As a supporter of architectural realism, Otto Wagner was interested in urban planning. Although Wagner began as a traditional architect, he promoted the shift from historicism to the idea of ​​an architecture that spoke to its time. As an architect, Wagner began his career with buildings designed in the conventional Baroque and Neoclassical styles. Wagner attempted to move away from accepted traditional forms of architecture by bringing together structural rationalism and technology. However, he retained a sense of historicism and eclecticism. (Wagner 21). Wagner's architectural style clearly embraced and manifested a marked shift in the traditional and the emergence of purpose-built buildings. The Vienna Steinhoff Sanatorium Church, the Postal Savings Bank, and several entrances to the Vienna City Railway are some of Wagner's most memorable buildings. (100) . The belief that art has a purpose was expressed when he stated: “The practical element in man, which is particularly pronounced, is evidently here to stay and every architect will have to deal with the postulate, something which does not it is practical it cannot be beautiful” (100). In exploring the idea of ​​modernity in architecture, he used the designs of his own buildings, where he used new technologies, materials and simpler ornamentation. The Postal Savings Bank is seen as an important early work of modern architecture. This represented Wagner's transition from neoclassicism. The building was constructed using reinforced concrete. Square marble slabs cover the facade fixed to the brick structure with mortar and adorned with iron bolts with aluminum caps. The image below shows the exterior of the main facade of the Postal Savings Announcement...... half of the card ...... considered modern at the time, still contained references to Classicism and the Neo-Renaissance. This led to his arguments on modern architecture not being completely distinct and abandoning the traditional architecture of the past. John Ruskin deplored the type of restorations employed by Viollet-le-Duc stating that it is "a destruction from which no remains can be gleaned, a destruction accompanied by a false description of the thing destroyed" (Viollet-le-Duc 35). Because Viollet-le-Duc rejected the challenge of his own ideas, he continued to design buildings in eclectic styles. Both Wagner and Viollet-le-Duc failed to completely avoid using traditional architecture as a reference to modern architecture. The conservation movement largely rejected Viollet's methods because they threatened the autonomy of the observed historical past.