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The building principles are kept visible yet are transferred to the background by the impression of speed and by a dynamic direction of motion. Pühringer's structures are drawn towards heaven, point streamlined into space. They at the same time capture as well as explain the given ambience by lending to it an up-to-date and also visionary aspect.
Despite their monumentality they suddenly appear to be 'light'.
The ratio of size is made visible as well as urbanity, historicity and the function of a certain site.
These definitions as well as the dialogue with the ambience have constantly been honouring Pühringer's work.
The project which Pühringer has developed for the 'Old Bridge' spanning the Neretva at
Mostar, is directly associated with what has been said above.
The starting point is the grief over the war in the former Yugoslavia, the destruction of the
Bridge on November 9, 1993 as the very symbol for it.
Pühringer articulates his sympathy for the war-afflicted population.
His respect also includes the architectural accomplishments of the 'Old Bridge' built by the
Turkish architect Hajrudin in 1566 as the most famous Osman cultural monument on the
Balkans.
Omnipresent in photos, postcards as well as in mini-articles the Bridge before its destruction
was listed as world-cultural-heritage. Spanning 28 metres it is the widest bridge of its time.
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It is also an expression of international understanding and interhuman relationship.
The topos of the bridge itself stands for vivid trade, for connections, travels, communication-connotations which affect Pühringer's draft intensify. In retrospect of the violent destruction of the Bridge and in view of the prospective re-construction in 2003/4 it becomes obvious not to just stick to a (however meaningful) reconstruction. What is more the breach in history but also the event of the war should be manifested in an appropriate form. W.M. Pühringer's concept takes all that into account yet by not questioning the reconstruction of the stone bridge itself but by even taking it as the basis for his draft. That is to say that his work mounted over the stone-bridge is by all means dismountable. Analogous to his former works Pühringer starts from a skeleton-construction with stretched-out limbs of niro-steel.
The individual strutting hold together, resting on one another. To one side the construction is tapering gaining height like an arrow thus protruding over the bridge-construction. A horizontal rail fastened in its lower region on its bearing surface on the river-side backs the transversal supports and keeps the soaring at a minimum. It stands for clarity and a link to the ambience.
The construction itself is covered by lightly arched, gridded surfaces, which define the passage over the bridge as populated, even as a market-place, maybe as adjustable and telescopic.
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As a matter of fact Pühringer's draft offers the possibility of motion. A wheel-connection and additionally a piston, which seems to be movable in both directions, suggest the bridge to be lifted up in the middle.
Pühringer obscures the language but not the possible pictures of war. He uses polished metal so that the peaking of the bridge retains the notion of a missile. His draft, however, and even more so stands for a setting-out, a new beginning. Light reflects on metal, the entire construction stands for sturdiness. The strutting may seem vulnerable yet it possesses something long-lasting above all. The piston itself may be symbolic for a strenuous effort, as well as a controlled, rational procedure. It hints at a counter-movement.
W.M. Pühringer mounts the construction over the stone in such a way that it remains partly visible. Old and new - even old and new methods of construction - are linked together. They even reconcile water and heaven.
Pühringer's draft deals with the awareness of time and history so that it can also be interpreted as a sign of hope for the future.
The issues of W.M. Pühringer's works have been the inclusion of the human being progressive yet critical thinking accepting the speed for our time.
The dialogue between society and habitat are thus promoted and demonstrate the humane dimension of Pühringer's skills.
Thomas Hirsch / Düsseldorf
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