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Text in English and German. The church rises to the challenge of providing a spiritual centre for Donau City, the new residential and commercial centre on the opposite bank of the Danube -- not as an act of coronation for the city in the sense of Taut's urban crown, as a temple or cathedral, but as miniature, as a demonstration of the power of the quiet as opposed to the loud, as an 'oasis in the diaspora', to use Karl Rahner's formulation about the parishes of the future. The building gives an impression of starkness: a hard cube, cut off at the corners, clad with sheets of black chromium steel. But it is only stark at first glance. A second glance shows that the hardness is a friendly hardness: because of the reflections that the material admits; because of the grid of the large-format sheets, to which the brightly gleaming drill-holes that cover the walls like fine gossamer respond; because of circular apertures that allow light to shine outwards after dark; because of large, rectangular windows in the receding corners that create a contrast with the closed quality of the building. Inside the starkness gives way altogether: a light space, which one comes into through an art-fully designed entrance. Originally a sparse covering for the space, which thrives mainly because of the light material -- birch wood -, because of the arrangement of the pews, which is as lively as it is peaceful -- segments of circles of different sizes, surrounding the dark syenite altar block in the form of an open circle -- and especially because of the wide range of circular light sources that render the introverted interior transparent, the large windows that create islands of light, the free-form aperture in the ceiling, which sends light gliding down on to the altar. Heinz Tesar's church continues a tradition of forward-looking modern church building, from Rudolf Schwarz's Fronleichnamskirche in Aachen via Egon Eiermann's Kaiser-Wilhelm-Gedachtniskirche in Berlin, Franz Fueg's Piuskirche in Meggen on Lake Lucerne to the new Herz-Jesu-Kirche in Munich by Allmann, Sattler and Wappner; and alongside all this there is also the tradition of a genuinely Viennese development of this theme, from Otto Wagner's Kirche am Steinhof to Ottokar Uhl's parish church Katharina von Siena.
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About the Author:
Immo Boyken is professor of architectural history in Konstanz, Germany.
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- PublisherEdition Axel Menges
- Publication date2002
- ISBN 10 3930698420
- ISBN 13 9783930698424
- BindingHardcover
- Number of pages60
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Heinz Tesar, "Christus Hoffnung der Welt", Donau City, Wien : Dtsch.-Engl.
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Book Description Buch. Condition: Neu. Neuware - The church rises to the challenge of providing a spiritual centre forDonau City, the new residential and commercial centre on the oppositebank of the Danube - not as an act of coronation for the cityin the sense of Taut's urban crown, as a temple or cathedral, butas miniature, as a demonstration of the power of the quiet as opposedto the loud, as an 'oasis in the diaspora', to use Karl Rahner'sformulation about the parishes of the future.The building gives an impression of starkness: a hard cube, cutoff at the corners, clad with sheets of black chromium steel. But itis only stark at first glance. A second glance shows that the hardnessis a friendly hardness: because of the reflections that the materialadmits; because of the grid of the large-format sheets, towhich the brightly gleaming drill-holes that cover the walls like finegossamer respond; because of circular apertures that allow light toshine outwards after dark; because of large, rectangular windowsin the receding corners that create a contrast with the closed qualityof the building.Inside the starkness gives way altogether: a light space, whichone comes into through an artfully designed entrance. Originally asparse covering for the space, which thrives mainly because of thelight material - birch wood -, because of the arrangement of thepews, which is as lively as it is peaceful - segments of circles ofdifferent sizes, surrounding the dark syenite altar block in the formof an open circle - and especially because of the wide range of circularlight sources that render the introverted interior transparent,the large windows that create islands of light, the free-form aperturein the ceiling, which sends light gliding down on to the altar.Heinz Tesar's church continues a tradition of forward-lookingmodern church building, from Rudolf Schwarz's Fronleichnamskirchein Aachen via Egon Eiermann's Kaiser-Wilhelm-Gedächtniskirchein Berlin, Franz Füeg's Piuskirche in Meggen on Lake Lucerneto the new Herz-Jesu-Kirche in Munich by Allmann, Sattlerand Wappner; and alongside all this there is also the tradition of agenuinely Viennese development of this theme, from Otto Wagner'sKirche am Steinhof to Ottokar Uhl's parish church Katharina vonSiena.Immo Boyken is Professor of architectural history, surveying anddesign in Konstanz. He had a major involvement in the great monographon the works of Egon Eiermann, and has also writtena monograph on Otto Ernst Schweizer, as well as other works aboutmodern architecture. Christian Richters studied at the Folkwangschulein Essen. He is one of the most sought-after architecturalphotographers in Europe today. Seller Inventory # 9783930698424
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Heinz Tesar: Christus, Hoffnung der Welt, Donau City, Wien (Hardcover)
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Book Description Hardcover. Condition: new. Hardcover. Text in English and German. The church rises to the challenge of providing a spiritual centre for Donau City, the new residential and commercial centre on the opposite bank of the Danube -- not as an act of coronation for the city in the sense of Taut's urban crown, as a temple or cathedral, but as miniature, as a demonstration of the power of the quiet as opposed to the loud, as an 'oasis in the diaspora', to use Karl Rahner's formulation about the parishes of the future. The building gives an impression of starkness: a hard cube, cut off at the corners, clad with sheets of black chromium steel. But it is only stark at first glance. A second glance shows that the hardness is a friendly hardness: because of the reflections that the material admits; because of the grid of the large-format sheets, to which the brightly gleaming drill-holes that cover the walls like fine gossamer respond; because of circular apertures that allow light to shine outwards after dark; because of large, rectangular windows in the receding corners that create a contrast with the closed quality of the building.Inside the starkness gives way altogether: a light space, which one comes into through an art-fully designed entrance. Originally a sparse covering for the space, which thrives mainly because of the light material -- birch wood -, because of the arrangement of the pews, which is as lively as it is peaceful -- segments of circles of different sizes, surrounding the dark syenite altar block in the form of an open circle -- and especially because of the wide range of circular light sources that render the introverted interior transparent, the large windows that create islands of light, the free-form aperture in the ceiling, which sends light gliding down on to the altar. Heinz Tesar's church continues a tradition of forward-looking modern church building, from Rudolf Schwarz's Fronleichnamskirche in Aachen via Egon Eiermann's Kaiser-Wilhelm-Gedachtniskirche in Berlin, Franz Fueg's Piuskirche in Meggen on Lake Lucerne to the new Herz-Jesu-Kirche in Munich by Allmann, Sattler and Wappner; and alongside all this there is also the tradition of a genuinely Viennese development of this theme, from Otto Wagner's Kirche am Steinhof to Ottokar Uhl's parish church Katharina von Siena. Heinz Tesar built this church as a spiritual centre, an oasis in the diaspora, for Donau City, a new residential and commercial centre of Vienna. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability. Seller Inventory # 9783930698424
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Heinz Tesar, "Christus Hoffnung Der Welt", Donau City, Wien
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Book Description Condition: New. 2002. Bilingual. Hardcover. The church rises to the challenge of providing a spiritual centre for Donau City, the residential and commercial centre on the opposite bank of the Danube - as miniature, as a demonstration of the power of the quiet as opposed to the loud to use Karl Rahner's formulation about the parishes. This book features text in English and German. Editor(s): Boyken, Immo. Num Pages: 56 pages, 78 illustrations. BIC Classification: 1DD; 1DFG; AMA; AMB; AMN. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 308 x 291 x 12. Weight in Grams: 778. . . . . . Books ship from the US and Ireland. Seller Inventory # V9783930698424
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Book Description Buch. Condition: New. The church rises to the challenge of providing a spiritual centre forDonau City, the new residential and commercial centre on the oppositebank of the Danube - not as an act of coronation for the cityin the sense of Taut s urban crown, as a temple or cathedr. Seller Inventory # 369201801
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Heinz Tesar: Christus, Hoffnung der Welt, Donau City, Wien (Hardcover)
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Book Description Hardcover. Condition: new. Hardcover. Text in English and German. The church rises to the challenge of providing a spiritual centre for Donau City, the new residential and commercial centre on the opposite bank of the Danube -- not as an act of coronation for the city in the sense of Taut's urban crown, as a temple or cathedral, but as miniature, as a demonstration of the power of the quiet as opposed to the loud, as an 'oasis in the diaspora', to use Karl Rahner's formulation about the parishes of the future. The building gives an impression of starkness: a hard cube, cut off at the corners, clad with sheets of black chromium steel. But it is only stark at first glance. A second glance shows that the hardness is a friendly hardness: because of the reflections that the material admits; because of the grid of the large-format sheets, to which the brightly gleaming drill-holes that cover the walls like fine gossamer respond; because of circular apertures that allow light to shine outwards after dark; because of large, rectangular windows in the receding corners that create a contrast with the closed quality of the building.Inside the starkness gives way altogether: a light space, which one comes into through an art-fully designed entrance. Originally a sparse covering for the space, which thrives mainly because of the light material -- birch wood -, because of the arrangement of the pews, which is as lively as it is peaceful -- segments of circles of different sizes, surrounding the dark syenite altar block in the form of an open circle -- and especially because of the wide range of circular light sources that render the introverted interior transparent, the large windows that create islands of light, the free-form aperture in the ceiling, which sends light gliding down on to the altar. Heinz Tesar's church continues a tradition of forward-looking modern church building, from Rudolf Schwarz's Fronleichnamskirche in Aachen via Egon Eiermann's Kaiser-Wilhelm-Gedachtniskirche in Berlin, Franz Fueg's Piuskirche in Meggen on Lake Lucerne to the new Herz-Jesu-Kirche in Munich by Allmann, Sattler and Wappner; and alongside all this there is also the tradition of a genuinely Viennese development of this theme, from Otto Wagner's Kirche am Steinhof to Ottokar Uhl's parish church Katharina von Siena. Heinz Tesar built this church as a spiritual centre, an oasis in the diaspora, for Donau City, a new residential and commercial centre of Vienna. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. Seller Inventory # 9783930698424
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