Dirk Schelhorn, an obituary

Building design
Image description: A smiling man in a white shirt against a green background. Dirk Schelhorn was a trained sculptor, went into business for himself as a landscape architect and ran his planning office LS2 until 2020. Photo: Sandra Escher

Dirk Schelhorn trained as a sculptor, set up his own business as a landscape architect and ran his planning office LS2 until 2020. Photo: Sandra Escher

Landscape architect Dirk Schelhorn realized play and movement spaces, the participation of users – especially children and young people – was a major concern for him, and his expertise was also in demand in the field of urban planning, for example in the master plan for urban movement spaces in Stuttgart. Dirk Schelhorn passed away at the beginning of September. An obituary.

Landscape architect Dirk Schelhorn realized play and movement spaces; the participation of users – especially children and young people – was a major concern for him. His expertise was also in demand in the field of urban planning, for example in the master plan for urban movement spaces in Stuttgart. Dirk Schelhorn passed away at the beginning of September. An obituary.

The LS2 office mourns the loss of its business partner, landscape architect Dipl.-Ing. Dirk Schelhorn. Born on February 28, 1956, the trained sculptor studied in Berlin and then went into business for himself as a landscape architect in Frankfurt am Main. He ran his planning office until 2020, before it became the partnership LS2 Schelhorn, Lukowski, Schnabel at the beginning of 2021. He worked for the office as a consultant, idea generator and “networker” until the end.

His extensive knowledge of movement and play was enormous. The participation and involvement of users, especially children and young people, in planning processes was a matter close to his heart. He guided and moderated countless participation processes, never losing sight of creativity and aesthetics. “Have you ever watched your child play for at least three hours without intervening?” This was one of his key questions to adults in order to focus on children’s needs.

Dirk Schelhorn was able to go to the limits, offer challenges, create challenging and stimulating free spaces and play areas like few others. Because Dirk was of the opinion: “You only learn to fall by falling” and “Live wild and dangerous”.

He has constantly developed the idea of play and exercise spaces and has designed a number of new play equipment and play structures. His expertise was also in demand in the field of urban planning. For example, he successfully contributed to the master plan for urban movement spaces in Stuttgart. In addition, as an “extreme athlete” himself and participant in ultra-mountain runs, he has worked intensively on linking the topics of play and sport and, as an autodidact, has acquired extensive knowledge in the field of sports science. This even led him to speak at a medical congress, where he provided information on health promotion through exercise.

The development of the concept for the Dietmar Hopp Foundation’s “alla-hopp exercise facilities” and the construction of six of the 19 facilities created in the Rhine-Neckar region were highlights of his professional career. The exercise facilities he planned were always intended to be meeting places. Attractive places where people of all ages can come together.

The Bürstadt sports and education campus was officially opened on September 22, 2023. Together with Mayor Barbara Schader, he had been fighting for this “heart project” and its realization since 2015. The vision of a sports and education campus that can be used by all citizens could hardly be put into words, described and implemented as convincingly as Dirk Schelhorn.

Just six days after the opening, on September 28, 2023, Dirk Schelhorn died after a serious illness, leaving behind a huge gap in his professional and, above all, personal life. “That’s not possible” was a sentence that did not apply to Dirk and will continue to accompany us in the continuation of his and our work. We have lost an extraordinary person, colleague, advisor, mentor and thought leader. He was a doer, creator, idea generator and role model. We will greatly miss his drive, his infectious and inspiring manner and his boundless optimism.

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EVA Conference 2015

Building design

Photo: Heike Schlasse

A conference on the quality of digital media and techniques The EVA (Electronic Media and Visual Arts) conference took place for the 22nd time at the beginning of November at the Berlin Museum of Decorative Arts. This annual gathering of users, developers and mediators of electronic documentation and communication techniques has been held at an international level for 26 years, with venues such as London, Florence, Moscow and Jerusalem […]

A conference on the quality of digital media and techniques

The EVA (Electronic Media and Visual Arts) conference took place for the 22nd time at the beginning of November at the Berlin Museum of Decorative Arts. This annual gathering of users, developers and mediators of electronic documentation and communication technologies has been held at an international level for 26 years, with venues including London, Florence, Moscow and Jerusalem. Even if the focus changes from year to year, the EVA conference, with its seismographic recording of technical trends, has become an integral part of the cultural sector.

While in recent years the focus has been on the development of 3D technologies or the digitalization of soundscapes, this year’s conference focused on the quality of digital media and technologies. A wide range of questions relating to visualization, digitization and staging were discussed in lectures and workshops. How unique are works of art if they can be perfectly reproduced or scanned in high resolution? What possibilities does this open up for everyday museum life? What is it like to live in a “smart city”? Electronic documentation and visualization techniques in the cultural sector were presented and discussed in a practical way.

For example, the Fraunhofer Institute for Computer Graphics Research in Darmstadt presented the spectacular 3D visualization of the Pergamon Altar. In a record time of just one week, the entire altar was captured in 47 scan positions with 180 million generated pixels. The post-processing of the data naturally required an enormous amount of personnel and technical effort, but the result is a technical masterpiece that will delight the public. Will this set the standard for future projects of this kind? The work has not yet been completed and will be presented to the public at the beginning of next year.

Elisabeth Markevitch, who has created a user-friendly tool for designing exhibition spaces with her “IkonoSpace” software, showed that three-dimensional digital techniques can be a great help in curatorial and restoration work. Joachim Weinhold, a mathematician (3-D laboratory at the Institute of Mathematics at TU Berlin), described the exciting reconstruction of the foot of an Achilles sculpture in the tea room of the Berlin City Palace using 3-D printing.

Will digital technology replace the “analog” museum? Dr. Andreas Bienert from the Staatliche Museen zu Berlin (SMB) does not see this danger. Rather, the complexity of perceptual possibilities and the new digital representations would complement the haptic museum offer. Bienert has been the initiator and organizer of the conference, which always attracts top-class speakers, for many years and advocates open and open-minded communication between technical experts and cultural partners. In his opinion, the EVA events are legitimized and justified by interdisciplinarity and mutual exchange.

With almost 200 visitors this year, he draws a positive conclusion from EVA Berlin 2015, noting that in addition to the presentation of technical innovations, there has recently been an interest from political and cultural institutions in questions of culture and computer science. Unfortunately, this is also due to the disturbing reality of the major destruction of cultural heritage in the Middle East, said Bienert on the fringes of the exciting conference.

The comprehensive conference proceedings are available to download free of charge on the EVA platform.
You can find an interview on the significance of the conference in today’s academic world here.

Scenes from the Cimetière Saint-Pierre in Marseille

Building design

STEIN presents a photo gallery featuring historic tombs from France’s third-largest cemetery.

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Saint-Pierre has plenty of sculptures like these to offer. Photo: Anne Fischer
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Local limestone is the primary material used for most of the tombstones. Photo: Anne Fischer
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And depending on the section of the cemetery, they can be quite impressive. Photo: Anne Fischer
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A stone picture frame as a grave ornament. Photo: Anne Fischer
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In the background, a touch of modernity—in the form of large urn fields. Photo: Anne Fischer
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Even a hundred years ago, there were already off-the-shelf products—just on a mausoleum scale. Photo: Anne Fischer
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The ravages of time take their toll; the administration cannot preserve all the gravestones. Photo: Anne Fischer
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A mausoleum door clad in natural stone. Photo: Anne Fischer
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The historic gravestones are mostly found on pine-covered hills. Photo: Anne Fischer
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A flagship project, certainly even at the time of its creation. Photo: Anne Fischer

The mausoleums are falling into disrepair, while the urn fields are expanding

The Cimetière Saint-Pierre is one of the newer cemeteries of its kind: it was established in 1855 and officially inaugurated eight years later. Previously, the people of Marseille buried their loved ones in smaller parish, monastery, or hospital cemeteries—or at the central Saint-Charles Cemetery. Located in the city center, the latter quickly ran out of space and was permanently closed in 1876. Saint-Pierre replaced it, covering an area of 63 hectares.

At first glance, this seems overwhelming. But visitors quickly find their bearings by following the greenery: wherever pine trees grow on small slopes, they are sure to find the historic burial sites. Dozens of renowned French entrepreneurs and artists—including painters, sculptors, and singers—are buried here. Among them is the composer Vincent Scotto. He wished for the following epitaph: “All my life I have composed; today I am decaying.” However, it never came to pass—Scotto’s wife deemed this final wish inappropriate.

Saint-Pierre stands as a striking testament to the changing funeral culture in our neighboring country as well. Extraordinary—and above all, an extraordinary number of—mausoleums, sculptures, and funerary monuments commemorate the cemetery’s heyday—even if some of them are now aging and falling into disrepair in a regrettable state. Huge urn burial grounds down the hillside serve as their modern counterpart.

In total, around 150 employees now work at the cemetery, which contains 100,000 graves. Unusual to German eyes are the cars that, while not numerous, do pass through regularly. Saint-Pierre has a road network totaling 15 kilometers. In Marseille, too, the city administration is working to find solutions for the changing face of cemeteries. Among other initiatives, it has launched grave sponsorship programs and is attempting to catalog as many of the graves as possible in an online database. There is an interactive terminal at the cemetery (and also at the 20 others scattered throughout the city). Interested visitors can use it to search for the graves of famous people—or to find that of a relative on the vast grounds.


The editorial team will continue the series “Impressions from the Cemetery” at irregular intervals—and welcomes suggestions and requests via email to redaktion@stein-magazin.de