Arbeiten
WOHNHAUS,
ROT AM SEE, 1999
Diese
gestaltete Floatglasscheibe wurde in den Rahmen eines vorhandenen Fensters
vorgesetzt. Sie ist Teil einer sich ständig erweiternden Sammlung
von Gläsern, die jeweils von unterschiedlichen Künstlerinnen
und Künstlern gestaltet werden. Jede Scheibe ist als temporäre
Installation über einen bestimmten Zeitraum geplant. Nach der Beauftragung
eines weiteren Künstlers durch die Hausbesitzer werden die vorgesetzten
Scheiben ausgetauscht, eine neue künstlerische Arbeit auf Glas nimmt
den bisherigen Platz ein.
This artistically designed fl oat glass pane was placed into the frame in front of an existing window. It is part of a continuously expanding collection of glass panes being designed by various artists. Each pane has to be seen as a temporary installation for a specific period of time, then, after the commissioning of another artist by the house owner, the inserted panes are exchanged, and a new artwork on glass can be seen.
Floatglas gesandstrahlt und geätzt / Sandblasted and etched float glass
45 cm x 90 cm
This artistically designed fl oat glass pane was placed into the frame in front of an existing window. It is part of a continuously expanding collection of glass panes being designed by various artists. Each pane has to be seen as a temporary installation for a specific period of time, then, after the commissioning of another artist by the house owner, the inserted panes are exchanged, and a new artwork on glass can be seen.
Floatglas gesandstrahlt und geätzt / Sandblasted and etched float glass
45 cm x 90 cm
REGISWINDISKIRCHE,
LAUFFEN AM NECKAR, 2008
The six choir windows of the Regiswindis Church are located in the oldest part of the church dating from the year 1227. The ornament-like structure of these windows is based on the graphic motif of the vine tendril and combines with the carving of the choir organ as well as with the painting of the arched ceiling. The emphasis of the line, its repetition and the decent colourfulness directly refer to the Grisaille windows of the 12th and 13th century.
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ROGATEKIRCHE
WENDTHAGEN, 2003
The Protestant church of Wendthagen was built in the fifties. Within the framework of the renovation works in 2003, also art works were implemented on some of the windows. The concept covered all windows, including as well the existing figurative choir window.Orange became the dominant colour, a strip of orange opal glass, extending over both window fronts, connects all windows with each other. Apart from the tympanums with coloured artworks and the two large colour blocks on the northern and southern sides, more than half of the existing leaded glazing was intentionally maintained, and also the rectangular division was taken over. The new interior design emerged from the original substance; the spirit of the fi fties is still allowed to be perceived, but no longer decisive.
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Es wurden mundgeblasene Überfanggläser verwendet, deren Oberfläche mit Flusssäure geätzt und an wenigen Stellen mit Schmelzfarben bemalt wurde. Zur Außenseite hin wurden die Fenster mit einer Schutzverglasung versehen.
The Hohen Luckow community is located approx. 25 km south of Rostock. The Protestant church was built at the beginning of the 14th century and baroquised later. 1995, the “blue window” was donated on the occasion of a wedding, 2010 the jubilee- and christening-window.
Mouth-blown fl ashed glass, the surface of which was etched by means of hydrofl uoric acid and painted at just a few spots by using enamel colours, was used.
Towards the outside, the window was provided with protective glazing.
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Der Wettbewerbsbeitrag nimmt die Kreisform als das prägende Element der Architektur auf. Eine graphische Grundfigur sich überlagernder konzentrischer Kreise wird zur Leitidee, die auch die untere Fensterreihe miteinbezieht. Die Tatsache, dass die Mittelpunkte der Kreise leicht gegeneinander verschoben sind, bewirkt einen Moireé- Effekt, der im Auge des Betrachters dann entstehen kann, wenn er sich selbst in Bewegung setzt. Die Gesamtfläche ist mit einer aus Kreissegmenten bestehenden Stahlkonstruktion unterteilt. Der Entwurf wurde nicht realisiert.
The neoromantic structure of the Matthäuskirche in Stuttgart was heavily damaged during the second world war. The destroyed and afterwards bricked up South rosette was opened again in 2009. A competition was launched to envisage a design for the 4.80m diameter circular architectural glazed element. The entry for this competition employs the given circle, the formative element of the architecture. The graphical basis of the design, with it's overlapping concentric circles, is visually associated with the lower series of arched windows. The fact, that the centres of the circles are set purposely, slightly askew against one another, causes a Moire effect, which appears in the eye of the moving viewer. The whole area is sectioned by a steel construction made of circular segments. The draft has not been realised.
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Während
einer Projektwoche im Mai 1997, zusammen mit Architekturstudenten, die
sich mit der Umnutzung dieser Halle zu einem Kulturzentrum befassten,
entstand diese Wandzeichnung. Erzählerisch, aber nicht gegenständlich,
berichtet sie davon, wie viel Leben diese Halle wohl früher erfüllt
hat.
This wall painting emerged during a project week held in May 1997 together
with students of architecture dealing with a conversion of this hall to
a cultural centre. This painting reports in a narrative, not objective
way how this building could in the past have been filled with much life.
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2007 wurde die künstlerische Gestaltung dieser Glasfront realisiert. Ausgehend von einem Gedicht des Schriftstellers und Lyrikers Franz Werfel (1890–1945) entstand durch Sandstrahlung ein feine, transparente bis transluzente Schicht, die keine eindeutige Trennung zwischen davor und dahinter, zwischen innen und außen zulässt.
At the end of the nineties, a glass wall was installed as a protection against wind and rain in front of the funeral parlour of the graveyard of the Tiefenbach community of Crailsheim. In 2007, the artwork was materialised on this glass front. Initiating from a poem of the author and lyric poet Franz Werfel (1890–1945), a fi ne transparent to
translucent layer, not permitting a clear separation between before and behind, between inside and outside, emerged by sandblasting.
Sandstrahlung in mehreren Schichten auf VSG- Glas
Sandblasting in several layers on laminated safety glass
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Within the framework of an artistic symposium “Nature – Water – Arts” held in 2000, a four-part temporary glass installation emerged on the cellar windows of a former generator building. Float glass panes, onto which at first a dense line braiding was engraved, were placed in front of the window openings being closed with old steel sheets. This braiding precisely reflects the vegetation on the green area just before the windows (the glass panes were placed onto uncut meadow, the contours of the plants were copied by engraving), translating it at the same time into a poetic visual language.
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The Protestant town church of Gaildorf originates from the 15th century. The only remnant from this time is the choir, since the church was two times destroyed by fi re. The last reconstruction took place in the years 1948/49 in the stern, pragmatic style being characteristic for that time, which, however, was in the course of time more and more considered to be dull and lifeless. A partial artwork has been implemented on the windows, aiming at grasping and
quickening the whole room anew.
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The town hall of Gaildorf, the former Bentinck’s Castle, was rebuilt and renovated in 2002. In the newly created citizen office, the bay windows were designed artistically. The draft takes up the ornamentation of the existing stuccoed ceiling, thematising the meeting of citizens and municipality in the citizen office. The handprints in the central window originate from persons from the municipality and from inhabitants of Gaildorf.
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Gestaltung den in der Architektur angelegten Ansatz von Durchlässigkeit und Offenheit auf.
The Kreuzkirche (church of the cross) in Eriskirch-Schlatt was built in the 1970s and reconstructed in 2007. A road in the interim was constructed alongside, making it necessary to find a solution to veil the lower third of the large float-glass windows. It was decided that the screen was to be manufactured from fibreglass reinforced polyester resin; that causes an a softening, opalescent shimmer, discernible from the outside. A line from the poet Jehuda Halevi (11th century) incorporated in the float-glass, refers to the artistic arrangement concerning transmittance and openness, these being ideas invested in the architecture.
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Lasierend aufgetragene Farbflächen auf der Altarwand und zurückhaltende Gestaltung in den Fenstern hatten zum Ziel, im Kirchenraum eine helle und offene Atmosphäre zu erzeugen. In Bildzitaten und Fragmenten wurde auf die ebenfalls zur Gemeinde gehörende Georgskirche aus dem frühen 13. Jahrhundert eingegangen.
In the course of the renovation works of the Protestant church in Fichtenberg built in 1832, the so far untouched altar wall as well as all windows were artistically designed in the year 2002.
The glazed colour surfaces on the altar wall and the decent design of the windows aimed at generating a bright and open atmosphere in the sanctuary. Painting quotations and fragments refer to the George Church from the early 13th century, which also belongs to this community.
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The dense felt structures on the existing windows came about on the occasion of an exhibition (works on Paper and Glass, with R. Nikel) in the gallery of the Association of Visual Artists (Verband Bildender Künstler) Württemberg in Stuttgart. The view out onto the urban environment was in this way covered with a filter visualising the grid of one’s own perception.
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Dem Wunsch der Bauherren entsprechend, war das künstlerische Thema Heilpflanzen gewidmet.
Several old doors and skylight elements, provided with designed glasses instead of the original wooden infill, were integrated into the new building. It was in this case important that the glasses, depending on their locations in the house, either provided or prevented any insight.
The artistic theme of each door element was upon the building owner’s request a medicinal plant.
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