Search results for ""Author Hillert Ibbeken""

Text in English and German. Ludwig Persius (1803-1845) was a pupil of Karl Friedrich Schinkel and his closest assistant. Very little has been published about him to date. With the aim of providing an exhaustive documentation of all his work that is still in existence, the present volume now shows Persius' architectural work in its current condition in 180 photographs, with numerous as yet unpublished exterior and interior photographs including also many detailed views. Persius' architecture was moulded by the work of Schinkel. He was his site supervisor at the Hofgärtnerhaus in Charlottenhof, adopting its style inspired by Italian domestic architecture for his numerous villas with towers, which are still characteristic features of the Potsdam cityscape. He was a master of the disposition of building volumes and of tying buildings into the landscape. About 50 buildings have survived, including early industrial structures. Persius' work is to be found almost exclusively in Potsdam. King Friedrich Wilhelm IV appointed him to the post of an "Architect to the King", a title he shared only with Friedrich August Stüler. His best-known buildings are the Friedenskirche in Potsdam, the Heilandskirche in Sacrow and the so-called Mosque by the Havel bay in Potsdam, a steam-driven pump-house in the Moorish style for the fountains in the gardens of Sanssouci and an eminent example of the romantic and exotic transfiguration of a simple functional building.

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Text in English & German. The "other Italy", that is the rural Italy, far from the bustle of the cities. It is the Italy of the Apennines, its natural scenery, its remote villages, churches and religious communities, its farmers, charcoal burners, shepherds and fishermen -- even if these old professions are now dwindling away. The author has travelled hundreds of kilometres through this rural Italy on foot, and travelled thousands of kilometres through it by car. Although he was acting in a professional capacity as a geologist, his interests went beyond this wonderful country's geology to embrace everything it had to offer. In the year 1959, he embarked on ten years working in Liguria (north of Genoa) and twenty years in Calabria, on the toe of the Italian "boot", on the flank of the Aspromonte facing the Ionic Sea. Further visits to both areas up to the present day have contributed to his fifty-year relationship with Italy, and a body of Italian experiences which was simply begging to be set down with accompanying pictures. Eight stories tell of the land and the people, of the wild landscape of Calabria and its Mafia, of rural festivals, Christmas customs, Italian food, abandoned farms -- and of "Nonno", a grand-father. A wealth of photographs, mainly in colour, join with the stories in encouraging the reader to forsake bathing holidays and art tourism and take a trip to a near and yet distant land.

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Text in English and German. Perhaps the fascination of American landscapes, particularly the deserts is their featurelessness. In Germany, Brandenburg for example, the much plainer landscape lives on in its history. This where the Great Elector won his victory and Napoleon lost a battle. Actual nature unaffected by human beings is hidden under the woodland and heath. The American desert landscape is dominated by grandiose nature with out human intervention. Here the history of the earth is to the fore exercising a particular fascination and anyone who reads it enjoys a double gift. The author travelled around the country photographing the mountains and valleys, the coastline and nature reserves. He also encountered people and writes about American friendliness.

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Text in German & English. Fossils are the petrified remains of former living organisms. Their systematics and their former living conditions are studied and described in palaeontology. In contrast to this, this book attempts to show the character of these life forms as signs and to pursue the question of whether fossils and representations of fossils can be considered "beautiful". For this reason, the pictures' sequence is not based on a palaeontological system of classification, but instead progresses from realistic representations of, for instance, a coral's body in its entirety through ever smaller sectors of the image and details divorced from context to almost abstract images. In an introductory text, Hillert Ibbeken explains the concept and the methodology of the work. The ambiguous expression "design" is used deliberately -- not in the sense of a purposive undertaking by a creating subject, but in the sense of nature making a mark, guided by mutation and selection. Katja Schoene writes about fossils' reception in the early modern age. The plants and animals enclosed in stone appeared too fantastical for anyone to consider them as anything other than "freaks of nature" (lusus naturae). Explanations of their origin were as multifarious as their different manifestations. "Rudolf zur Lippe deals with the forms of petrified life in relation to philosophical perspectives, pursuing the question of what "beauty" means and indicating, among other things, that the expression "beauty" cannot be unequivocally defined; that, for instance, different cultures may have entirely different ideals of beauty. The illustrated section is followed by a glossary by Helmut Keupp with a synopsis of life's development on Earth and a table of the Earth's history. Hillert Ibbeken was professor of geology at the Freie Universität Berlin. He has had a lifelong interest in photography.

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The Prussian gardens in Berlin, Potsdam and elsewhere in Brandenburg: for the first time, texts and photographs present an overall view of all the gardens and parks created under the Hohenzollerns over a period of more than three centuries. Only the cross-genre collaborative effort of garden designers, gardeners, architects, scenographers, sculptors, painters, and creative rulers, the most prominent of whom were Frederick II and Frederick William IV, made it possible "to turn the environs of Berlin and Potsdam step by step into a garden", as Frederick William IV put it in 1840. Figures such as David Garmatter, Friedrich Christian Glume, Siméon Godeau, Georg Wenzeslaus von Knobelsdorff, Peter Joseph Lenné, Antoine Pesne, Prince Hermann von Pückler-Muskau, Georg Potente, Karl Friedrich Schinkel, the Sello brothers, and Antoine Watteau -- picked from a whole cornucopia of names -- indicate the spectrum of artistic forces that created the Prussian garden realm. Impatient with his royal client, who had once again cut his funding, Lenné alluded to the high standard of princely landscape art: "Your Majesty still does not understand how ingenious my idea is". The present volume is an attempt to examine the "ingeniousness of the idea" specifically inherent in the gardens of the Hohenzollerns in Prussia.

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Text in English & German. This book is a synopsis, a summary of the books also published by Edition Axel Menges about the Prussian architects Karl Friedrich Schinkel (1781-1841), Ludwig Persius (1803-1845) and Friedrich August Stüler (1800-1865), but it covers only the works of these architects in Berlin and Potsdam. The three books mentioned above are subtitled 'The architectural work today'; in other words, they are exclusively about buildings that still exist. This is also true of the present selection. The question whether this selection and limitation to Berlin and Potsdam is representative of the work of the three architects can clearly be answered in the affirmative. For Persius this question does not even arise, because during his short life he worked almost exclusively in Potsdam and its immediate vicinity -- he was the 'King's architect'. Stüler's work is found in a region extending from Cologne on the Rhine to Masuria, with some important buildings in Stockholm and Budapest as well. About a quarter of his works can be found in Potsdam and Berlin, where Stüler, too, was the 'King's architect'. The truly gigantic lifework of Schinkel extends from Aachen to St Petersburg. Berlin and Potsdam have about a third of his works. It can be confidently said, however, that those who know the works of Schinkel, Persius and Stüler in Berlin and Potsdam also know the architect's work as a whole in each case. Since the pictures assembled here were taken between 1998 and 2005, they themselves have already become somewhat historical.

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This comprehensively illustrated book records and assembles material on over 150 buildings by Karl Schinkel, Germany's most important 19th century architect.

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Text in German. There is a copious and wide-ranging body of literature on Karl Friedrich Schinkel, Germany's most important 19th-century architect. But there is not a single work that records and assembles material on buildings by Schinkel that are still standing today, one hundred and sixty years after his death, after two world wars and major political upheavals. This volume is intended to fill the gap by providing the fullest possible compilation. It is surprising how many buildings by Schinkel still exist. There are over 170 of them in 112 different places, 62 in Germany and 49 in Poland and Russia, with Berlin and Potsdam each counting as a single location. The picture is very varied as far as the individual buildings are concerned. The churches make up the greatest number: about 86 of them are still standing. Then come 34 museums, theatres, guardhouses, schools and similar buildings, 18 palaces, castles and manor houses, 12 memorials, 12 tombs, 6 interiors and 4 fonts. A glance at a map of the former state of Prussia shows clearly that the buildings are not distributed evenly. In the west, the Rhineland and Westphalia, there were and are relatively few buildings by Schinkel. There is a decided cluster, the first regional concentration, in the present Saxony-Anhalt, between Magdeburg and Weimar. Further to the east come major accumulations in Berlin and Potsdam, and then the Oderbruch in the east of Brandenburg as another cluster. There are also concentrations of buildings by Schinkel in the Posen area as well as in West and East Prussia. Pomerania and Silesia have far fewer. Heinz Schonemann provides an introductory essay about Schinkel in his day, Helmut Borsch-Supan has contributed accounts of the way in which Schinkel's legacy is being handled today. The catalogue texts are by Martina Abri, Elke Blauert, Eva Borsch-Supan, Bernd Evers, Hillert Ibbeken and Heinz Schonemann.

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