In association with Semper, Karl Freiherr von Hasenauer designed at Vienna the Museums of Art and Natural History, built between 1872 and 1884.
Frank Rushmore Watson, Saint Leo Roman Catholic Church (Philadelphia, PA: post 1884).
Miklˇs Ybl, Hungarian State Opera House (Budapest: 1873-84).
Eduard Riedel, et al, Schlo▀ Neuschwanstein (Bavaria: 1869-1884).
In 1868 the ruins of the medieval twin castles were demolished completely; the remains of the old keep were blown up. The foundation stone for the Palas was laid on September 5, 1869; in 1872 its cellar was completed and in 1876 everything up to the first floor. But the Gatehouse was finished first. At the end of the year 1873 it was completed and fully furnished, allowing Ludwig to take provisional lodgings there and observe the further construction work. In 1874 direction of the civil works passed from Eduard Riedel to Georg von Dollmann. The topping out ceremony for the Palas was in 1880, and in 1884 the king could move into the new building. In the same year the direction of the project passed to Julius Hofmann, after Dollmann had fallen in disgrace.
Frank Furness, National Bank of the Republic [Clearing House] (Philadelphia: 313 Chestnut Street, 1883-84, demolished).
"The city street fašade can provide a type of juxtaposed contradiction that is essentially two-dimensional. Frank Furness' Clearing House, now demolished like many of his best works in Philadelphia, contained an array of violent pressures within a rigid frame. The half-segmental arch, blocked by the submerged tower which, in turn, bisects the fašade into a near duality, and the violent adjacencies of rectangles, squares, lunettes, and diagonals of contrasting sizes, compose a building seemingly held up by the buildings next door: it is an almost insane short story of a castle on a city street. All these relationships of structure and pattern contrast the severe limitations associated with a fašade, a street line, and contiguous row houses."
Robert Venturi, Complexity and Contradiction in Architecture (New York: Museum of Modern Art, 1966), p. xx.