Haus de Rundfunks en Berlin, de Hans Poelzig

<p class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-size: 7pt; mso-ansi-language: EN-US;" lang="EN-US"><span style="font-family: Arial;">Poelzig affirmed that the technical ideal consisted of...

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Main Author: María Teresa Múñoz
Format: Article
Language:English
Published: Universidad Politécnica de Madrid 2011-05-01
Series:Cuadernos de Proyectos Arquitectónicos
Online Access:http://polired.upm.es/index.php/proyectos_arquitectonicos/article/view/139
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spelling doaj-646f20b79f3e4477bec351265f7cd6fc2020-11-25T00:56:27ZengUniversidad Politécnica de MadridCuadernos de Proyectos Arquitectónicos2171-956X2174-11312011-05-01016873Haus de Rundfunks en Berlin, de Hans PoelzigMaría Teresa Múñoz<p class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-size: 7pt; mso-ansi-language: EN-US;" lang="EN-US"><span style="font-family: Arial;">Poelzig affirmed that the technical ideal consisted of using the least amount of shapes and materials possible. He understood architecture as an art, as the expression of form; In contrast to the indifference of the most widely recognized values of modernism: technical innovation in construction along with the functionality of buildings. The Haus des Rundfunks is a powerful hermetic factory in the shape of a triangle and of uniform height. Mass, geometric rigidity and the absence of textures make up a building which relinquishes expressing the new media, with a perimeter ring consisting of offices and larger spaces that are more characteristic towards their inside. Geometry is used as a means to organize and limit the shapes of the buildings. The arrangement and division of different intercommunicating spaces are subjected to the crudeness of their geometric limits. Interior spaces ranging from the most static to the most dynamic are defined through the qualities of materials and geometries. This turns the spaces into geometric grids which decompose the wall, floor and ceiling planes into fragments, regardless of the constructive reality provided by a metallic frame structure. Its polyhedral lamps enclose artificial and emphasize the value of the grid. Poelzig limits himself to dealing with planes within a closed volume of uniform height, and maintains geometric rigidity compatible with a certain degree of figurativeness. This article tries to bring to life this exemplary building, marked by its passivity and hermetism.</span></span><span style="mso-ansi-language: EN-US;" lang="EN-US"></span></p>http://polired.upm.es/index.php/proyectos_arquitectonicos/article/view/139
collection DOAJ
language English
format Article
sources DOAJ
author María Teresa Múñoz
spellingShingle María Teresa Múñoz
Haus de Rundfunks en Berlin, de Hans Poelzig
Cuadernos de Proyectos Arquitectónicos
author_facet María Teresa Múñoz
author_sort María Teresa Múñoz
title Haus de Rundfunks en Berlin, de Hans Poelzig
title_short Haus de Rundfunks en Berlin, de Hans Poelzig
title_full Haus de Rundfunks en Berlin, de Hans Poelzig
title_fullStr Haus de Rundfunks en Berlin, de Hans Poelzig
title_full_unstemmed Haus de Rundfunks en Berlin, de Hans Poelzig
title_sort haus de rundfunks en berlin, de hans poelzig
publisher Universidad Politécnica de Madrid
series Cuadernos de Proyectos Arquitectónicos
issn 2171-956X
2174-1131
publishDate 2011-05-01
description <p class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-size: 7pt; mso-ansi-language: EN-US;" lang="EN-US"><span style="font-family: Arial;">Poelzig affirmed that the technical ideal consisted of using the least amount of shapes and materials possible. He understood architecture as an art, as the expression of form; In contrast to the indifference of the most widely recognized values of modernism: technical innovation in construction along with the functionality of buildings. The Haus des Rundfunks is a powerful hermetic factory in the shape of a triangle and of uniform height. Mass, geometric rigidity and the absence of textures make up a building which relinquishes expressing the new media, with a perimeter ring consisting of offices and larger spaces that are more characteristic towards their inside. Geometry is used as a means to organize and limit the shapes of the buildings. The arrangement and division of different intercommunicating spaces are subjected to the crudeness of their geometric limits. Interior spaces ranging from the most static to the most dynamic are defined through the qualities of materials and geometries. This turns the spaces into geometric grids which decompose the wall, floor and ceiling planes into fragments, regardless of the constructive reality provided by a metallic frame structure. Its polyhedral lamps enclose artificial and emphasize the value of the grid. Poelzig limits himself to dealing with planes within a closed volume of uniform height, and maintains geometric rigidity compatible with a certain degree of figurativeness. This article tries to bring to life this exemplary building, marked by its passivity and hermetism.</span></span><span style="mso-ansi-language: EN-US;" lang="EN-US"></span></p>
url http://polired.upm.es/index.php/proyectos_arquitectonicos/article/view/139
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