DOCSLIB.ORG

Hans Poelzig: Die Person, Der Künstler: Berlin (Projekt)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hans Poelzig: Die Person, Der Künstler: Berlin (Projekt) Inhalt Vorwort...................... 7 1911 Bismarckdenkmal in Bingerbrück (Projekt)................. 87 1 Entwicklungen in der deutschen Architektur 1909 Königsberg, Schloßbrücke (Projekt) ... 92 zu Poelzigs Lebzeiten .............10 1910 Botschaft in Washington (Projekt) .... 92 Dokumentation .................26 1912 Wettbewerbsprojekt Königliche Oper 2 Hans Poelzig: die Person, der Künstler: Berlin (Projekt) ............. 95 Frühzeit Breslau 1900-1916 .......... 29 1913 Bauten der Jahrhundertausstellung in Breslau ................ 98 Dokumentation .................53 1913 Wettbewerb um die städtebauliche 3 Poelzig an der Arbeit: Breslau 1904-1916 ... 59 Gestaltung der Zentralanlagen der Stadt 1906 Einfamilienhaus Hans Poelzig Rüstringen in Oldenburg (Projekt) ... 102 in Leerbeutel bei Breslau.........59 4 Abschließendes zu Breslau ..........105 1910 Landhaus und Jugendheim Zwirner Dokumentation ................110 in Löwenberg (Schlesien).........62 1906 Evangelische Kirche in Maltsch 5 Aufbruch ins Unbekannte: (Schlesien).................62 Dresden 1916-1920 .............. 112 1908-1912 Mietsgruppe in Breslau.......68 Dokumentation ................126 1911 Geschäfts-und Bürohaus in der Junckernstraße, Breslau..........68 6 Dresden - Berlin: das Große Schauspielhaus 127 1903-1906 Anbau an das alte Rathaus Dokumentation ................138 zu Löwenberg ..............73 1915 Franziskanerkloster bei Glatz (Projekt) . 73 7 Das Festspielhaus für Salzburg .......143 Dokumentation ................159 1906 „Werdermühle“ auf der Oderinsel in Breslau (Projekt)............78 8 Ein neuer Anfang: Berlin...........165 1911-1912 Chemische Fabrik in Luban .... 79 Die Lehren von Salzburg ...........165 1913 Römergrube in Rybnik (Oberschlesien) Das Hochhaus am Bahnhof Friedrichstraße (Projekt)..................79 in Berlin, 1922 (Projekt)............171 1913-1915 Annagrube in Pschow Hotel für Dresden, 1921 (Projekt) ......171 (Oberschlesien)..............83 Das Kaufmannshaus in Köln, 1922 (Projekt) 171 1911 Oberschlesienturm auf der Capitol-Kino, Berlin 1925 ........... 174 Industrieausstellung in Posen.......83 1908 Klingenberg (Sachsen), Talsperre.....83 9 Erfolg .....................179 Um 1910 Wasserturm für Hamburg (Projekt) 87 Dokumentation ................187 5 Inhalt 10 Arbeiten 1924-1931 200 WOHNUNGSBAU ............242 1927 Einfamilienhäuser, Wohnsiedlungen, THEATER UND KINOS.........200 Wochenendhaus ............242 1924 Stadttheater in Rheydt, Niederrhein 1927/1928 Haus in der Werkbund-Siedlung (Projekt) ................200 Weißenhof bei Stuttgart ........242 1925 Kino Capitol, Berlin..........200 1927/1928 Einfamilienhaus 1926 Deli-Kino, Breslau...........203 (und Doppelhäuser) in der Siedlung 1928/1929 Kino Babylon, Berlin ......203 „Im Fischtal“ in Berlin-Zehlendorf . 7~' 242 1930 Theater in Charkov (Projekt) .....203 1929 Haus in Kliedbruch bei Krefeld .... 247 VERSAMMLUNGSSÄLE.........206 ANDERE ARBEITEN 1927 Völkerbundspalais (Projekt) ......206 AUS DERSELBEN ZEIT .........247 1931 Palais der Sowjets (Projekt) ......206 1928/1929 Gemeindehaus der evangelischen Kirche in Kammin...........247 GEBÄUDEGRUPPEN...........212 1931 Schiffshebewerk in Niederfinow 1916 Zwei Schulen hinter einer bestehenden (Projekt) ................247 Kirche in Dresden (Projekt)......212 1927 Berufsschulen in Berlin-Charlottenburg 11 Die letzten Jahre: 1932-1936 250 (Projekt) ................212 Einige Arbeiten................253 1928/1929 Berufsschulen in Berlin-Kreuzberg Dokumentation ................260 (Projekt) ................212 12 Die späten Entwürfe: 1932-1936 261 1926 Deutsches Sportforum in Berlin 1930 Filmateliers in Gatow bei Berlin (Wettbewerbsprojekt) .........214 (Projekt) ................263 1926 Halle, Bebauung des Lehmann-Felsens 1933 Erweiterung der Reichsbank (Wettbewerbsprojekt) .........214 (Wettbewerbsbeitrag)..........263 1925 Messehaus in Hamburg (Projekt) ... 214 DREI THEATERENTWÜRFE......263 1929/1930 Drei Gebäudegruppen 1934/1935 Theater und Konservatorium in (Wettbewerbsprojekte).........218 Istanbul (Wettbewerbsprojekt).....263 STÄDTEBAULICHE PROJEKTE .... 221 1935 Theater in Dessau (Wettbewerbsprojekt.) 263 1929 Reichstagserweiterung (Projekt) .... 221 1935/1936 Theater und Konservatorium 1927 Umgestaltung des Scheunenviertels, in Istanbul (Ausführungsprojekt) . 263 Berlin..................224 1935/1936 Haus für Diplomaten in Ankara 1928 Stadtzentrum in Hindenburg, (Projekt) ................266 Oberschlesien (Projekt) ........224 13 Betrachtungen................270 1928-1930 GEPLANT UND GEBAUT 226 Nachwort ....................277 Messegelände .................226 Anmerkungen ..................279 1929/1930 Haus des Rundfunks, Berlin . 230 Namensregister .................283 1928-1930 Verwaltungsgebäude Ortsregister ...................285 der IG-Farben in Frankfurt am Main 230 Bildquellen......... 286 6.
Load more

Recommended publications
  • Bauhaus 1 Bauhaus
    Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
    [Show full text]
  • Heike Hambrock Marlene Moeschke
    Heike Hambrock Marlene Moeschke - Mitarbeiterin? Das wiederentdeckte Werk der Bildhauerin und Architektin liefert neue Er­ kenntnisse über Hans Poelzigs Großes Schauspielhaus in Berlin. In Johann Jacob Bachofens Mutterrecht von 1861, dessen Lektüre für viele Künstler Anfang des 20. Jahrhunderts belegt ist, werden in einer archaisch anmutenden sexu­ ellen Symbolik Mann und Frau zum Gegensatzpaar Sonne (männlich, aktiv, Moder­ ne) und Mond (weiblich, passiv, Urmythos) stilisiert.1 In der Beschwörung eines >Urmythos< erklärt Bachofen die Frau zum universellen Lebenselement, Magna Ma­ ter, die im Einklang mit der Schöpfung der Natur stehe, deren Erkenntnis dem Mann ­ das Gegenbild der Moderne ­ verwehrt sei. Aufgrund ihrer weiblichen Natur sei die Frau allerdings weder fähig zu qualifiziertem wissenschaftlichen Arbeiten, noch zu technischer Höchstleistung oder künstlerischem Höhenflug. Im Sonnenmythos von Nietzsches Zarathustra vermag allein der Künstler als Geistesmensch, im Kampf mit sich selbst und der Materie Kunstwerke zu erschaffen. Die Frau gilt ge­ meinhin als Muse und Inspiration. Im Atelier des Künstlers wird sie nur als Modell oder Mutter der Kinder akzeptiert, ihre körperliche und geistige Präsenz ansonsten als Bedrohung der männlichen Energie wahrgenommen. Auf hohem künstlerischen Niveau findet sich der hier nur angedeutete Geschlechterkampf der Moderne in Os­ kar Kokoschkas Dramen und Grafikzyklen reflektiert.2 Allerdings kommt der um 1916 bis 1919 mit dem Architekten und damaligen Stadtbaurat Hans Poelzig (1869­ 1936) in Dresden freundschaftlich verkehrende Künstler zu der für die Zeit untypi­ schen Erkenntnis einer geschlechtlichen Gleichberechtigung. Der konservative Kunst­ und Architekturkritiker Karl Scheffler mochte demgegenüber der Frau nur die Rolle der >dilettierenden Hausfrau< zugestehen;3 selbst im Kunstgewerbe hatte sie als eigenständige Künstlerin in der wilhelminischen Gesellschaft keinen Platz.
    [Show full text]
  • Inhalt Contents
    Inhalt Contents 7 Prolog 7 Prologue 13 Vom Jugendstil zur Moderne 13 From Jugendstil to Modernism 19 Das Bauhaus in Weimar, Dessau und Berlin 19 The Bauhaus in Weimar, Dessau and Berlin 27 Berlin und die Moderne 27 Berlin and Modernism 63 Das Neue Bauen in Deutschland 63 New Building in Germany 127 Architektur der Neuen Sachlichkeit in Europa 127 The Architecture of new Objectivity in Europe 179 Internationaler Stil – 179 International Style – Modernes Bauen auf der ganzen Welt Modern Building all over the world 227 Epilog – Die Erben des Bauhauses 227 Epilogue – The Legacy of the Bauhaus 233 Anhang 233 Appendix Bauhaus.indd 5 12.09.18 12:58 Prolog Prologue Bauhaus.indd 7 12.09.18 12:58 8 Israel, Tel Aviv, Wohnhaus Recanati-Saporta, 1935/36, Salomon Liaskowski, Jakob Orenstein Israel, Tel Aviv, Residential building in Recanati-Saporta, 1935/36, Salomon Liaskowski, Jakob Orenstein Bauhaus.indd 8 12.09.18 12:58 Das »Bauhaus« war ursprünglich eine 1919 in Weimar gegründete The “Bauhaus” was originally an art school founded in Weimar in 1919. Kunstschule. Ihr Einfluss erwies sich jedoch als so bedeutend, dass Its influence, however, was so significant that in everyday speech the der Begriff heute umgangssprachlich mit verschiedenen Strömungen term is equated today with various modernist movements in architec- der Moderne in Architektur und Design in der ersten Hälfte des20 . ture and design in the first half of the 20th Century. This broader sense Jahrhunderts gleichgesetzt wird. In diesem erweiterten Sinn wurde of the word is relevant for the choice of buildings in this book.
    [Show full text]
  • Monuments of Modern Architecture at Risk – Case Study Berlin 1
    172 Monuments of Modern Architecture at Risk – Case Study Berlin ICOMOS Germany Monuments of Modern Architecture at Risk – Case Study Berlin 1 Berlin was a metropolis of the Modern Movement in the early 20 th century. Famous architects and planners lived and worked in the German capital or designed architec- tural and urban developments for Berlin during the pre- war-period, such as Bruno Taut, Erich Mendelsohn, Wal- ter Gropius, Hans Poelzig, Peter Behrens, Hans Scharoun et al. The most significant buildings and quarters of “mo- dern times”, which had survived World War II in Berlin, were appreciated since the 1970s as architectural heritage and as heritage of the social and democratic traditions in the Weimar Republic (1918 –1933). Both parts of the Poststadion, Berlin, 1926 –29, arch. Georg Demmler, Cold War metropolis, West Berlin and East Berlin, initi- listed monument. Out of use since the beginning of the ated protection and restoration campaigns of historically 1990s. Condition c. 2000 and artistically valuable buildings or building groups of the 1920 s already before the Iron Curtain fell. Especially residential areas of the social housing program between the wars were conserved and modernized as listed monu- ments before the Berlin Wall came down. After the German reunification in 1990 conservation campaigns and restoration projects concentrated on the former eastern part of Berlin and included a large number of housing estates. Subtle façade restoration of protected office buildings dating from the time between the World Wars, such as the Shell House by Emil Fahrenkamp in the West and the House Alexander by Peter Behrens in the East, received conservation awards (Ferdinand von Quast Medaille, Europa Nostra Prize) because of a successful revitalisation during the 1990 s.
    [Show full text]
  • Haus Des Rundfunks En Berlin, De Hans Poelzig, 1930
    Cuadernos de Proyectos Arquitectónicos Haus des Rundfunks, in HAUS DES RUNDFUNKS EN BERLIN, Berlin by Hans Poelzig 1930 DE HANS POELZIG, 1930 Keywords: materials construction form Poelzig affirmed that the technical ideal consisted of using the least amount of shapes and materials possible. He understood architecture as an art, as the María Teresa Múñoz expression of form; In contrast to the indifference of the most widely recognized values of modernism: technical innovation in construction along with the functionality of buildings. La posición de Hans Poelzig (Berlín manipulación, magistral si se quiere, The Haus des Rundfunks is a 1869 - Berlín 1936) con respecto a la de elementos tradicionales. Hans powerful hermetic factory in the shape of a triangle and técnica, y en concreto con respecto a Poelzig afirmaba que la realización of uniform height. Mass, las innovaciones técnicas de la técnica es la que menos se impone geometric rigidity and the absence of textures make up modernidad y los nuevos materiales, desde el punto de vista formal y que a building which así como sus manifestaciones el ideal técnico consiste en el uso lo relinquishes expressing the new media, with a abiertamente contrarias a la primacía más reducido posible de materiales y perimeter ring consisting of de ésta en arquitectura y a la formas. Su actitud beligerante en offices and larger spaces that are more characteristic existencia siquiera de un "arte del favor de la arquitectura como arte y towards their inside. ingeniero" han favorecido su en contra de los valores más Geometry is used as a means to organize and limit catalogación como arquitecto reconocidos de la modernidad, the shapes of the buildings.
    [Show full text]
  • Style Debates in Early 20Th-Century German Architectural Discourse
    $UFKLWHFWXUDO Barnstone, DA. 2018. Style Debates in Early 20th-Century German Architectural Discourse. Architectural Histories, +LVWRULHV 6(1): 17, pp. 1–9. DOI: https://doi.org/10.5334/ah.300 RESEARCH ARTICLE Style Debates in Early 20th-Century German Architectural Discourse Deborah Ascher Barnstone In spite of the negative connotations ‘style’ has in contemporary architectural discourse, in early 20th- century Germany there was no consensus on the meaning or value of the concept amongst architects and critics. Although style was a dirty word for some like Hermann Muthesius, it represented the pinnacle of achievement for others like Walter Curt Behrendt. Against the backdrop of Behrendt’s famous Victory of the New Building Style, of 1927, were very diverse understandings of the term. This plurality was partly due to conceptual confusion between ‘the styles’ and ‘style’, but it was also a legacy of Gottfried Semper’s and Alois Riegl’s respective efforts to resituate style as a practical and historiographical tool. Although style was endlessly debated between 1910 and 1930 by German architects, critics, and intel- lectuals of all stripes, later scholars have either largely overlooked its significance or used the term as a way of describing a particular group of works with a narrow set of formal tropes. The debates, the conceptual confusion, and the incredible variety of opinion over style in early 20th-century discourse have not been addressed, especially in relation to practicing architects. This essay examines some of the intersecting positions of several important German practitioners to show how the notion of style served as a conceptual framework for divergent modern practices.
    [Show full text]
  • Bernd Herzogenrath Oberforstbacher Str
    Prof. Dr. phil. Bernd Herzogenrath Oberforstbacher Str. 371 52076 Aachen Germany email: [email protected] website: https://uni-frankfurt1.academia.edu/BerndHerzogenrath CURRICULUM VITAE Personal Information: Born Nov 17, 1964 in Wegberg, Germany Family status: married School Education: 1970-83 Gymnasium Erkelenz (Graduation: ‘Abitur’) Military Service: 10.1983 – 12.1984 University Education: 1984-91 Study of English and German at the University of Aachen (Rheinisch- Westfälische Technische Hochschule Aachen). 1991 Graduation in English and German 1997 Ph.D. in American Literature. Dissertation: An Art of Desire. Reading Paul Auster. (‘magna cum laude’) 2007 ‘Habilitationsschrift:’ An American Body|Politic – A Deleuzian Approach (January) ‘Habilitationskolloquium’ (November) 2008 ‘Antrittsvorlesung’ (July) Posts held: 1990 – 1992 Assistant at the Dean’s Office, Philosophical Faculty, University of Aachen 1992 – 1995 Postgraduate Assistant, Department of English, University of Aachen from Oct 2000 to March 2007 Assistant Professor, Department of English (American Literature and Culture), University of Cologne from April 2007 to March 2008 Chair of American Studies (p.p.), University of Hannover since April 2008 Professor for American Studies (p.p.), University of Frankfurt since January 2010 Professor for American Studies, University of Frankfurt Grants: 1995-1996 Dissertation Grant of the University of Aachen Sept – Oct 1996 Research-Grant of the German Academic Exchange Service [DAAD], University of California, Berkeley
    [Show full text]
  • Das IG-Farben-Ensemble. Erinnern – Wahrnehmen
    Universität des 3. Lebensalters (U3L) an der Goethe-Universität Frankfurt am Main Studiengang Das Öffentliche und das Private Abschlussarbeit Das I.G. Farben-Ensemble Erinnern - Wahrnehmen - Teilnehmen Quelle: Wikipedia – eingestellt von Eva K. im August 2009 Bearbeiterin: Ellen Katusić [email protected] Studien-Nr. 20100361 Betreuerinnen: Dr. Elke Wehrs Dr. Daniela Schleifenbaum Abgabedatum: 01. März 2016 Inhalt 1. Einleitung 3 1.1 Ein geschichtsträchtiges Gebäude 3 1.2 Die Forschungsidee 4 1.3 Öffentlichkeit und Privatheit 4 1.4 Meine eigene Forschung 6 1.5 Meine Erhebungsmethoden 7 2. Geschichte des I.G. Farben-Hauses 8 2.1 Die Zeit vor 1933 8 2.2 Der I.G. Farben-Konzern während der NS-Zeit 9 2.3 Die Besatzung der Amerikaner nach dem Zweiten Weltkrieg 11 2.4 Der Campus Westend entsteht 12 3. Der Architekt 14 3.1 Hans Poelzig - Leben und Werk 15 3.2 Errichtung des I.G. Farben-Hauses 16 4. Recherchen 18 4.1 Recherche in Frankfurter Stadtführern - 2014 im Vergleich zu 1998 18 4.2 Recherche zu öffentlichen Diskussionen und Beiträgen 24 4.3 Recherche mit gezielten Fragestellungen 25 4.4 Recherche vor Ort - der assoziative Wahrnehmungsspaziergang 28 4.4.1 Weg vom Campus Bockenheim zum Campus Westend 28 4.4.2 I.G. Farben-Haus und Umgebung - Eindrücke 29 4.4.3 Casino und Umgebung - Eindrücke 30 4.4.4 Im I.G. Farben-Haus 31 5. Antwort auf die aufgeworfenen Fragen 33 6. Zukunft des I.G. Farben-Geländes 34 7. Uni-Gelände Campus Westend 37 8. Literaturverzeichnis 38 2 1. Einleitung Diese Arbeit entsteht als Abschluss des viersemestrigen strukturierten Studienganges "Das Öffentliche und das Private“ vom Wintersemester 2013/2014 bis zum Sommersemester 2015 an der Universität des 3.
    [Show full text]
  • The Impact of Ecological Thought on Architectural Theory. Robert Gordon University [Online], Phd Thesis
    LEWIS, P. 2019. The impact of ecological thought on architectural theory. Robert Gordon University [online], PhD thesis. Available from: https://openair.rgu.ac.uk The impact of ecological thought on architectural theory. LEWIS, P. 2019 The author of this thesis retains the right to be identified as such on any occasion in which content from this thesis is referenced or re-used. The licence under which this thesis is distributed applies to the text and any original images only – re-use of any third-party content must still be cleared with the original copyright holder. This document was downloaded from https://openair.rgu.ac.uk The impact of ecological thought on architectural theory Penny Lewis A thesis submitted in partial fulfilment of the requirements for the Robert Gordon University for a degree of Doctor of Philosophy September 2019 1 Abstract This thesis looks at the idea of ecology and its relationship to, and influence on, architectural thought. Ecological thinking emerged as a subset of biology in the second half of the nineteenth century and developed as a philosophical idea and a political outlook. As an idea that stands in the hinterland between science and society, it has not been particularly stable; sometimes it is fashionable, at others it has disappeared from consciousness. This thesis looks at the long history of ecology, paying particular attention to the periods when it was a popular idea and it had an impact on the imagination and outlook of architects. The first of these periods is in the decades from Darwin's publication of his theory of evolution through to the run-up to the First World War, prior to the emergence of the Modern Movement.
    [Show full text]
  • THE PAST BECOMES the FUTURE the Deutsche Bundesbank’S Central Office in Frankfurt Am Main
    THE PAST BECOMES THE FUTURE The Deutsche Bundesbank’s Central Office in Frankfurt am Main THE PAST BECOMES THE FUTURE The Deutsche Bundesbank’s Central Office in Frankfurt am Main FOREWORD The Deutsche Bundesbank’s Central Office building, situated in the in the wider context of Frankfurt’s growth as an urban centr e, with north of Frankfurt am Main, has been part of the Bank’s identi- liberal reference to 20th century architectural trends. Durth illumi- ty ever since it opened in 1972. Its architecture is expressive and nates the historical backdrop against which our building’s appea- potent, yet never comes off as pompous or flashy. On the inside, rance, and the rationale behind it, came about, and he explains how the main building and the auxiliary structures surrounding it are the building enriches the Frankfurt city skyline. His fascinating essay functional in design, all the way down to the details. Architecturally, l eaves no doubt as to how right it was to preserve this living testa- the main building is a particular highlight, its aesthetic language ment to German post-war architecture and carry it forward into the epitomising the new restrained self-assurance of a Federal Republic future as a revitalised and fully refurbished structure. built around liberal and democratic ideals. Over time, it has come to symbolise the stability of its currency. One aspect I find particularly informative is the way in which Durth contextualises the Bundesbank’s Central Office campus with the Keen to preserve this symbol for future generations, our Executive urban landscape to its south.
    [Show full text]
  • HANS POELZIG EXPRESIONISTA POELZIG Y EL MUNDO DEL ESPECTÁCULO - EL CINE EN ALEMANIA _____Hans Poelzig Nació En Berlín El 30 De Abril De 1869
    ¿QUIÉN FUE HANS POELZIG? HANS POELZIG EXPRESIONISTA POELZIG Y EL MUNDO DEL ESPECTÁCULO - EL CINE EN ALEMANIA _____Hans Poelzig nació en Berlín el 30 de abril de 1869. Fue el sexto hijo de la condesa Clara Henriette María El Expresionismo forma parte de los movimientos vanguardistas del siglo XX. La necesidad de cambio _____El invento del cinematógrafo fue presentado en París en el año 1895 por los hermanos Lumière. Pronto LOCALIZA LAS IMÁGENES QUE HAY EN LA EXPOSICIÓN SOBRE DER GOLEM Poelzig, cuyo marido George Acland Ames, negó su paternidad y Poelzig fue criado en adopción por el cantor frente a las tendencias artísticas del siglo XIX y frente a la nueva realidad (industrialización, guerras,...) el invento se extiende a otros países y a principios del siglo XX ya se considera una verdadera industria. Será en (El Golen) 1920, y Zur Chronik von Grieshuus (Crónica de Grieshuus) 1925. Incluso en los interiores de las Emil Liese y su esposa, en Brandemburgo. provoca la aparición de diferentes tendencias vanguardistas: Futurismo, Cubismo, Dadaismo, Surrealismo los Estados Unidos, en concreto en Hollywood, donde se logre alcanzar más rápidamente la tecnología capaz salas de cine, como el Capitol en Berlín, se pueden apreciar algunas de ellas lo mismo que en algunas de sus y Expresionismo. Cada uno de estos movimientos se enfrenta a su época a través de nuevas formas de de alcanzar el éxito de producción y de distribución de películas y de actores que adquieren fama internacional. construcciones. OBSERVA: _____Estudió arquitectura en Berlín. En 1899, consiguió la plaza de arquitecto jefe en el Ministerio de Obras creación y actitudes vitales.
    [Show full text]
  • 1 the Thlrd BAUHAUS and T H E 1 Thlrd LANDSCAPE of THE
    1997 ACSA EUROPEAN CONFERENCE * BERLIN 1 THE THlRD BAUHAUS AND THE THlRD LANDSCAPE OF THE 1 WORL~TZGARTENREICH JEAN-FRANCOIS LEJEUNE University of Miami "Modern buildings - Oswell Blakeston wrote in 1932 Karl Henrici's competition entry of 1890 for the plan - callfor modern artistic photographs to do them justice." of extension of Dessau did not carry the first prize, but it The critic's appeal underscored the necessary condition was a foundation stone in German city plan&g. It was for the diffusion of the ideology of the new architecture, indeed the first urban plan directly inspired by Camillo for "the directness of instrumental realism was as Sitte Der Stadtebau nach seirzerz kurzstlericherz inadequate to the acclaimed new aesthetic of modernist Grundsatzen, published one year earlier."hrough this architecture as the blurred mists and shifting foci of competition for a new district to the west of its historic pictorialism."' Among the many techniques used by the center, the city was eager to recover part of the prestige "new photography," the surprising viewpoints, the equal that it had gained during the second half of the eighteenth intensity of attention irrespective of the subject, the century under Prince Friedrich Franz von Anhalt-Dessau emphasis on material surface and abstract structure, and (1740-1817), and that been damaged by industrialization more importantly the exclusion of context, were the and the expansion of the workers' districts. Henrici's most effective in conveying the principles of the new project for an "elegant
    [Show full text]