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Inaug.--diss. - Leipzig. / Lebenslauf. "Litteratur": p.[74]-75.

Thesis (B.S.)--Massachusetts Institute of Technology, Dept. of Humanities, 1964. / MIT Archives copy bound with: The relevance of some recent experiments on perception in infants to the philosophical concept of space as an innate idea / Thomas Henry Daniel. 1964. / Field of Humanities and Engineering (Course XXI-A). Includes International architecture. 2nd altered ed. Munich, ALbert Langen Verlag, 1925 (No.1 of the Bauhausbücher) Text by Walter Gropius. Translated by K.H. Kaiser (p.31-34) / B.S.

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published_or_final_version / Architecture / Master / Master of Architecture

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Rene Magritte’s painting, "Ceci n'est pas une pomme" depicts an apple, and the "reality" of it. But the realities at the Research Center for the History of the Third Reich are both part of the History of a City and the History of Man. I have tried to deal in my solution with all of the symbolic and pragmatic issues of the project. It is the final exercise of my architectural ideas to the graduate level. Clear attention, however, was given to follow the brief given by the 1985 NIAE International Design Competition. In this manner, the meaning of History and Tragedy are explored through the use of architectural manifestations, that is, the materialization of a "reality". My scheme is one more exploration of my concerns, and also an extension to the search for an architectural attitude. Even though I believe at this time that language in architecture is a conscious decision of the designer, my preoccupation dealt with architectural issues such as building and city, elements and typologies, Platonic forms and spatial relationships, as well as drawings as a tool to express architectural intentions. / Master of Architecture

In the years around 1600, a change was noted in architecture towards a return to Gothic elements in Europe. The Gothic, in contrast to the Classical or Ancient, became a "new manner", a modern style. The residence churches at Wolfenbuttel and Buckeburg, which were erected around 1600 by Lower Saxon territorial princes, are Late Renaissance constructions that were made to look partly Gothic. This was neither a lingering on of Late Gothic design nor a misunderstanding of Renaissance architecture: it was rather a conscious evocation of the past and its merger with contemporary architecture. The forms of the churches recreated thus the sociopolitical reality of both Roman antiquity and the Middle Ages. This architecture was also emblematic in that it used the concrete objects of the churches as a means to convey an abstract content. Indeed, the aim was to provide a powerful political message, the confirmation of princely rule. In the rising absolutism of the beginnings of the 17th century, the builders of the Wolfenbuttel Marienkirche and the Buckeburg Stadtkirche used court architecture to construct their princely image and house mythology.

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