Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Das Sichtbare. Eine vorbereitende Untersuchung des städtischen Kontext eines zum Umbau stehenden Gebäudeensembles. Städtisches Gefüge, Typologie.
Planungsgrundlage.

Neubau einer Wohnanlage im geförderten Wohnungsbau in vorgefertigter Hybridbauweise

Neubau einer Wohnanlage im geförderten Wohnungsbau in vorgefertigter Hybridbauweise

Neubau einer Wohnanlage im geförderten Wohnungsbau in vorgefertigter Hybridbauweise

Neubau einer Wohnanlage im geförderten Wohnungsbau in vorgefertigter Hybridbauweise

Neubau einer Wohnanlage im geförderten Wohnungsbau in vorgefertigter Hybridbauweise

Neubau einer Wohnanlage im geförderten Wohnungsbau in vorgefertigter Hybridbauweise

Fotografisches Erfassen der Typologie "Bremer Punkt" an allen Standorten in unterschiedlicher Ausführung und Kontext jeweils in 4 Ansichten und 1 Diagonalblick.

Fotografisches Erfassen der Typologie "Bremer Punkt" an allen Standorten in unterschiedlicher Ausführung und Kontext jeweils in 4 Ansichten und 1 Diagonalblick.

Fotografisches Erfassen der Typologie "Bremer Punkt" an allen Standorten in unterschiedlicher Ausführung und Kontext jeweils in 4 Ansichten und 1 Diagonalblick.

Fotografisches Erfassen der Typologie "Bremer Punkt" an allen Standorten in unterschiedlicher Ausführung und Kontext jeweils in 4 Ansichten und 1 Diagonalblick.

Fotografisches Erfassen der Typologie "Bremer Punkt" an allen Standorten in unterschiedlicher Ausführung und Kontext jeweils in 4 Ansichten und 1 Diagonalblick.

Fotografisches Erfassen der Typologie "Bremer Punkt" an allen Standorten in unterschiedlicher Ausführung und Kontext jeweils in 4 Ansichten und 1 Diagonalblick.

Fotografisches Erfassen der Typologie "Bremer Punkt" an allen Standorten in unterschiedlicher Ausführung und Kontext jeweils in 4 Ansichten und 1 Diagonalblick.

Der Umbau des Alpinen Museums in München wird über drei Jahre von Pk. Odessa Co, Markus Lanz und Sebastian Schels fotografisch begleitet.

Der Umbau des Alpinen Museums in München wird über drei Jahre von Pk. Odessa Co, Markus Lanz und Sebastian Schels fotografisch begleitet.

Der Umbau des Alpinen Museums in München wird über drei Jahre von Pk. Odessa Co, Markus Lanz und Sebastian Schels fotografisch begleitet.

Der Umbau des Alpinen Museums in München wird über drei Jahre von Pk. Odessa Co, Markus Lanz und Sebastian Schels fotografisch begleitet.

Der Umbau des Alpinen Museums in München wird über drei Jahre von Pk. Odessa Co, Markus Lanz und Sebastian Schels fotografisch begleitet.

Der Umbau des Alpinen Museums in München wird über drei Jahre von Pk. Odessa Co, Markus Lanz und Sebastian Schels fotografisch begleitet.

Seaport / Cyclades, GR, 2016
82 x 103 cm

381 Unknown / Athens, 2017
50 x 40 cm

550 Artemis / Athens, 2017
50 x 40 cm

o.T. / Hammersbach, 2017
83 x 90 cm

adit, Mo 42 / Wetterstein Mountains, 2017
60 x 90 cm

3292 Menander / Athens, 2017
50 x 40 cm

close to `Brett´ / Wetterstein Mountains, 2017
60 x 90 cm

Seaport / Cyclades, GR, 2016
82 x 103 cm

381 Unknown / Athens, 2017
50 x 40 cm

550 Artemis / Athens, 2017
50 x 40 cm

o.T. / Hammersbach, 2017
83 x 90 cm

adit, Mo 42 / Wetterstein Mountains, 2017
60 x 90 cm

3292 Menander / Athens, 2017
50 x 40 cm

close to `Brett´ / Wetterstein Mountains, 2017
60 x 90 cm

Seaport / Cyclades, GR, 2016
82 x 103 cm

381 Unknown / Athens, 2017
50 x 40 cm

550 Artemis / Athens, 2017
50 x 40 cm

o.T. / Hammersbach, 2017
83 x 90 cm

adit, Mo 42 / Wetterstein Mountains, 2017
60 x 90 cm

3292 Menander / Athens, 2017
50 x 40 cm

close to `Brett´ / Wetterstein Mountains, 2017
60 x 90 cm

Seaport / Cyclades, GR, 2016
82 x 103 cm

381 Unknown / Athens, 2017
50 x 40 cm

550 Artemis / Athens, 2017
50 x 40 cm

o.T. / Hammersbach, 2017
83 x 90 cm

adit, Mo 42 / Wetterstein Mountains, 2017
60 x 90 cm

3292 Menander / Athens, 2017
50 x 40 cm

close to `Brett´ / Wetterstein Mountains, 2017
60 x 90 cm

Seaport / Cyclades, GR, 2016
82 x 103 cm

381 Unknown / Athens, 2017
50 x 40 cm

550 Artemis / Athens, 2017
50 x 40 cm

o.T. / Hammersbach, 2017
83 x 90 cm

adit, Mo 42 / Wetterstein Mountains, 2017
60 x 90 cm

3292 Menander / Athens, 2017
50 x 40 cm

close to `Brett´ / Wetterstein Mountains, 2017
60 x 90 cm

Seaport / Cyclades, GR, 2016
82 x 103 cm

381 Unknown / Athens, 2017
50 x 40 cm

550 Artemis / Athens, 2017
50 x 40 cm

o.T. / Hammersbach, 2017
83 x 90 cm

adit, Mo 42 / Wetterstein Mountains, 2017
60 x 90 cm

3292 Menander / Athens, 2017
50 x 40 cm

close to `Brett´ / Wetterstein Mountains, 2017
60 x 90 cm

Seaport / Cyclades, GR, 2016
82 x 103 cm

381 Unknown / Athens, 2017
50 x 40 cm

550 Artemis / Athens, 2017
50 x 40 cm

o.T. / Hammersbach, 2017
83 x 90 cm

adit, Mo 42 / Wetterstein Mountains, 2017
60 x 90 cm

3292 Menander / Athens, 2017
50 x 40 cm

close to `Brett´ / Wetterstein Mountains, 2017
60 x 90 cm

Seaport / Cyclades, GR, 2016
82 x 103 cm

381 Unknown / Athens, 2017
50 x 40 cm

550 Artemis / Athens, 2017
50 x 40 cm

o.T. / Hammersbach, 2017
83 x 90 cm

adit, Mo 42 / Wetterstein Mountains, 2017
60 x 90 cm

3292 Menander / Athens, 2017
50 x 40 cm

close to `Brett´ / Wetterstein Mountains, 2017
60 x 90 cm

CARDBOARD
Abandoned minimal arrangements for a temporary purpose

The outspread cardboard is the expression of a desire to organize one’s own sphere. The minimal, initial intervention is the claim to a site. It seeks a specific location in space, proximity to an occupied building, at the border to a protected interior, under the protective cover of trees … The way the cardboard is arranged, the traces of its use lends its former user the appearance of vulnerability. Relate something about the current state of a society.

CARDBOARD
Abandoned minimal arrangements for a temporary purpose

The outspread cardboard is the expression of a desire to organize one’s own sphere. The minimal, initial intervention is the claim to a site. It seeks a specific location in space, proximity to an occupied building, at the border to a protected interior, under the protective cover of trees … The way the cardboard is arranged, the traces of its use lends its former user the appearance of vulnerability. Relate something about the current state of a society.

CARDBOARD
Abandoned minimal arrangements for a temporary purpose

The outspread cardboard is the expression of a desire to organize one’s own sphere. The minimal, initial intervention is the claim to a site. It seeks a specific location in space, proximity to an occupied building, at the border to a protected interior, under the protective cover of trees … The way the cardboard is arranged, the traces of its use lends its former user the appearance of vulnerability. Relate something about the current state of a society.

CARDBOARD
Abandoned minimal arrangements for a temporary purpose

The outspread cardboard is the expression of a desire to organize one’s own sphere. The minimal, initial intervention is the claim to a site. It seeks a specific location in space, proximity to an occupied building, at the border to a protected interior, under the protective cover of trees … The way the cardboard is arranged, the traces of its use lends its former user the appearance of vulnerability. Relate something about the current state of a society.

CARDBOARD
Abandoned minimal arrangements for a temporary purpose

The outspread cardboard is the expression of a desire to organize one’s own sphere. The minimal, initial intervention is the claim to a site. It seeks a specific location in space, proximity to an occupied building, at the border to a protected interior, under the protective cover of trees … The way the cardboard is arranged, the traces of its use lends its former user the appearance of vulnerability. Relate something about the current state of a society.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space.

The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the architect Josef Wiedemann in Munich:

Allianz Hauptverwaltung, Königinstrasse.
Landesbausparkasse, Karolinenplatz.
Dresdner Bank, Promenadenplatz.

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space.

The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the architect Josef Wiedemann in Munich:

Allianz Hauptverwaltung, Königinstrasse.
Landesbausparkasse, Karolinenplatz.
Dresdner Bank, Promenadenplatz.

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space.

The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the architect Josef Wiedemann in Munich:

Allianz Hauptverwaltung, Königinstrasse.
Landesbausparkasse, Karolinenplatz.
Dresdner Bank, Promenadenplatz.

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space.

The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the architect Josef Wiedemann in Munich:

Allianz Hauptverwaltung, Königinstrasse.
Landesbausparkasse, Karolinenplatz.
Dresdner Bank, Promenadenplatz.

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space.

The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the architect Josef Wiedemann in Munich:

Allianz Hauptverwaltung, Königinstrasse.
Landesbausparkasse, Karolinenplatz.
Dresdner Bank, Promenadenplatz.

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space.

The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the architect Josef Wiedemann in Munich:

Allianz Hauptverwaltung, Königinstrasse.
Landesbausparkasse, Karolinenplatz.
Dresdner Bank, Promenadenplatz.

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space.

The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the architect Josef Wiedemann in Munich:

Allianz Hauptverwaltung, Königinstrasse.
Landesbausparkasse, Karolinenplatz.
Dresdner Bank, Promenadenplatz.

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space.

The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the architect Josef Wiedemann in Munich:

Allianz Hauptverwaltung, Königinstrasse.
Landesbausparkasse, Karolinenplatz.
Dresdner Bank, Promenadenplatz.

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space.

The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the architect Josef Wiedemann in Munich:

Allianz Hauptverwaltung, Königinstrasse.
Landesbausparkasse, Karolinenplatz.
Dresdner Bank, Promenadenplatz.

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space.

The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the architect Josef Wiedemann in Munich:

Allianz Hauptverwaltung, Königinstrasse.
Landesbausparkasse, Karolinenplatz.
Dresdner Bank, Promenadenplatz.

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space.

The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the architect Josef Wiedemann in Munich:

Allianz Hauptverwaltung, Königinstrasse.
Landesbausparkasse, Karolinenplatz.
Dresdner Bank, Promenadenplatz.

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.

LIVING SPACE

In contrast to the small-format black-and-white photographs in the publication, the large-format colour photographs for the exhibition are overviews of specific spaces. The space becomes apparent as a complex situation beyond its material concreteness. The interaction in the architectural space, visible in depth, testifies to the urban fabric and context beyond the frame of the photograph. Situational work, the development of actions with people on site, is part of my architectural photography.

LIVING SPACE

In contrast to the small-format black-and-white photographs in the publication, the large-format colour photographs for the exhibition are overviews of specific spaces. The space becomes apparent as a complex situation beyond its material concreteness. The interaction in the architectural space, visible in depth, testifies to the urban fabric and context beyond the frame of the photograph. Situational work, the development of actions with people on site, is part of my architectural photography.

LIVING SPACE

In contrast to the small-format black-and-white photographs in the publication, the large-format colour photographs for the exhibition are overviews of specific spaces. The space becomes apparent as a complex situation beyond its material concreteness. The interaction in the architectural space, visible in depth, testifies to the urban fabric and context beyond the frame of the photograph. Situational work, the development of actions with people on site, is part of my architectural photography.

LIVING SPACE

In contrast to the small-format black-and-white photographs in the publication, the large-format colour photographs for the exhibition are overviews of specific spaces. The space becomes apparent as a complex situation beyond its material concreteness. The interaction in the architectural space, visible in depth, testifies to the urban fabric and context beyond the frame of the photograph. Situational work, the development of actions with people on site, is part of my architectural photography.

LIVING SPACE

In contrast to the small-format black-and-white photographs in the publication, the large-format colour photographs for the exhibition are overviews of specific spaces. The space becomes apparent as a complex situation beyond its material concreteness. The interaction in the architectural space, visible in depth, testifies to the urban fabric and context beyond the frame of the photograph. Situational work, the development of actions with people on site, is part of my architectural photography.

LIVING SPACE

In contrast to the small-format black-and-white photographs in the publication, the large-format colour photographs for the exhibition are overviews of specific spaces. The space becomes apparent as a complex situation beyond its material concreteness. The interaction in the architectural space, visible in depth, testifies to the urban fabric and context beyond the frame of the photograph. Situational work, the development of actions with people on site, is part of my architectural photography.

LIVING SPACE

In contrast to the small-format black-and-white photographs in the publication, the large-format colour photographs for the exhibition are overviews of specific spaces. The space becomes apparent as a complex situation beyond its material concreteness. The interaction in the architectural space, visible in depth, testifies to the urban fabric and context beyond the frame of the photograph. Situational work, the development of actions with people on site, is part of my architectural photography.

LIVING SPACE

In contrast to the small-format black-and-white photographs in the publication, the large-format colour photographs for the exhibition are overviews of specific spaces. The space becomes apparent as a complex situation beyond its material concreteness. The interaction in the architectural space, visible in depth, testifies to the urban fabric and context beyond the frame of the photograph. Situational work, the development of actions with people on site, is part of my architectural photography.