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Journal articles on the topic 'Scharoun, Hans'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Mebes, Friedrich, and Peter Blundell Jones. "Hans Scharoun and urban structure." Architectural Research Quarterly 1, no. 1 (1995): 46–55. http://dx.doi.org/10.1017/s1359135500000099.

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In February of this year an exhibition of the work of Hans Scharoun devised by Nasser Golzari and Peter Blundell Jones was put on at the RIBA in London, in connection with which was held a Scharoun Symposium on 17 February. This included two German speakers sponsored by the Goethe Institute. Günter Behnisch spoke as the leading practitioner in what could be called a Scharounian direction. Also invited was Alfred Schinz, one of the most articulate of Scharoun's assistants from the rich period of the early 1950s, when Scharoun devised the prototypes for all his later work. Schinz's health unfortunately let him down, and he suggested that his place be taken by Friedrich Mebes, an architect friend from Essen who had been a student of Scharoun in Berlin in the 1940s and who still practises rather well in a Scharounian direction. With some help from Schinz, Mebes prepared what turned out to be an inspiring and informative paper, and it is printed below slightly shortened and with some tidying of the translation. Peter Blundell Jones

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2

Behnisch, Günter, and Peter Blundell Jones. "The influence of Hans Scharoun." Architectural Research Quarterly 1, no. 2 (1995): 42–49. http://dx.doi.org/10.1017/s1359135500002748.

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In connection with the Scharoun Exhibition held at the RIBA last February, Peter Blundell Jones and Nasser Golzari organised a one-day symposium about Scharoun and his influence. Among the invited speakers were Friedrich Mebes, whose contribution we published in the first issue of arq, and Günter Behnisch, the leader of the most distinguished German firm that could be said to follow the Scharounian spirit today. Behnisch & Partners first rose to world fame with the Munich Olympic buildings of 1972, but it has gone on to complete such prestigious works as the new Bonn Parliament, the Frankfurt Post-museum and the University Library in Eichstätt. Behnisch was invited to speculate on his relationship with Scharoun, and more generally on the master's influence in Germany today.

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3

Iván, Nagy, and Karlovecz Ádám. "Feledésbe merült epizódok Hans Scharoun alkotói periódusai 1945 előtt." Építés - Építészettudomány 48, no. 1-2 (March 2020): 27–48. http://dx.doi.org/10.1556/096.2019.014.

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Hans Scharoun (1893–1972), német modernista építész, munkásságát az utókor jellemzően az ún. organikus modern irányzathoz társítja. Egyedi életútját nagyban befolyásolta a viharos 20. századi európai történelem. Számos rendkívüli alkotása ellenére életműve még mindig nem kellőképpen feldolgozott, illetve megfelelően kiértékelt, az összkép vele kapcsolatban csak lassan válik teljessé. A földrajzi közelség ellenére munkáinak jelentős része magyar viszonylatban nem kellően, vagy egyáltalán nem ismert. Scharoun életpályájának korai, 1933 előtti szakasza meghúzódik a II. világháborút követő rendkívül termékeny és jól ismert időszakának árnyékában, annak ellenére, hogy fiatalon is számos jelentős alkotása született. A két periódus közötti bő évtized történései, az 1933 utáni évek pedig sokáig homályban maradtak, az első ezzel is foglalkozó publikáció2 csak 1978-ban jelent meg. Nem meglepő, hogy a róla kialakult összkép leegyszerűsítő. Írásunkban arra teszünk kísérletet, hogy Scharoun életművének, annak periódusainak megítélését árnyaljuk, korszakait a történelem tükrében és épületeinek vizsgálataival újraértelmezzük.

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4

Spital-Frenking, Oskar, and Andreas Ewer. "Licht in der Schule von Hans Scharoun." Stahlbau 83, S1 (April 2014): 1–15. http://dx.doi.org/10.1002/stab.201490052.

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5

Jones, Peter Blundell. "The lure of the Orient: Scharoun and Häring's East-West connections." Architectural Research Quarterly 12, no. 1 (March 2008): 29–42. http://dx.doi.org/10.1017/s1359135508000912.

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Among Hugo Häring's papers in the Häring archive of the Akademie der Künste in Berlin are the minutes of six meetings entitled Discussions about Chinese Architecture held on Fridays and once on a Saturday dating from November 1941 to May 1942. The persons involved are Hugo Häring, Hans Scharoun, Chen Kuan Lee and John Scott. Of Scott, a Germanised American, we know little: it seems his wife Gerda worked at Häring's art school. But Chen Kuan Lee is a key figure in this story. Born in Shanghai in 1919, he had arrived in Berlin in 1935 to study architecture under Hans Poelzig, completing the course in 1939. He then became Scharoun's assistant until 1941, working on the private houses that provided a limited creative opportunity under the Nazis. Lee returned to Scharoun's office in 1949, remaining there until 1953, one of only four assistants during the crucial period of 1951/1952 when Scharoun's new architecture was under development with key projects such as the Darmstadt School and Kassel Theatre. In between, Lee served as an assistant to Ernst Boerschmann (1873–1949), the great German investigator of Chinese culture and author of several books on Chinese architecture. Boerschmann had visited China from 1906 to 1909, when he was sent by the German government to make a comprehensive cultural study, rather as Hermann Muthesius had been sent to England in 1896. To complete Lee's biography, in 1954 he set up as an architect on his own account, building several Chinese restaurants, more than 30 private houses and some apartment blocks in a Scharoun-like manner [1], some spatially very interesting, but this kind of work went out of fashion with the advent of postmodernism in the 1980s and Lee died quite recently in obscurity.

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6

De Coca Leicher, José. "Encontrar la forma. Naturaleza y ser humano en las escuelas de Hans Scharoun." Constelaciones. Revista de Arquitectura de la Universidad CEU San Pablo, no. 7 (May 1, 2019): 63–79. http://dx.doi.org/10.31921/constelaciones.n7a4.

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Casi setenta años después de su aparición revisamos el proyecto de la Escuela de Darmstadt y la posterior materialización en las Escuelas de Lünen y Marl, profundizando en las claves del pensamiento orgánico de Hans Scharoun. A partir de su implantación, la escuela es un agregado de células que a su vez generan el barrio y la ciudad. El método proyectual deductivo de la forma o Formfindung incorpora con aparente naturalidad los condicionantes sociales, pedagógicos, constructivos y económicos, educando e integrando orgánicamente al individuo en la sociedad, generando una arquitectura con vigencia y proyección futura. Concluimos con la actualidad y el aprecio social de las escuelas de Scharoun, ambas en uso y recientemente renovadas adaptándolas a las necesidades actuales, que perviven gracias al empeño comunitario de los habitantes de ambas ciudades.

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7

Sentieri Omarrementería, Carla, and Elena Verdejo Álvarez. "LAS ESCUELAS DE HANS SCHAROUN VERSUS LA ESCUELA FINLANDESA EN SAUNALAHTI." Proyecto, Progreso, Arquitectura, no. 17 (2017): 70–83. http://dx.doi.org/10.12795/ppa2017i17.05.

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8

Barnstone, Deborah Ascher. "Hans Scharoun and the aftermath of the First World War." Journal of Architecture 19, no. 6 (November 2, 2014): 825–48. http://dx.doi.org/10.1080/13602365.2014.981843.

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9

Añón Abajas, Rosa María. "GRUPO RESIDENCIAL ROMEO Y JULIETA EN ZUFFENHAUSEN, 1954-59. UN ENSAYO CLAVE DE HANS SCHAROUN." Proyecto, Progreso, Arquitectura, no. 5 (2011): 72–91. http://dx.doi.org/10.12795/ppa.2011.i5.05.

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10

HWANGBO, Alfred B., and Hiroyuki SUZUKI. "MODERN ARCHITECTURE OF HANS SCHAROUN AND A NOTE ON THE PROBLEM OF GESTALT HISTORIOGRAPHY." Journal of Architecture and Planning (Transactions of AIJ) 67, no. 562 (2002): 277–83. http://dx.doi.org/10.3130/aija.67.277_2.

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11

James, Kathleen. "Hans Scharoun: Architekt in Deutschland, 1893-1972 Christine Hoh-Slodczyk Norbert Huse Günther Kühne Andreas Tönnesmann." Journal of the Society of Architectural Historians 53, no. 3 (September 1994): 364–65. http://dx.doi.org/10.2307/990951.

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12

Samuel, Flora, and Peter Blundell Jones. "The making of architectural promenade: Villa Savoye and Schminke House." Architectural Research Quarterly 16, no. 2 (June 2012): 108–24. http://dx.doi.org/10.1017/s1359135512000437.

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The term ‘architectural promenade’ has become a part of the language of modern architecture, yet it has been little discussed or investigated. We find it insufficient as a generic term to express a concern with the experience of moving through a building, for the promenade can mean different things to different people. To illustrate this point we make a comparison of the promenade in the Villa Savoye by Le Corbusier – perhaps the promenade par excellence – and that of the almost contemporary Schminke House by Hans Scharoun. We have found many distinct differences. The emphasis in this essay is on the meaning and manipulation of space, something of deep concern to both architects and a topic that each of us has explored separately elsewhere.

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13

McGrail, S. "Häfen, Schiffe, Wasserwege: zur Schiffahrt des Mittelalters KONRAD ELMSHÄUSER165 pp., 100 b&w illustrationsConvent GmbH for Deutsches Schiffahrtsmuseum, Hans-Scharoun-Platz 1, Bremerhaven D-27568, Germany, 2002, ?39.90, ISBN 3-9346613-37-3." International Journal of Nautical Archaeology 32, no. 2 (November 2003): 274–75. http://dx.doi.org/10.1016/j.ijna.2003.08.003.

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14

Abadžić Hodžić, Aida, and Antonija Mlikota. "Selman Selmanagić – „balkanski Le Corbusier“." Ars Adriatica, no. 4 (January 1, 2014): 385. http://dx.doi.org/10.15291/ars.510.

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Croatian scholarship is poorly acquainted with the life of the well-known Berlin architect, designer and professor, Selman Selmanagić. The enviable and lengthy career of this successful Bosniak and his exciting and dynamic life, intersecting with different cultures, certainly warrants attention, especially considering the contemporary research into the legacy of the Bauhaus tradition and the modes of its reception in Eastern Europe. Selman Selmanagić was the only Yugoslav who did his entire degree in architecture at Bauhaus. For twenty years he led the Department of Architecture at the Kunsthochschule in Berlin, and through his work influenced not only the education of students of architecture but of all other fields. Through his long professorial career, Selman Selmanagić marked many generations of his students and colleagues equally by promoting the idea of a single curriculum which encapsulated architecture, design, applied and decorative arts, technology and science – “totalen Architektur.” It is interesting that in the 1930s he spent some time in the Near East and that he collaborated with, among others, the studio of Richard Kauffmann in Jerusalem precisely when a significant number of his Bauhaus colleagues emigrated to the then Palestine, and when a specific variety of European architectural modernism, and through that the Bauhaus tradition, was being interpreted creatively in this region. Of particular significance was his participation in the Planungskollektiv team (the planning team), together with a number of distinguished architects, many of whom attended Bauhaus and were his colleagues in the anti-Nazi movement, from 1945 to 1950 which, led by Hans Scharoun, planned the post-war rebuilding of Berlin, where Selmanagić was at the head of the Department for the Planning of Building and Renovation of Cultural and Sports Structures, and for the Protection of Monuments (Leiter des Referats für Kultur- und Erholungsstätten-plannung). As well as working as a professor and architect, he was an urbanist, a set designer and a very successful and established designer. Some of his designs have secured him a place as one of the classic figures of twentieth-century architecture. He extensively advocated the Bauhaus ideas and aesthetics in furniture design and interior decoration. It is of particular interest that he actively took part as a main consultant in the renovation project of the Bauhaus building in Dessau in 1975.

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15

Kemnitz, Heidemarie. "Schulbau jenseits der Norm: Hans Scharouns Mädchengymnasium in Lünen." Paedagogica Historica 41, no. 4-5 (August 2005): 605–25. http://dx.doi.org/10.1080/00309230500165791.

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16

Borsi, Katharina. "Hans Scharoun’s ‘Dwelling Cells’ and the autonomy of architecture." Journal of Architecture 23, no. 7-8 (November 2, 2018): 1104–42. http://dx.doi.org/10.1080/13602365.2018.1513418.

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17

Campbell, Hugh. "‘The bright edifice of community’: politics and performance in Hans Scharoun's Berlin Philharmonie." Architectural Research Quarterly 11, no. 2 (June 2007): 159–66. http://dx.doi.org/10.1017/s1359135507000632.

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‘It was democracy that commissioned this project. If we had not been serious in deciding that our nation is resolved – as it says in our constitution – to create a new order for itself and establish a social state on the basis of free self-determination, this building would not have been conceived and completed in the way that it has been, a building whose reality […] symbolises what is new about our order, embodying the element of freedom and the desire that man should be at its centre.’

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18

"Hans Scharoun." Choice Reviews Online 33, no. 08 (April 1, 1996): 33–4286. http://dx.doi.org/10.5860/choice.33-4286.

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19

Mambella, Laura. "Hans Scharoun." lieuxdits, October 10, 2019, 28–31. http://dx.doi.org/10.14428/ld.vi15.23423.

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Après la 2eme guerre mondiale, l’architecte allemande Hans Scharoun est convaincu de la nécessité d'un lieu d'apprentissage où l'enfant pourrait développer ses compétences sans les contraintes imposées par la société. Selon l’architecte, l’école est un lieu de développement humain (individuel et communautaire) où se préparent ceux qui élaboreront un nouveau modèle de société démocratique.

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20

Ficher, Sylvia, and Paulo Roberto Alves dos Santos. "CONEXÕES INTERNACIONAIS: ARQUITETURAS ESTRANGEIRAS EM BRASÍLIA." Revista Thésis 2, no. 5 (December 31, 2019). http://dx.doi.org/10.51924/revthesis.2018.v2.208.

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Poucos se lembram ou sequer se dão conta, mas graças ao status de Capital Federal, Brasília é possuidora de um excepcional acervo de arquitetura estrangeira, quase todo ele constituído por complexos diplomáticos. Localizado nos Setores de Embaixadas Sul e Norte, neles se encontram, além das representações nacionais, diversos organismos internacionais. Ampliando o interesse cultural, em suas edificações estão abrigadas significativas coleções de obras de arte, assim incorporadas ao patrimônio da cidade. Na perspectiva urbana, estes dois setores findaram por ser uma grande exposição de obras de profissionais de renome, verdadeiro ponto de encontro do pensamento arquitetônico internacional, no qual predominou a expressão brutalista. A lista de edifícios e seus autores é extensa, o que explica a grande variedade de soluções adotadas, em que é sempre possível distinguir características típicas do país de origem. Mas há também diferentes graus de ênfase. Em grande parte das embaixadas prevalece a intenção de refletir a modernidade tanto de seu próprio país como a de Brasília; em algumas delas, no entanto, o objetivo é dar destaque à arquitetura tradicional e, finalmente, há aquelas em que ambas as alternativas foram harmonizadas ou convivem – bem ou mal – lado a lado. Examinando este conjunto, começando com os exemplos de mais evidente caráter moderno, não surpreendentemente que os projetos mais significativos sejam aqueles dos países europeus e americanos. Entre os primeiros, destacam-se as embaixadas da Alemanha (1964-1971), de Hans Scharoun; da França (1972-1974), de Guillermo Jullian de la Fuente; Portugal (1972-1978), de Raul Chorão Ramalho; e da Itália (1973-1976) de Pier Luigi Nervi. Quanto às representações latino-americanas, dentre as mais relevantes estão as embaixadas do Peru (1973-1974), de Jacques Crousse e Jorge Paez; do México (1973-1976), de Teodoro González de León, Abraham Zabludovisky e José Francisco Serrano; do Chile (1974-1977), de Juan Echenique Guzmán e José Cruz Covarrubias; do Uruguai (1978-1980), de Mario Paysse Reyes. Recentíssima foi a inauguração da embaixada argentina (1994-2011), projetada pelo Estudio MSGSSS. Menos ligadas ao Movimento Moderno, algumas embaixadas têm como principal característica a referência à cultura tradicional dos seus países. Bons exemplos desta orientação são as embaixadas da Turquia (1977), de İlhami e Cetin Ural; da República da Coreia (1973), de Chang Sik Han; e do Marrocos (1981), de Mustafa Zeghari. Um último grupo particularmente interessante é aquele das embaixadas que buscam em sua expressão arquitetônica combinar uma estética moderna com a tradição nativa – muitas vezes resultando na convivência de edificações apresentado linguagens distintas. Este é o caso da embaixada do Japão (1970-72 e 1976), construída em duas etapas, projetadas respectivamente por Yoshimi Ohashi e Fumihiko Maki.

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21

Bützler, I. M., M. A. Rothschild, and T. Kamphausen. "Blutspurenmusteranalyse trägt zur Aufklärung eines vorgetäuschten Raubüberfalls bei." Rechtsmedizin, February 13, 2021. http://dx.doi.org/10.1007/s00194-021-00463-y.

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ZusammenfassungEin Mann wurde nicht ansprechbar mit einer Schnittverletzung am Hals in seiner Kfz-Werkstatt aufgefunden. Er berichtete, von hinten überfallen, ausgeraubt und mit einem scharfen Gegenstand am Hals verletzt worden zu sein. Eine Blutspurenmusteranalyse und Plausibilitätsprüfung der Angaben des Mannes ergab Hinweise auf eine Selbstbeibringung und darauf, dass das Handlungsgeschehen mehrphasig ablief. Als Tatwerkzeug wurde ein Teppichmesser, in einem Ölfass versteckt, gefunden. Nach umfangreichen Ermittlungen konnten ein Tatverdächtiger entlastet und der Verletzte wegen Vortäuschung einer Straftat verurteilt werden.

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