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Refurbishment and Reconstruction of the Academy of Arts M. Boehme

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Refurbishment and Reconstruction of the Academy of Arts M. Boehme Transactions on the Built Environment vol 39 © 1999 WIT Press, www.witpress.com, ISSN 1743-3509 Refurbishment and reconstruction of the Academy of Arts M. Boehme IPRO-Dresden, Schnorrstr. 70, 01194 Dresden, Germany Abstract The Academy of Arts is a striking part of the Dresden skyline. The building was completed in 1894 and suffered heavy damage in the bombing raid on Dresden on February 13*, 1945. Preliminary repairs and securing measures were carried out in the post-war years, so that teaching activities could be resumed. The building complex of the Academy of Arts with its exhibition has been undergoing renovation, reconstruction and modernization since 1992. The work, parts of which are very complex, will extend into the first years of the next century. In the following, the most important renovation and reconstruction work projects are portrayed and the adopted solutions are described. 1 History of the Academy of Arts Precursors of the Academy of Arts can be found in Dresden dating from 1680. The "Kurfurstliche Akademie der Bildenden Kunste" (Electoral Academy of Graphic Arts) was founded in 1764. Subjects taught at the academy included the fields of painting, sculpture, copperplate engraving and architecture. The former "Briihlsche Bibliothek" was converted to house the academy and another storey was added to the building, which became the seat of the academy from 1790. The former "Briihlsche Gemaldegalerie" was used to house the art exhibitions of the Academy of Arts. All buildings of the Academy on the "Briihlsche Terrasse" were conceived by the architect Christoph Knoffel and are an expression of a moderate baroque architecture, which gave the silhouette of the city by the Elbe river an unmistakable character for more than 150 years. Canaletto, but also other painters and artists, recorded this image in manifold ways in their paintings and drawings. Transactions on the Built Environment vol 39 © 1999 WIT Press, www.witpress.com, ISSN 1743-3509 822 Structural Studies, Repairs and Maintenance of Historical Buildings The government of Saxony handed down a decree to the Saxon orders in which the new construction of a building for the Academy of Arts and exhibition is justified, among other things, as follows: "The building on the Briihlsche Terasse, as well as the art exhibition building are dilapidated to a large extent. In addition to that, the premises are all together inadequate." The professor of architecture of the Royal Academy of Graphic Arts, Constantin Lipsius, was appointed to prepare the plans for a new academy of arts with an exhibition building. In the same year, he presented his initial concepts for the new buildings. Lipsius's plans met with serious protests from the association of Dresden architects. The concerns of the Dresden architects were predominantly directed against the height relations of the facade, which might spoil the beautiful cityscape with its huge dimensions. In the disputes that followed, however, Professor Lipsius design finally prevailed. The building was erected in the years between 1886 and 1893/94 at a cost of 4.08 million Reichsmark, of which 0.45 million Reichsmark were spent on sculptures. The Royal Academy of Graphic Arts was opened in 1894 and the Royal Art Exhibition building was opened in 1895. It wasn't long after their openings that the first remodelling and modernization work was begun on the complex of buildings. For instance, the connection to the district heating system in 1900. In 1904, the replacement of the gas lighting systems with electrical lighting was begun. In connection with the November revolution of 1918, all Royal insignias, such as crowns and inscriptions, were removed from the buildings. This time at the Academy of Arts was substantially marked by the formative influence of dedicated artists, who helped to gain acceptance for new ideas in the arts in Dresden, as well: Oscar Zwintscher, Robert Sterl, Max Pechstein, Otto Dix, Oskar Kokoschka and many others. On January 30*, 1933, the time of fascist purging began at the Academy of Arts, as well. The dismissal of Otto Dix in April was followed by further purging actions concerning the so-called "degenerated art". In 1938 the former conference hall of the Academic Council of the Academy of Arts was refurbished with a "people's" design interior. The complex of buildings suffered heavy war damage on February 13* and 14* 1945, particularly the roof and the exhibition building, while nearly all buildings in the immediate vicinity were razed to the ground. In 1948, clearing of the rubble as well as emergency repairs were begun, which took until 1952 to be completed. With this accomplished, it was possible to resume teaching activities in the buildings of the Academy of Arts. The exhibition building remained standing as a ruin of war until 1990. In the decades after the Fifties, efforts to renovate the building complex time and again didn't progress beyond the status of individual initiatives. It was not until 1990, when systematic activities for the refurbishment, modernization and reconstruction of the Academy of Arts were begun by the Free State of Saxony. Transactions on the Built Environment vol 39 © 1999 WIT Press, www.witpress.com, ISSN 1743-3509 Structural Studies, Repairs and Maintenance of Historical Buildings 823 Figure 1: Refurbishment and reconstruction of the Academy of Arts Dresden, architect's sketch of the entire building complex viewed from the north 2 The building The building of the Academy of Arts of Saxony, today known as Hochschule fur Bildende Kiinste Dresden (Dresden College for Graphic Arts), is a group of nine interconnected wings located at Bruhlsche Terrasse. The entire grounds consist of a multifarious complex, having completely different elevations to four sides of a pentagon. The overall appearance is characterized by a uniform, richly ornamented sandstone architecture (clinker facades are used in the inner courtyards only), by a roofscape with many folds and creases, covered throughout with zinc sheets and inset glass panels and with, in part richly ornamented, zinc roof enhancements, by, in part, unusually large windows with finely chiselled, narrow bars and finally, by a large number of free-standing figures (sandstone, gold-plated copper) and acroteria. 3 The structure The entire building rests on 150 individual foundation pillars of different sizes, which consist of lime concrete in the lower area and sandstone in the upper area. All walls are brick masonry. The exterior facades consists of differently profiled sandstone elements, while the inner courtyards are finished with a clinker facade. The lower storey is built with brick vaulted ceilings throughout, while the ceilings in the upper storeys consist of steel Transactions on the Built Environment vol 39 © 1999 WIT Press, www.witpress.com, ISSN 1743-3509 824 Structural Studies, Repairs and Maintenance of Historical Buildings girders with reinforced concrete slabs. The roof areas consist of structural steel, covered in part with glass (cupolas, skylights) and in part with reinforced concrete covered with zinc roofing material. The extensive use of reinforced concrete, steel and glass should be emphasized, because it represents state-of-the-art building techniques for the late 19* century. Builders in the old Roman empire already knew about concrete as a building material. But this building material wasn't rediscovered until the 19* century. With advanced development of concrete and the invention of reinforced concrete by Monier a new age began in the building industry. Since that time, reinforced concrete has profoundly changed the building industry. Thus, the use of reinforced concrete ceilings in the construction of the Academy of Arts of Dresden represented the most advanced technology at the time. Chief Government Building Surveyor Temper explained the use of this new building material in the building complex on the Bruhlsche Terrasse in 1896 with the following words: "As far as design is concerned, it should be emphasized that the architect has stipulated to ban any flammable materials from the building to the greatest possible extent. All ceilings above the lower storey are vaulted brick ceilings, the upper stories are built with reinforced concrete ceilings, the roof consists of structural steel with reinforced concrete slabs instead of rafters. In the second half of the 19* century, new advanced methods in the production of glass made it possible to produce large panes of glass. The formerly very expensive glass became much more affordable due to the new production processes, so that glass was used in much larger quantities in building projects. Constantin Lipsius took advantage of the advanced developments in the steel and glass production by making extensive use of structural steel and sheet steel, riveted and bolted girders or framework in the new construction of the building complex, particularly in the roof and cupola construction. Lipsius used extensive glass areas as skylights in the exhibition rooms and the studios windows as well as for the dust-ceilings made from glazed structural steel constructions located below. Particularly in case of the large windows of the studios and the nearly 10 m high windows on the east and south sides of the building complex, the structural steel construction was thinned out to the permissible minimum with regard to static considerations, in order to let the steel frames appear as filigree as possible in the facades. Glass was used in many varied ways, such as cylindrically curved glass in segments of circles and bent spherically in both directions in the small cupola. Even though iron had been used for a long time in the building trade, it wasn't until the late 18* and early 19* century that the preconditions were created for its application on a large scale. The growing steel industry supplied iron in the form of steel profiles, sheets and reinforcing steel in various dimensions in order to meet the new and changing requirements of the building industry.
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