Hans poelzig obras arquitectonicas del
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Revitalization of the Four Domes Pavilion in Wroclaw
The complete photo shoot of the Four Domes Pavilion in Wroclaw for Polish Ministry of Culture and National Heritage and BeMM Architekci.
The Four Domes Pavilion was built in the years 1912-1913. Since the beginning, it has been used for exhibition purposes - in 1913, a historical exhibition commemorating the 100th anniversary of the victory over Napoleon was presented there. In 2006, the pavilion and the Centennial Hall was inscribed on UNESCO's World Heritage List. At the end of June 2015 the refurbishment and reconstruction of the pavilion was finished. The famous work by Hans Poelzing became a place of exhibition of works of contemporary art from the collections of the National Museum in Wroclaw. During repair works, the façade of the building was renovated and the colour agreed upon after an iconographic analysis was applied. The northern dome was reinforced and its original decoration was restored. The building was equipp
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Nueva objetividad (arquitectura)
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La nueva objetividad (también conocida como nueva sobriedad) es un término utilizado para describir la arquitectura moderna que se desarrolló en Europa, especialmente en los países de habla alemana, durante los años 1920 y 1930. También es comúnmente referida como neues bauen (lit. edificio nuevo).[1] Durante este período, la neue sachlichkeit transformó significativamente muchas ciudades alemanas.[2]
Werkbund y expresionismo
[editar]Los primeros ejemplos de este estilo se remontan a antes de la Primera Guerra Mundial, cuando la Deutscher Werkbund intentaba darle un aspecto moderno a Alemania.[3] Varios arquitectos asociados con la nuev
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The Charnel-House
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Expressionism was an odd style, architecturally speaking. Mendelsohn’s stuff in the early 1920s was amoebic, stretching, undulating; by the end of the decade, he was committed to Sachlichkeit. Some of the dynamism of his expressionist pieces carried over into his more functionalist designs, as in the Red Banner factory in Leningrad (1926). Taut’s work in glass was marvelous, of course — and his ideas concerning the dissolution of the city were interesting as well. Hans Scharoun’s curvaceous forms were closer to the International Style from the början, but rounded or gently beveled off along the edges. A ripple runs along the façade of certain of his structures, such as Siemensstadt (1929-1931), almost reminiscerande of the Vesnins’ contemporaneous ZIL Palace of Culture in Moscow.
But the architecture of Hans Poelzig was from another planet entirely. Poelzig’s buildings were not merely idiosyncratic; they were positively psychotic.