On Friedl mit der leeren Tasche followed Siegmund der Münzreiche as Prince of Tyrol. Siegmund of Tyrol (1427 - 1496) had the worst possible start to his reign. When his father Frederick died, Siegmund was only 12 years old. His uncle Frederick III, Emperor of the Holy Roman Empire and father of Maximilian I, therefore took him into involuntary custody and guardianship. You could say that Siegmund began his career as a hostage of the emperor, his own cousin. Tyrol was now a rich county and the emperor was reluctant to relinquish direct control over it. It was only when the Tyrolean estates protested against this paternalism that Siegmund was able to take office. The Tyrolean Diet had taken over the reins of government in the absence of a sovereign prince, thereby demonstrating its political clout. At the age of 18, Siegmund moved to Innsbruck to take over the official duties. Four years later, he married Eleanor of Scotland (1433 - 1480), the visually unattractive 16-year-old daughter of King James of the House of Stewart. The marriage was to remain childless.

Siegmund issued the Schwaz mountain regulationswhich was to become the model for all Habsburg mines. Mining officials were given more rights within their sphere of influence, similar to the universities. There were special regulations for miners within society, as they were a highly sought-after labour force. One can speak of an early social and labour law agreement. The miners worked hard, but earned relatively well. The same applied to the mint and the salt works in Hall. Urban life in Innsbruck and the surrounding area also attracted new trades. In Mühlau, a high-quality metalworking trade was established in the form of the Plattnerei. The people who worked in this New Industry were employed formed a kind of middle class with higher purchasing power. The demand for meat increased. This in turn led to a change in agriculture. In villages close to towns such as Pradl and Amras or in the Tyrolean lowlands near the Hall and Schwaz mines to the east of Innsbruck, farmers discovered livestock farming as a more profitable source of income than arable farming. To this day, the types of cultivation in the different regions of Tyrol vary greatly.

In 1484, Siegmund had the mint moved from Meran in South Tyrol to Hall, which earned him the nickname Siegmund der Münzreiche brought in. For the small town of Hall, which was located in the immediate vicinity of Innsbruck, as well as for Innsbruck itself, this meant an immense increase in value. In reality, however, despite the rich land he had inherited from Frederick IV, Siegmund was not particularly rich in coin, unlike his father, due to his opulent lifestyle. His second marriage was to Katharina of Saxony (1468 - 1524), a lady from a highly aristocratic electoral family. It was probably also thanks to the influence and court behaviour of Siegmund and his two wives that the expenditure of the Coin rich exceeded the income from taxes, salt works and mines in the long term. At the royal wedding in 1484, the bride's procession alone comprised 54 carriages. The guests had to be accommodated and catered for in Innsbruck. Even with a wife 40 years his junior, the now senile Siegmund was granted a male heir, which must have been particularly bitter for him considering the 30 children he was rumoured to have fathered out of wedlock.

Innsbruck flourished under Siegmund's court and coffers. During his opulent reign, the city became a centre of attraction for craftsmen, goldsmiths and artists. The city tower near the Old Town Hall as an expression of the city's prosperity and the first parts of the Hofburg were built under Siegmund. A glass painter settled in Innsbruck and established the tradition of glass painting in Innsbruck. Around 1900, the resulting Stained glass Innsbruck in today's Glasmalereistraße, one of the world's leading companies with branches in New York and Munich. The court library grew in step with Siegmund and Eleonore's humanistically scholarly guests. Both were considered art-loving and interested in literature. Before the invention of printing, books were an expensive hobby. Travellers and showmen were also welcome at court to entertain local and international guests.

At the same time, times became tougher for those who could not keep up with the new pace of life in the city. It can be assumed that there were around 2000 townspeople at this time. Sigmund's court probably consisted of 500 people, not including his wife's court. These "strangers" caused a sensation in Innsbruck. The gap between the social classes grew. The witch trial of 1485 took place in a climate of envy, resentment and scepticism towards the new customs that had arrived in Innsbruck.

Siegmund was not the most successful ruler of Tyrol, but is still fondly remembered today thanks to his services to the cultural upswing in Innsbruck. At the end of his reign, his court was overly bloated and expensive. A lost war with the Swiss Confederates obliged him to make payments, and a war with Venice also ended badly. Siegmund had to hand over Habsburg possessions in Alsace and what is now Breisgau to Charles the bold of Burgundy, the future father-in-law of Maximilian I. He sold the Austrian Forelands to the Duchy of Bavaria for a ridiculously low price and pledged the Tyrolean silver mines to Jakob Fugger. The Bavarian Wittelsbachs wanted to bring Tyrol back under their control through an inheritance agreement with Sigmund, who was mentally deranged due to his age. Only imperial pressure and the hasty intervention of the Tyrolean estates and Maximilian made it possible for the land to remain with the House of Habsburg.

The intelligent, liberal-minded and sensitive Crown Prince Rudolf (1858 - 1889) was regarded as the Favourite of the nations of the Habsburg Empire. In many respects, his life can be read as exemplary for the period between 1848 and the outbreak of the First World War. The struggle between new political ideas and the traditional, the enthusiasm for science, art and culture as well as customs and morals, which also characterised society and everyday life in Innsbruck, are reflected in the figure of Emperor Franz Josef I's son. The vast majority of Innsbruckers did not have the material means or the status of Habsburgs, but the fashions and trends under which they lived were the same.

Since the accession of Franz Joseph I, the Danube Monarchy had changed both spatially and morally. In 1866, after Königgrätz, Austria had left the Deutschen Bund was eliminated. The so-called Compromise with Hungary took place in 1867. The Italian territories, with the exception of Trentino and the port of Trieste, were lost. The endeavours of the individual ethnic groups for national independence did not stop at Tyrol, as the Trentino region between Salurn and Riva on Lake Garda also included an Italian-speaking part of the country. In the Tyrolean provincial parliament, Italian-speaking members of parliament, so-called Irredentistsmore rights and autonomy for what was then South Tyrol. In Innsbruck, there were repeated tensions and clashes between Italian and German-speaking students. The WallschenThis term for Italians persists to this day in Tyrol and they were considered dishonourable, unreliable and lazy.

Rudolf was considered to be very well-read and educated. He was interested in a wide range of subjects, in keeping with the spirit of the educated middle classes. In addition to Greek and Latin, he also spoke French, Hungarian, Czech and Croatian. As a private citizen, he devoted himself to writing press articles, science and travelling through the countries of the monarchy. He organised the publication of of the Kronprinzenwerka natural science encyclopaedia. Volume 13 was published in 1893 and dealt with the crown land of Tyrol.

He was also politically open to new ideas. Rudolf wrote liberal articles in the "Neue Wiener Tagblatt" under a pseudonym. Among other things, he wanted to promote land and land reforms by taxing large landowners more heavily and granting the individual nationalities of the Habsburg Empire more rights. He was particularly unpopular in conservative, rural Tyrol and among the military. Among the liberal-minded people of Innsbruck, on the other hand, he was seen as a hope for a renewal of the monarchy in the sense of a modern, federal state. Although the Rudolf Fountain on Boznerplatz in Innsbruck does not commemorate the crown prince, he was present at its inauguration.

Despite, or perhaps because of his aristocratic background, Rudolf's private life was turbulent, but not atypical of the time, in which parents and teachers were less approachable educators and more distant figures of respect. Children were brought up strictly. Neither teachers nor parents shied away from corporal punishment, even if there were limits, laws and rules for the use of domestic violence. Militarism and a focus on future gainful employment prevented the kind of childhood and youth we know today. Rudolf's early years, when he had to undergo a military education under General Gondrecourt at the request of Emperor Franz Josef, were also less than luxurious. It was only after his mother Elisabeth intervened that harassment such as water cures, drill in the rain and snow and being woken up with pistol shots were removed from the six-year-old crown prince's daily programme.

Like many of his contemporaries, Rudolf found himself in an unhappy, arranged marriage as an adult. The 19th century was not the age of love marriages, even if the Romantic and Biedermeier periods are often praised as such. Aristocrats and members of the upper bourgeoisie married for reasons of social status and with the aim of preserving the dynasty. Servants, maids, farmhands and maidservants were forbidden to marry for a long time. In the upper classes, wives were nothing more than jewellery for their husbands and the head of the household. Only when the often older husband had died could widows enjoy a life outside of this role.

Throughout his life, Rudolf was not averse to the fairer sex outside of marriage. In the last months of his life, Rudolf had an affair with Mary Vetsera, a girl from the rich Hungarian aristocracy who was considered particularly beautiful and was only 17 years old. At this time, he was already suffering from depression, gonorrhoea, alcoholism and morphine addiction. On 30 January 1889, Rudolf met Vetsera after spending the previous night with his long-term lover, the prostitute Maria "Mizzi" Kaspar, had spent the night. Under circumstances that have never been fully clarified, he first killed the young woman and then himself with a shot to the head. The suicide was never recognised by the Habsburg family. Zita (1892 - 1989), the widow of the last Emperor Karl, still spoke of an assassination attempt in the 1980s. Many of his subjects held the same view as Rudolf. Although hardly anyone could boast of claiming a Hungarian noblewoman as a playmate, a lover, the mores were not what pastors preached from the pulpit every day. Husbands indulged in sexual affairs with maids, mistresses and prostitutes.

The discussion surrounding the burial of the heir to the throne and his mistress revealed the Christian morals and double standards of the Habsburg Empire. Suicide was considered a grave sin and actually prevented a Christian burial. Vetsera was buried inconspicuously in a small grave by the cemetery wall in Heiligenkreuz near Mayerling, while Rudolf was given a state funeral after imperial intervention with the Pope and was laid to rest in the Capuchin crypt, probably the most famous burial place of the Habsburgs in Vienna.

The caesura of the First World War not only changed Innsbruck economically and socially, but also gave the city a new appearance. The visual arts reinvented themselves after the horrors of war. The classicism of the turn of the century was the architecture of a bourgeoisie that had tried to imitate the nobility. After the war, many citizens blamed this aristocracy for the horrors on the battlefields of Europe. Even before the war, sport and the phenomenon of leisure had become the expression of a new bourgeois self-image in contrast to the old order determined by the aristocracy. From now on, buildings and infrastructure were to serve every citizen equally. Aristocratic virtues and interest in classical antiquity had lost their lustre within a very short space of time.

The architects of the post-war period wanted to distinguish themselves from previous generations in terms of appearance, while at the same time maximising the functionality of the buildings. The end of the monarchy is reflected in the simplicity of the architecture. Lois Welzenbacher wrote about the architectural aberrations of this period in an article in the magazine Tiroler Hochland in 1920:

"As far as we can judge today, it is clear that the 19th century lacked the strength to create its own distinct style. It is the age of stillness... Thus details were reproduced with historical accuracy, mostly without any particular meaning or purpose, and without a harmonious overall picture that would have arisen from factual or artistic necessity."

New forms of design such as the Bauhaus style from Weimar, high-rise buildings from the USA and Soviet Modernism from the revolutionary USSR found their way into design, construction and craftsmanship. The best-known Tyrolean representatives of this new way of designing public spaces were Siegfried Mazagg, Theodor Prachensky, Clemens Holzmeister and Lois Welzenbacher. Each of these architects had their own specialities, making it difficult to clearly define Tyrolean Modernism. Buildings such as the Innsbruck power station in Salurnerstrasse or the Adambräu near the railway station were striking buildings, not only of unprecedented height, but also in a completely new style. Despite all the enthusiasm for the dawn of new times, there was also a current of thought that is problematic for those of us born later. Filippo Tommaso Marinetti's Futurism not only exerted a great attraction on Italian fascism, but also on many representatives of modernist art and architecture.

The best-known and most impressive representative of the so-called Tiroler Moderne was Franz Baumann (1892 - 1974). Baumann was born in Innsbruck in 1892, the son of a postal clerk. The theologian, publicist and war propagandist Anton Müllner, alias Brother Willram, became aware of Franz Baumann's talent as a draughtsman and at the age of 14 enabled the young man to attend the Staatsgewerbeschule, today's HTL. It was here that he met his future brother-in-law Theodor Prachensky. Together with Baumann's sister Maria, the two young men went on excursions in the area around Innsbruck to paint pictures of the mountains and nature. During his school years, he gained his first professional experience as a bricklayer at the construction company Huter & Söhne, which was responsible for major projects in Innsbruck such as the Monastery of Perpetual Adoration and the Church of St Nicholas. In 1910, Baumann followed his friend Prachensky to Merano to work for the company Musch & Lun. At the time, Merano was Tyrol's most important tourist resort with international spa guests. The predominant styles were Art Nouveau and Historicism. Under the architect Adalbert Erlebach, he gained his first experience in the planning of large-scale projects such as hotels and cable cars.

Like the majority of his generation, the First World War tore Baumann from his professional and everyday life. On the Italian front, he was shot in the stomach while fighting, from which he recovered in a military hospital in Prague. During this otherwise idle time, he painted cityscapes of buildings in and around Prague. These pictures, which would later help him to visualise his plans, were presented in his only exhibition in 1919.

After returning home from the war, Baumann worked at Grissemann & Walch and completed his professional qualification. Unlike Holzmeister or Welzenbacher, he had no academic training. In his spare time, he regularly took part in public tenders for public projects.

His big breakthrough came in the second half of the 1920s. Baumann was able to win the tenders for the remodelling of the Weinhaus Happ in the old town and the Nordkettenbahn railway. In addition to his creativity and ability to think holistically, he was also able to harmonise his approach with the legal situation and the requirements of the tenders of the 1920s. According to the federal constitution of the Republic of Austria, construction was a state matter. Since the previous year, the Tyrolean Heritage Protection Association Together with the district authority, it was the final authority responsible for the assessment and approval of construction projects. Kunibert Zimmeter had already founded the association in 1908 together with Gotthard Graf Trapp. Zimmeter wrote in his book "Our Tyrol. A heritage book":

"Let us look at the flattening of our private lives, our amusements, at the centre of which, significantly, is the cinema, at the literary ephemera of our newspaper reading, at the hopeless and costly excesses of fashion in the field of women's clothing, let us take a look at our homes with the miserable factory furniture and all the dreadful products of our so-called gallantry goods industry, Things that thousands of people work to produce, creating worthless bric-a-brac in the process, or let us look at our apartment blocks and villas with their cement façades simulating palaces, countless superfluous towers and gables, our hotels with their pompous façades, what a waste of the people's wealth, what an abundance of tastelessness we must find there."

Nature and townscape should be protected from overly fashionable trends, excessive tourism and ugly industrial buildings. Building projects were to be integrated harmoniously, attractively and appropriately into the environment. Despite the social and artistic innovations of the time, architects had to bear in mind the typical character of the region.

After the First World War, a new class of customers and guests emerged that placed new demands on buildings and therefore on the construction industry. In many Tyrolean villages, hotels had replaced churches as the largest building in the townscape. Mountain villages such as Igls, Seefeld and St. Anton were completely remodelled by tourism, and in Innsbruck a new district was created with the Hungerburg. The aristocratic distance from the mountains had given way to a bourgeois enthusiasm for sport. This called for new solutions at new heights. No more grand hotels were built at 1500 m for spa holidays, but a complete infrastructure for skiers in high alpine terrain such as the Nordkette. During his time in Merano, Baumann had already come into contact with the local heritage organisation. This is precisely where the strengths of his approach to holistic construction in the Tyrolean sense lay. All technical functions and details, the embedding of the buildings in the landscape, taking into account the topography and sunlight, played a role for him, who was not officially allowed to use the title of architect. He thus followed the "Rules for those who build in the mountains" by the architect Adolf Loos from 1913:

Don't build picturesquely. Leave such effects to the walls, the mountains and the sun. The man who dresses picturesquely is not picturesque, but a buffoon. The farmer does not dress picturesquely. But he is...

Pay attention to the forms in which the farmer builds. For they are ancestral wisdom, congealed substance. But seek out the reason for the mould. If advances in technology have made it possible to improve the mould, then this improvement should always be used. The flail will be replaced by the threshing machine."

Baumann designed even the smallest details, from the exterior lighting to the furniture, and integrated them into his overall concept of the Tiroler Moderne in.

From 1927, Baumann worked independently in his studio in Schöpfstraße in Wilten. He repeatedly came into contact with his brother-in-law and employee of the building authority, Theodor Prachensky. From 1929, the two of them worked together to design the building for the new Hötting secondary school on Fürstenweg. Although boys and girls were still to be planned separately in the traditional way, the building was otherwise completely in keeping with the New Objectivity style in terms of form and furnishings, based on the principle of light, air and sun. In 1935 he managed the project Hörtnaglsiedlung in the west of the city.

In his heyday, he employed 14 people in his office. Thanks to his modern approach, which combined function, aesthetics and economical construction, he survived the economic crisis well. The 1,000-mark freeze that Hitler imposed on Austria in 1934 in order to put the Republic in financial difficulties heralded the slow decline of his architectural practice. Not only did the unemployment rate in tourism triple within a very short space of time, but the construction industry also ran into difficulties.

In 1935, Baumann became the shooting star of the Tyrolean architecture scene and was appointed head of the Central Association of Architects after he was finally allowed to use this professional title with a special licence. After the Anschluss in 1938, he quickly joined the NSDAP. On the one hand, he was probably not averse to the ideas of National Socialism, but on the other he was able to further his career as chairman of the Reich Chamber of Fine Arts in Tyrol. In this position, he courageously opposed the destructive furore with which those in power wanted to change Innsbruck's cityscape, which did not correspond to his idea of urban planning. The mayor of Innsbruck, Egon Denz, wanted to remove the Triumphal Gate and St Anne's Column in order to make more room for traffic in Maria-Theresienstraße. The city centre was still a transit area from the Brenner Pass in the south to reach the main road to the east and west on today's Innrain. At the request of Gauleiter Franz Hofer, a statue of Adolf Hitler as a German herald was to be erected in place of St Anne's Column. Hofer also wanted to have the church towers of the collegiate church blown up. Baumann's opinion on these plans was negative. When the matter made it to Albert Speer's desk, he agreed with him. From this point onwards, Baumann was no longer awarded any public projects by Gauleiter Hofer.

After being questioned as part of the denazification process, Baumann began working at the city building authority, probably on the recommendation of his brother-in-law Prachensky. Baumann was fully exonerated, among other things by a statement from the Abbot of Wilten, but his reputation as an architect could no longer be repaired. Moreover, his studio in Schöpfstraße had been destroyed by a bomb in 1944. In his post-war career, he was responsible for the renovation of buildings damaged by the war. Under his leadership, Boznerplatz with the Rudolfsbrunnen fountain was rebuilt as well as Burggraben and the new Stadtsäle (Note: today House of Music).

Franz Baumann died in 1974 and his paintings, sketches and drawings are highly sought-after and highly traded. The diverse public and private buildings and projects of the ever-smoking architect still characterise Innsbruck today.