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Posts from the ‘Architecture’ category

Grand Canyon National Park: The North & South Rim

Above/featured: West-northwest from Mohave Point – 15 October 2018.

The Grand Canyon National Park has very different timescales: over 100 years of human inscription as a national park, but almost 2 billion years of geologic history.

European colonizers and settlers recognized protection was required for the big dramatic landscape. On 26 February 1919, U.S. Congress passed legislation “An Act to Establish the Grand Canyon National Park in the State of Arizona” which was signed by President Woodrow Wilson. With its official designation, the country’s 15th National Park encompasses over 1-million acres (almost 405-thousand hectares) in surface area and several thousand years of history of human habitation by indigenous peoples, including the Havasupai, Hualapai, Hopi, Navajo, Paiute, and the Zuni, who consider the Grand Canyon as their ancestral birthplace. UNESCO inscribed the Grand Canyon National Park as World Heritage Site in 1979.

The park also includes over a billion years of geologic history. By geologic standards, the Grand Canyon itself is relatively “young” with the Colorado River carving into the rock about 5 to 6 million years ago. However, the Vishnu basement rock in the Grand Canyon is over 1.7 billion years old, even though that age is only 38 percent as old as the Earth’s oldest rocks at 4.5 billion years.

Over three days in October 2018, we explored parts inside Grand Canyon National Park. After our drive from Flagstaff to Vermilion Cliffs, we pushed forward to the North Rim and the winding scenic drive through the Kaibab National Forest took us to Point Imperial and Cape Royal in time for the day’s final illumination.

With a night spent at the beautifully serene Cliff Dwellers Lodge, we retraced our drive back to Cameron, then heading west to Desert View to the eastern section of the South Rim. After establishing our new ‘base’ in Flagstaff, we drove the following day to the main entrance of the Grand Canyon National Park (via Valle and Tusayan), and we spent the day in the western and central sections of the South Rim. The 1126 km (700 mi) we covered over the three days made up 22 percent of the entire 5049 km (3138 mi) driving distance accumulated in New Mexico and Arizona.

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Before Bauhaus: Alfeld Fagus Factory, UNESCO WHS

Before Bauhaus found its first footing in Weimar, there was in the town of Alfeld in central Germany the Fagus-Werk factory building.

The Fagus factory building is looked upon as the first building in the world for the modern architectural age, and is the predecessor to the elegant 1926 Bauhaus headquarters building in Dessau. Fagus company founder Karl Benscheidt commissioned architect and future Bauhaus founder, Walter Gropius, to create and build a shoe-making factory as an artistic project. Gropius and his collaborator Adolf Meyer stuck with working floor-plans by architect Eduard Werner, and set their sights on new exterior and interior designs. Completed in 1911, the factory’s office building set a new standard for 20th-century industrial architecture with steel and glass construction and tall unsupported windows at the corners of the building.

“Fagus” is Latin for “beech tree”, and shoemaking began with shoe lasts or moulds constructed from beech wood, which were sold and distributed around the world to other companies for the productions of shoes. In the 1920s, Benscheidt developed the turning precision-lathe speeding up production, prompting growth and expansion and elevating the company to world’s top producer of shoe lasts. Today, the building is still a working factory: Fagus creates plastic lasts milled by automated machinery to precise specifications for specific designs by shoe companies. Also on-site is GreCon which produces systems for fire-detection and fire-extinguishing in industrial settings. The Fagus factory building was recognized as “unique living monument” and inscribed by UNESCO as World Heritage Site (Welterbe) in 2011.

With a population of over 20-thousand people, Alfeld is located in the German federal state of Lower Saxony. The town’s reach by train is 30-minutes from Hannover or 40-minutes from Göttingen, after which is a short 5- to 10-minute walk from Alfeld(Leine)¹ train station to the entrance of the Fagus/GreCon complex. Visitors can walk around the working factory site, stop at the World Heritage Site Visitor Centre, sit in the neighbouring café for coffee or tea, and visit the museum dedicated to the building’s origins, the building’s century-long history of shoe-making, and a general history of footwear.

Walter Gropius and others would move to Weimar to establish a centre of art, design, thought, and attitude for Bauhaus in 1919, eight years after inauguration of the Fagus-Werk.

Die Baukunst soll ein Spiegel des Lebens und der Zeit sein.
(Architecture should be a mirror to life and its time.)

– Walter Gropius.

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Vienna: Disrupting Historicism with Modernism (1918–2018)

Above/featured: Modernism at Steinhof Church: building by Otto Wagner, angels by Othmar Schimkowitz, stained glass by Koloman Moser (HL).

Vienna is as much a present-day cultural capital city as she was for decades and centuries. Many will get a peek and taste of long-established aspects of the city by walking the streets of the Old Town for the atmosphere, chatting in cozy cafés with coffee and cake for the ambience, and swaying to the rhythms of the waltz under the spell ofOlbr the (blue) Danube.

The early years of the 20th-century were troubled by greater calls for more autonomy from multiple ethnic groups within the patchwork of the Austro-Hungarian empire, by destruction and loss of life from The Great War (World War I), and by subsequent dissolution of the Empire. The capital city became an open theatre for socioeconomic and political changes across all class divisions within an environment where rebellion and revolution were the big talking points against the dogma of long-held traditions. Deep longing for the stability of the old and familiar mingled with equally enthusiastic desire for the radical of the new and mysterious.

Many in the arts, design, and cultural scene were questioning the excessive persistence of past styles, and were seeking something new to better represent changes happening all around them in Vienna. In 1897, a group of artists and architects resigned from the established Künstlerhaus to form the Vereinigung Bildender Künstler Österreichs (Union of Austrian Artists), known also as the Vienna Secession. Architecture moved towards a sharper focus to geometry and abstraction, and art flowed to the decorative with organic floral-like designs in the Jugendstil, Art Nouveau’s chapter in German-speaking lands. To promote their new ideas, the Secession group produced an official magazine called Ver Sacrum (“sacred spring” in Latin, 1898) and constructed the Secession building (1897) as an exhibition hall to display their work. The Wiener Werkstätte (Vienna Workshops) was created in 1903 as an association of artists whose thinking and applied arts creations were a precursor to the Bauhaus movement. Members of the Werkstätte worked with Vienna’s architects to broaden and unite the various concepts for a complete artwork, or Gesamtkunstwerk, as applied to a living space: the house, its rooms and furnishings, the interplay of light and space, and the tools and utensils for every day aspects of living.

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Innsbruck’s Hungerburgbahn, by Zaha Hadid

As much as the Austrian federal state of Tirol is about mountains, spending time in the capital city of Innsbruck is also about reaching those very heights. To that end, Iraqi-British architect Zaha Hadid left her mark in Innsbruck with her redesigned Bergisel Ski Jump which opened in 2002, and her “Shell and Shadow” design of the Hungerbergbahn stations which opened in 2007.

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Chilehaus, Kontorhausviertel, UNESCO, Weltkulturerbe, World Heritage, Hamburg, Germany, fotoeins.com

Hamburg UNESCO WHS: Kontorhausviertel (Commercial District)

On 5 July 2015, UNESCO awarded World Heritage status to two sites in Hamburg: the Speicherstadt (Warehouse District) and the Kontorhausviertel (Office Building District). In the latter are two important brick buildings: Chilehaus and the Sprinkenhof, representative of the construction in the late 19th- and early 20th-century.

The Chilehaus was built by Fritz Höger for client Henry Sloman from 1922 to 1924 in the Kontorhausviertel as a prime example of German expressionist architecture using hard-fired brick. Höger undertook the project for Hamburg merchant and banker Sloman who made his fortune in importing nitrates from Chile. Built entirely to serve and complement the functions of the warehouses in neighbouring Speicherstadt, the Kontorhausviertel was the first dedicated office- and commercial-district on the European continent.

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