, gray, 1: zinc white, lead white, leg black, fine silicates. Due to the fine silicates and the binder, the gray is a bit yellowish. c: Interior, mezzanine, railing metal, yellowish white, 1: tinder, 2: minium, zinc white, barite, 3: chalk, silicates, 4: barite, zinc white, 5: zinc white, patina (first version). d: mezzanine, service stairs, upright, light yellow, 1: minium, iron oxide, chalk, 2: barite, zinc white yellow ocher (original surface) (Source: Laboratory analysis: DI Dr. Robert Linke, Federal Heritage Authority 2017)

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