Romanesque II – Pictures for eternity

Building design
Frescoes and murals played an important role in the Romanesque period: they proclaimed the story of salvation to the faithful, as here in St. George on the Reichenau. Photo: Hiroki Ogawa, CC BY 3.0, via: Wikimedia Commons

Frescoes and murals played an important role in the Romanesque period: they proclaimed the story of salvation to the faithful, as here in St. George on the Reichenau.
Photo: Hiroki Ogawa, CC BY 3.0, via: Wikimedia Commons

In addition to architecture and sculpture, wall painting and book art also made a decisive contribution to the visual world of the Romanesque period. Both genres were subject to the same spiritual principle: the visualization of salvation-historical truths. They served not as mere decoration, but as didactic media – deeply rooted in monastic thinking and closely linked to liturgy and education.

Frescoes and murals in the churches played a particularly important role. The majority of the faithful could not read or write and so the biblical stories were presented to them with the help of richly painted church interiors. Alongside the sermons in church services, they were therefore an important didactic instrument of the church. Elaborately designed prayer books and Bibles with illuminations, on the other hand, were only accessible to a small section of the faithful – usually the nobility and clergy. The illustrations in the books served to illustrate the written texts. Most illuminated books were created in monasteries.

The wall paintings of the Romanesque period have only survived in fragments, but their iconographic richness can be reconstructed. Frescoes once covered entire walls, vaults, triumphal arches and apses and were often divided into systematically structured zones.
The content of the paintings was based on the liturgical function of the room:
– Altar area: scenes from the life of Christ that illustrated the central mysteries of the faith.
– Crossing: Apocalyptic visions and depictions of the Last Judgement, which focused on the fate of souls.
– Nave: Old Testament stories and vites of the saints, which provided moral models for Christian life.
Stylistically, clear, linear contours, flat colors and frontally oriented figures dominated. Oversized eyes symbolized spiritual penetration, while perspective and the natural illusion of space were hardly taken into account. The scenes depicted did not obey physical laws, but a theological order: an otherworldly pictorial world was created, the aim of which was not illusion, but spiritual knowledge.
An outstanding example is the former monastery church of St. George in Oberzell on the island of Reichenau, whose fresco sequence of the New Testament shows a strictly structured, didactic pictorial scheme. The frescoes in Saint-Savin-sur-Gartempe Abbey (France), where entire wall surfaces illustrate scenes from the Old and New Testaments, are also worth mentioning.
Parallel to the frescoes, an independent art form developed in the scriptoria of the monasteries: the illuminated manuscript. Gospels, psalters, apocalypses and typologies visualized the events of salvation in luminous miniatures – often integrated into initials, borders or large-format illustrations.
The Reichenau School, active in the 10th and early 11th centuries, characterized a monumental miniature style. A gold background, bright colors and strict symmetry lent the depictions an iconic character. Here the viewer did not encounter the visible world, but the sacred and the divine.
Examples of important works are:
– Henry II’s Book of Pericopes: a collection of readings for the liturgy, whose miniatures illustrate the saints’ feasts of the church year.
– The Echternach Gospels: A shining example of the combination of scripture, image and liturgical function.
Book art thus became a portable church space – a miniature theology between book covers that reminded the faithful of the divine order even outside the church.

The monasteries were the backbone of Romanesque art production. They planned and built churches, ran workshops, trained sculptors, copyists and illuminators. Benedictine abbeys such as Cluny, Reichenau, Montecassino and St. Gallen were particularly important, acting as artistic and intellectual centers.
Art production was embedded in a clear world view: God as the creator of an orderly world, man as the image of this order. Romanesque art therefore did not strive for subjective expression, but for theological clarity. Innovation was not a priority; the ideal was tradition, didactic rigor and spiritual legibility.
Romanesque imagery as cultural heritage
In the Romanesque period, art and architecture did not form a juxtaposition of individual works, but rather a cohesive cultural model. Their imagery permeated walls, stone, parchment and space in equal measure. It visualized an all-encompassing order – based on the conviction that man could be led to knowledge through seeing.
This period remains a challenge for restorers, art historians and monument conservators – not only because of the material fragility of the frescoes and manuscripts, but also because of their conceptual aspirations. Anyone wishing to preserve Romanesque art must understand its unity of form, content and location and comprehend the connection between wall painting, book art and architecture.

– Frescoes of St. George, Reichenau (Germany): Strict didactic pictorial scheme of the New Testament.
– Saint-Savin-sur-Gartempe Abbey (France): Comprehensive wall paintings on Old Testament stories.
– Gospels of Echternach (Luxembourg): Luminous miniatures as a portable church interior.
– Pericopes of Henry II (Germany): Combining scripture, image and liturgy.
POTREBBE INTERESSARTI ANCHE
The motto of the LandscapeArchitecturePrize 2021 was: Think bigger! Be immeasurable!

The motto of the LandscapeArchitecturePrize 2021 was: Think bigger! Be boundless! (Photo: Johannes Hloch)

The winners of the Austrian young talent competition LAP 2021 have been announced. The award ceremony took place on April 7.

The 2021 winners of the LandscapeArchitecturePrize for Students (LAP) have been announced. The ÖGLA awarded this year’s winners at the beginning of April. The motto of the LAP 2021 was “immoderate“. After times of austerity during the pandemic, restraint was allowed to fall. The designs had to break all norms!

The LAP is an ideas competition aimed at students and young graduates of landscape architecture and planning. This year, the Austrian Society for Landscape Architecture (ÖGLA) called on these young people to be boundless. After the recent times of hardship, the aim was to think beyond the minimum and most necessary. Accordingly, the ideas competition invited them to think freely and freshly about ideas and perspectives for open spaces in the city. The winners of the LAP2021 have now been announced.

The ÖGLA awards the LAP every two years. This prize, designed as an ideas competition, is aimed at students and young practitioners in landscape architecture and landscape planning. This competition regularly gives them the opportunity to work creatively, present their ideas publiclyand compete with their peers. For the LAP 2021, the participants were asked to think about open spaces without limits or restrictions. The up-and-coming colleagues were asked to leave all demand figures, norms, limits and economicconstraints behind them. They were allowed to dream up and design large, lush open spaces. Because the motto of LAP 2021 is: Think bigger! Reach for the stars! Let’s show that freedom is not only a valuable asset in emergency situations!

Impressions of the award ceremony (Photo: Johannes Hloch)

The jury for the prize met in Vienna in November 2021. On April 7, 2022, the winners were awarded their prizes. The jury unanimously selected Michael Tulio Bühler from the University of Applied Sciences Eastern Switzerland as the winner of the third prize. His entry is entitled “Canton Rösti”. Second prize in 2021 went to the team of Djordje Ilic and Moritz Blümel from BOKU Vienna, who impressed the jury with their entry “Tanja needs your help!”. The first prize of the LAP 2021 went to the work “NO NAME (Tangentiale Est)“, submitted by David Biegl from BOKU Vienna.

NO NAME (Tangential Est)

In the work NO NAME (Tangentiale Est) by David Biegl, the jury was particularly impressed by how the old excessiveness of a functional building is overwritten by the reinterpreted excessiveness of green infrastructure. In David Biegl ‘s work, an old city highway is planted, connecting the city’s large green spaces for cyclists and pedestrians. This gives it a sculptural character and at the same time elevates it to monumental status by painting it gold.

In this design for the LAP 2021, a new excessiveness becomes the norm. The jury found the handling of the existing building, the consistent approach and the excitingcultural and spatial context of the entry very appealing. In addition, David Biegl graphically created a space of longing that does not claim to improve the world from below. According to the LAP 2021 jury, the author knew how to recognize and understand a problem and to cast it into a monument through reinterpretation. Accordingly, the jury unanimously decided to award David Biegl first prize.

The second prize in 2021 was awarded to the contribution of Djordje Ilic and Moritz Blümel from BOKU Vienna. The jury initially debated the eligibility of the work, which was accessible via a videolinkedto a QR code. But in the end, the judges decided that this method and planning approach did not contradict the competition brief. In the end, the storytelling and innovative approach were even praised.

On the poster submitted for the LAP 2021, Tanja reflects the call of the competition: planners should act in a self-determined, courageous and unrestrained way. Tanja calls on them to free themselves from narrow-mindedness and shackles and, together with many other allies, to act radically, courageously and without restraint. The authors illustrate their approach of thinking beyond boundaries in a video. The LAP 2021 jury honored the contribution as an initial spark that can be taken further. It also praised the progressive approach to transporting ideas, which pushes the boundaries of the competition brief and forces the organizing team torethinkthe brief for the next competition of this kind.

The third prize of the LAP 2021 goes to Switzerland. The author impressed the jury with his suggestion to think about the challenges of the 21st century in terms of a new spatial-social construct. Accordingly, a new planning dimension for landscape architects was created. To this end, the work designs a progressive super-canton that easily achieves climate targets, welcomes migrants and shows how to deal with scarce resources. All of this becomes the engine of a model region with radiance, which makes the idea of boundlessness recognizable.

The jury recognizes that the contribution of the student from the University of Applied Sciences of Eastern Switzerland is a purely internal view of Switzerland that does not highlight opportunities for the surrounding area. Accordingly, the work did not look outside the box and failed to show the impact on Europe. Although the jury also lacks the landscape planning approach of such a model region, they honor the borderless thought model. They see a special appeal in the scale and possibilities, which is why the visionary power reached the LAP 2021 jury members and they concluded the award with a third place.

You might also be interested in: the winners of the Landscape Architecture Prize Baden-Württemberg 2022.

New local court in Tübingen: From military to court

Building design
The new Tübingen district court in Schellingstraße was remodeled by Dannien Roller architekten. Photo: Dietmar Strauß

The new Tübingen district court in Schellingstraße was remodeled by Dannien Roller architekten. Photo: Dietmar Strauß

Dannien Roller Architekten have converted the former military building in Tübingen into the new headquarters of the probate, care and insolvency court. With carefully considered interventions, they have not only preserved the existing structure, but also used it as an aesthetic tool.

Dannien Roller Architekten have converted the former military building in Tübingen’s Schellingstraße into the new headquarters of the probate, care and insolvency court. With carefully considered interventions, they have not only preserved the existing structure of the Tübingen district court, but also used it as an aesthetic tool.

How do we deal with the stock? This question is becoming increasingly urgent in view of the climate crisis. The construction sector is a major emitter of greenhouse gases, both through the maintenance of buildings and through the consumption of resources and materials in new buildings. In the case of existing buildings, it is therefore advisable to check whether a building can be preserved. Many existing buildings are given a second life through refurbishment, revitalization and conversion. This is also the case with the new Tübingen district court by Dannien Roller Architekten, which was completed in 2021.

The former chamber building of the Thiepvalkaserne barracks became the new home of the office in Tübingen following the notary reform in 2017. The challenge was to adapt the structure, which was built in 1907, to the new requirements in terms of spatial planning, technology and standards. From statics to fire protection, the building had to be brought up to date. To this end, the handling of the historical building fabric was fundamentally reflected upon. Should it serve as a support for new architecture or be deliberately staged to draw attention to the genius loci? The architects at Dannien Roller opted for the latter.

The transformation from a military building to a place of independent jurisdiction was to be carried out carefully, not only in view of ideological concerns, but also with regard to monument protection. The different uses of the rooms of the Tübingen district court made extensive renovation measures necessary. For example, the chamber building contained a laundry and a vehicle shed, both of which have left their mark on the existing building.

Foundations had to be replaced and the floor slab lowered. The ceiling above the first floor was also removed, which is why extensive safety measures had to be taken. Barrier-free access was also created, which can now be accessed directly via the historic archways from Schellingstraße. At the rear, former garage doors were converted into large windows, providing the larger rooms with sufficient daylight. In order not to disturb the original external appearance, the vestibule in the entrance foyer was moved inwards and deliberately designed as a lightweight construction made of wood and glass.

Dannien Roller Architekten left the new reinforced concrete ceiling, which replaced the original one above the ground floor, visible in the entrance area and the courtrooms. They also opted for a light gray wall coating, light-colored exposed screed and oak wood for the furnishings. The clear use of color and material is intended to give the building a clarity of expression and elegance for its function. For Dannien Roller Architekten, important associations with an independent court include dignity and independence, order and transparency. This should also be spatially tangible in their design.

Apart from the first floor with the courtrooms and the organizational function rooms, the remaining upper floors house the workrooms for judges and staff as well as the registries. In the course of renovating these rooms, new materials, a new design language and construction were added. Here too, Dannien Roller Architekten wanted to keep a low profile in the architectural gesture in order to create a calm working atmosphere.

The offices are arranged around a central meeting zone in the building. The kitchenette for employees is also located here. It forms the social and communicative core of the upper floor. From this central space, the offices can be accessed mirrored on both sides. An elevator will be added to the two staircases on the front sides, connecting the barrier-free first floor with the rest of the building. The new Tübingen district court is not only intended to be a home for the judiciary, but also to assure citizens that the best work for society is being done here.

The focus on a friendly, calm and clear ambience was of great importance to the architects. Especially in order to transfer the flair of the former military building into a contemporary working environment. The fact that something has changed on the inside can also be seen on the façade facing Schellingstrasse, where the building has been adorned with the sleek and timeless inscription “Amtsgericht” since the renovation.

By the way: just a few meters away from the old town of Tübingen is a historic building that was converted by Dannien Roller Architekten + Partner – and is still in use. Find out more here.