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Hans Poelzig / schizzo preliminare per le scenografie del film "Golem" di Wegener e Boese / 1920

Posts about Hans Poelzig written by Ross Wolfe

With this exhibition of drawings by Hans Poelzig, the Museum for Architectural Drawing in cooperation with the Architecture Museum of the Technical...

Der neungeschossige, monumentale Bau mit einer Länge von 250 Metern und einer Höhe von 35 Metern ist ein Beispiel des frühen Neoklassizismus. Hans Poelzig setzte hier Anfang der 30er Jahre seine architektonischen Grundlagen einer Neuen Sachlichkeit in imposanter Weise um. Die gestalterische Schlichtheit und eine dadurch erreichte Betonung der Eigenschaften der Baumaterialien, außen wie innen, verdeutlichen Poelzigs Anspruch, Moderne und Tradition miteinander zu verknüpfen. Die Paternosteraufzüge im Hauptgebäude hat der jetzige Nutzer, die Johann Wolfgang Goethe-Universität, nach der Restaurierung beibehalten. Sie sind als eindrucksvolle Zeitzeugen immer noch in Benutzung.

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a rare sketch from ca. 1910 from the water and exhibition tower in posen ( destroyed). realized in 1911.

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un capolavoro senza tempo che rappresenta l'audace follia di quel genio di Hans Poelzig. Purtroppo in parte demolito e rimaneggiato nel 1988. Oggi Friederichstadtpalast.

Piccolo progetto di ca sa prefabbrica ta per vacanze per i tipi della Christoph & Unmack AG, che fabbricava "baracche" in legno nei primi del '900 .

Architect Hans Poelzig (1869 – 1936) was an eclectic visionary. He worked with sculptural effects, weight and vibrantly structured facades, a style which differed significantly from the classical modernity of Walter Gropius or Mies van der Rohe. His interior for the ´Capitol Lichtspiele´ movie theatre in Berlin with its dramatic lighting effects shows strong aspects of Art Deco, his city planning designs show a penchant for the grandiose and monumental, and his designs for the Festspielhaus Salzburg or the Schauspielhaus in Berlin (nicknamed "stalactite cave") are nearly phantasmagorical in their use of finely carved and endlessly repeating detail. In many designs, he foretells the style of the modernists and brutalists of the sixties and seventies. His proposal for the annex of the Berlin Reichstag and redesign of the Platz der Republik, designed in 1929, does appear like a perfect example of sixties modernism. For Poelzig, architecture was an art of symbolic forms. According to his belief in the idea of ´Gesamtkunstwerk´, he also designed the movie sets for German expressionist films such as ´The Golem´. Poelzig died in 1936, just before he could emigrate to Istanbul to escape the Nazis. Highly regarded by his contemporaries, he was director of the Breslau arts and crafts school, city planning director in Dresden, First Chairman of Deutscher Werkbund, board member of the Federation of German architects and professor at Technical University of Berlin-Charlottenburg and Prussian Academy of Arts.

This building stood until the 1980s. Photos of it have been removed from public access. That is due to the public spectacles which started to emerge in Christendom Europe from Asian (Turk, Arabic and Mongol) who are influenced by the far East.

1929-1930

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