ARCHITECTURE IN 19th CENTURY GERMANY

1
ARCHITECTURE IN 19th CENTURY GERMANY
2
(No Transcript)
3
Architecture in 19th century Germany. The making
of the German nation. The rise of Prussian
nationalism and unification of Germany as one
nation, 19th c. Forming of a single territory
under one empire, 1871. The enlightened
absolutism of 18th and 19th century turned to
parliamentarianism and liberalism of the 19th
century. Coincides with unparalleled cultural
achievements in literature, arts, music and
philosophy. Architecture lagged for a while. The
German neo-classicism was conditioned by
events in France and England. The larger
cultural imperative was to draw a parallel
between the classic Greek nation and the modern
German nation. Architecture saw a fusion of
Greek, Germanic and Gothic elements in a vision
for a unified Germany.
4
Friedrich Gilly, Monument to Friedrich the Great,
Berlin, 1797
A Franco-Prussian architectural style Based on
studying French theories and works, And
considering Greek architecture as Possessing a
perfect system.
5
Carl Gotthard Langhans, The Brandenburg Gate,
Berlin, 1788. Based on the Propylea on the
Acropolis, it is constituted by 12 Roman Doric
columns. Example of the German Greek
Revival. The Greek-German project was
enthusiastically supported by the Prussian Crown
Prince, Friedrich Wilhelm. The architect who
finally gave expression to the philosophical
idealism of the Prussian state was Karl Friedrich
Schinkel.
6
(No Transcript)
7
Karl Friedrich Schinkel (1781-1841) Defies nest
stylistic classification Greek yet Gothic,
classical yet modern, Rationalist yet
picturesque. Painter, Theatre stage designer,
Architect Schinkel saw Gothic as embodying the
national spirit Greek mass and Gothic spirit
8
(No Transcript)
9
Tuscan Villa
10
(No Transcript)
11
(No Transcript)
12
(No Transcript)
13
Villa on the Acropolis
14
Schinkel, Park at Charlottenburg
15
Schinkel, Neue Wache, 1817
16
Schinkel, Schauspielhaus (Theatre), Berlin,
1818 Reduction of classical order into a
trabeated grid Formation of new window
system Relieves massiveness of design Gothic
lightness
17
(No Transcript)
18
(No Transcript)
19
Altes Museum, Berlin, 1822 A central
pantheon-like rotunda with a long entrance
colonnade Sober statement of civic
order Frontality No visible axiality, even dome
suppressed Like Greek stoa Columns as screen
between articulating outside and
inside Choreographed pathway Entrance stair as
key bodily experience, exterior and interior
dissolved Perception of distance and near
20
(No Transcript)
21
(No Transcript)
22
(No Transcript)
23
(No Transcript)
24
(No Transcript)
25
(No Transcript)
26
(No Transcript)
27
(No Transcript)
28
Schinkel, Bauakademie, Berlin, 1831
29
Functional Building Building that announces
the program stylistically English mills and
Renaissance palaces
30
(No Transcript)
31
(No Transcript)
32
The villas of Schinkel Intertwining architecture
and nature Key picturesque elements used
gardens, pergolas, ponds, parks, canals, pathways.
33
(No Transcript)
34
Schloss Charlottenhof, Potsdam Royal pavilion and
garden buildings, interlocked with gardens,
pergolas, courts and canals
35
Leo von Klenze (1784-1864) Glyptothek, Munich,
1816 First public sculpture gallery housing
Greek and Roman antiquities Grecian portico
flanked by Roman aedicules
36
Walhalla, mythic Teutonic palace for dead
warriors Here, temple is dedicated to leading
German figures
Leo von Klenze, Walhalla (Temple of Fate),
Regensburg, 1830
37
Leo von Klenze, Propylaeon, Munich,
1846 Continues the Neo-Classical obsession with
the Parthenon and the Propylaeia
38
The Caribbean Hut Gottfried Semper
(1803-79) The Four Books of Architecture Semper
s arguments for an architectural understanding
beyond styles, an anthropological understanding
through the method of making. FOUR
ELEMENTS FOUR OCCUPATIONS Hearth Ceramics/Potte
ry Structure/Columns Carpentry Wall/Infill Weavin
g Roof Basketry
39
Semper, Theater, Potsdam