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The work of Klaus Kinold, born 1939 in Essen, Germany is part of a tradition of architectural photography.It was self-evident for him to explore the period whose very name included the term objectivity - the New Objectivity. The accuracy of observation, the precision in detail, the translation of three-dimensional objects into a convincingly construed image are among his virtues. Predominant in his work, we find photographs of buildings by architects whom he could expect to have such qualities: classic Modernists like Walter Gropius, Ludwig Mies van der Rohe, Le Corbusier and contemporaries like Alvar Aalto, Hans Döllgast, Herman Hertzberger, Louis I. Kahn, Karljosef Schattner, Rudolf Schwarz, Alvaro Siza.
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In der Nachfolge von Döllgast haben vor allem zwei seiner Schüler beispielhafte Werke geschaffen. Karljosef Schattner (1924?2012), der langjährige Diözesanbaumeister des Bistums Eichstätt, hat in der Bischofsstadt bedrohte Bauten wie das Alte Waisenhaus gerettet und zeitgenössisch erweitert oder historischen Gebäuden wie dem Ulmer Hof durch funktionale Ergänzungen eine neue Nutzung gegeben. Beim Schloss Hirschberg hat er einen modernen Trakt mutig vor die Südfassade gesetzt. Josef Wiedemann (1910?2001) war ein herausragender Architekt des Münchner Wiederaufbaus. Als eines seiner Meisterwerke gilt die interpretierende Rekonstruktion der stark zerstörten Glyptothek am Königsplatz. The "creative reconstruction" of damaged buildings was an important topic in architecture after the Second World War, particularly in Bavaria. The Munich architect Hans Döllgast (1891-1974) was one of the pioneers of this development. His most important achievements include the repairs to the Alte Pinakothek, the Basilica of St. Bonifaz and the main municipal cemeteries. Hans Döllgast was succeeded above all by two of his students, whose work can be seen as exemplary. Karljosef Schattner (1924-2012), for many years the diocesan architect of the Bishopric of Eichstätt, saved threatened buildings in the episcopal city such as the Old Orphanage by adding a contemporary extension, or gave a new lease of life to historic buildings such as the Ulmer Hof by means of functional additions. In the case of Hirschberg Palace he boldly placed a modern wing in front of the south façade. Josef Wiedemann (1910-2001) was an outstanding architect of the reconstruction of Munich. The interpretative reconstruction of the badly damaged Glyptothek on Königsplatz is regarded as one of his masterpieces.
Photographie d'architecture --- Architecture --- Conservation et restauration --- Kinold, Klaus --- Döllgast, Hans, --- Schattner, Karljosef --- Wiedemann, Josef, --- Architectural photography --- Conservation and restoration --- Kinold, Klaus, --- Döllgast, Hans, --- Schattner, Karljosef, --- adaptive reuse --- Germany --- Architectural photography - Germany - Bavaria - Exhibitions --- Architecture - Conservation and restoration - Germany - Bavaria - Exhibitions --- Kinold, Klaus, - 1939- - Exhibitions --- Döllgast, Hans, - 1891-1974 - Exhibitions --- Schattner, Karljosef, - 1924-2012 - Exhibitions --- Wiedemann, Josef, - 1910-2001 - Exhibitions --- Kinold, Klaus, - 1939 --- -Döllgast, Hans, - 1891-1974 --- Schattner, Karljosef, - 1924-2012 --- Wiedemann, Josef, - 1910-2001
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The German architect Rudolf Schwarz (1897–1961) numbers among the leading masters of church architecture in the twentieth century. Inspired by the Catholic Youth Movement, Schwarz designed more than forty religious buildings after 1924 and played an integral role in Cologne’s reconstruction in the aftermath of World War II. In addition, he made a name for himself as the author of fundamental texts on sacred architecture. Praised by Mies van der Rohe as “designed order full of meaning,” Schwarz’s architecture was intended to house religious contemplation. He became famous for his vast, light-filled spaces, minimalist in form yet overflowing with symbolism. This volume documents Schwarz’s transformative sacred buildings in Germany and Austria alongside his collaborations with visual artists such as Ewald Mataré and Georg Meistermann. Beautifully illustrated with photographs capturing the essence of Schwarz’s architecture, this volume celebrates one of the most important architects of modern churches.
Architecture religieuse --- Christianisme --- 20e siècle --- Vitrail --- Art sacré --- Eglise --- Schwarz, Rudolf --- Religious architecture --- Photography --- religious buildings --- Döllgast, Hans --- Kinold, Klaus --- Schwarz, Rudolf 1897-1961 --- architectuurfotografie
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Iconography --- Art --- Architecture --- Photography --- art [discipline] --- architecture [discipline] --- photography [process] --- urbanization --- cities --- Mies van der Rohe, Ludwig --- Pollini, Gino --- Schattner, Karljosef --- Bienefeld, Heinz --- Eiermann, Egon --- Gehry, Frank --- Döllgast, Hans --- Gregotti, Vittorio --- Herzberger, Herman --- Kinold, Klaus --- Stirling, James --- Corbusier, le --- Snozzi, Luigi --- Scarpa, Carlo --- Gropius, Walter --- anno 1900-1999 --- Germany
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The Venetian artist Carlo Scarpa (1906-1978) was one of the outstanding architects of the twentieth century and at the same time a convinced lone wolf who saw his discipline as a form of art based on craftsmanship. In addition to buildings for museums in Venice, Florence and Verona his principal works also include the tomb of the businessman Giuseppe Brion in San Vito d'Altivole (Treviso). Here Carlo Scarpa had complete freedom to orchestrate a grand idea across an area of 2,200 square metres. Water, earth, light and air fuse with the buildings in fair-faced concrete (burial place, pavilion and chapel) to create a magnificent gesamtkunstwerk that invites the visitor to meditation. Seven years after the completion of the Tomba Brion, the famous Munich photographer of architecture Klaus Kinold had the opportunity to examine this remarkable tomb in photographs. His carefully considered pictures in black and white or subtle colours describe an other-worldly place which translates our ideas of growth and decay in an expansively constructed symbolism. Exhibition: Walter Storms Galerie, Munich, Germany (28.10.2016-24.12.2016).
Architectural photography --- 72.07 --- 77.092.07 --- 718 --- Architectuur begraafplaats en meditatieruimte San Vito D'Altivole Brion graftombe C. Scarpa --- Scarpa, Carlo 1906-1978 (°Venetië, Italië) --- Architectuur 20ste eeuw Carlo Scarpa --- Architectuurfotografie 20ste eeuw Klaus Kinold --- Photography, Architectural --- Photography of architecture --- Photography of buildings --- Architecten. Stedenbouwkundigen A - Z --- Fotografen A - Z --- Landschaps- en tuinarchitectuur begraafplaatsen, kerkhoven, crematoria --- Kinold, Klaus, --- Cimitero Brion (Asolo, Italy) --- Cimitero Brion-Vega (Asolo, Italy) --- Cemetery Brion-Vega (Asolo, Italy) --- Brion Cemetery (Asolo, Italy) --- Brion Family Cemetery (Asolo, Italy) --- Brion-Vega Cemetery (Asolo, Italy) --- Tomba-cimitero Brion di S. Vito di Altivole (Asolo, Italy) --- Tomba monumentale Brion (Asolo, Italy) --- Exhibitions --- Photographie d'architecture --- Scarpa, Carlo, --- Architectuur ; begraafplaats en meditatieruimte ; San Vito D'Altivole ; Brion graftombe ; C. Scarpa --- Architectuur ; 20ste eeuw ; Carlo Scarpa --- Architectuurfotografie ; 20ste eeuw ; Klaus Kinold --- Photography --- Landschaps- en tuinarchitectuur ; begraafplaatsen, kerkhoven, crematoria --- Scarpa, Carlo --- Kinold, Klaus
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