The Pioneering Work of Hermann Rosa : research ./ txt
Title from partial jacket: Purism in concept, form and materials :
- 180 p. chiefly ill. ; plans ; 27cm. book
Contains no title page, title from cover. Book has special hardbound binding with spine not covered.
Content : 1 Prolog -- 4 Hermann Rosa with the shovel besides the stone filter -- 7 Hermann Rosa – sculptor and architect -- 11 Studio furniture -- 14 “Family”, 1953, 32 cm, bronze. The Rosa family working on the construction site of the studio at Wallnerstabe 16 -- 17 Hermann Rosa (center) talking to potential purchasers, around 1959. -- 18 Monumental sculptor -- 21 The terrace on a lower level was conceived for nude modeling in the open air. It is 1.52 m below the ground level. -- 24 Inspiration and construction -- 26 Reconstruction of the studio at Wallnerstrabe 16, ground plan, ground floor, 1:100. -- 28 The sketch shows the difference between “connection and fastening” which also preoccupied Rosa very much in his figurative work -- 28 The shower tray was chiseled manually from the Concrete -- 32 The spiral staircase below the round skylight connected the three levels of the studio -- 35 The general plan of the site, 1:500, shows the vicinity of the two studios -- 36 The studios, one-story low buildings of concrete, steel and glass, are located at the Auensiedlung settlement like paviolions -- 40 (De) Construction -- 43 At the center you can see the massive core trimmed in proportion to the room -- 44 The view of the studio at Wallnerstrabe 9 proves that Rosa takes pleasure in “progressive interleaving of forms” -- 47 Eva shoveling -- 47 Rosa keeps verifying the model’s conversion to reality -- 50 Rosa drew the building plans himself. The plan shows the corrections of the local building commission -- 50 The garden shed accommodated a water closet, shower, sink and kitchen with seats -- 53 The draft of the first two studios is inspired by Cézanne’s painting “The Jas de Bouffon Cottage” -- 54 Ludwing Spegel at the basement of the studio at Wallnerstrabe 9 -- 58 Site photographs by Hermann Rosa: They illustrate the construction in a contemplative way -- 58 Only the chimney for warm air heating is not made of concrete, but of brick -- 63 The ground plan 1:50 shows the apartment at Beethovenstrabe in 1981 with the sculptures and furniture the way Rosa created them -- 63 The relief “Resurrection” (1952, 76 x 64 cm, bronze) is set up in an alcove below a window of the apartment at Beethovenstrabe -- 63 The foundation fits the landscape like a lying relief -- 64 Beethovenstabe 3 -- 68 Maria Rosa studied ceramics at the academy of arts in Prague. You can find her works throughout the apartment at Beethovenstrabe -- 71 Asceticism -- 75 On top of the cupboard are casts of the sculpture “Female Dancer” (1953, 37 cm) in plaster and bronze -- 75 Overleaf -- 75 The sketch and the bronze cast of the “Lovers” (1952, 35 cm) -- 78 The thin wooden wall in the central room served as some kind of wardrobe -- 78 The spare furniture included folding beds, wooden blocks to sit on and an acrylic table -- 80 “Adalbert-Stifter-Bust”, 1954, 48 cm, bronze. The bust was intended for a monument in Fürth -- 82 Naturally-formed stone -- 87 Models -- 90 Living style -- 92 The 164-cm-long folding bed is unusually short. This can only be explained with his creative concern because there was no lack of space -- 95 About the interior design of the sculptures -- 97 Rosa’s granddaughter Karen -- 97 Rosa had magnifications of the photographs transferred to 2-mm-thick aluminum boards with photographs -- 99 “Meditating Woman”, 1951, 21 x 17 cm, bronze -- 99 The table can be unfolded to be used as a spare bed. Mattresses covered with blue fabric are inserted flush in the two wooden cubes -- 102 Osterwaldstrabe 89 -- 107 Artistic exchange -- 109 Hermann Rosa verified the setup of his sculptures from several positions. One impotant position was the gallery; from here he could verify the top view -- 109 Rosa at the daylight studio -- 110 Ground plan, ground floor, 1:100 -- 113 First draft of the studio: Ground plan from upstairs with a top view of the willow -- 114 Light as a tectonic means -- 119 The first flight of stairs is cast in one piece with the wall; the second flight is trimmed from the inserted ceiling -- 119 Compared with the studio downstairs, you have a private protected space. Rosa designed the benches from 8-cm-thick spruce wood boards -- 124 Sculptural details -- 127 Cables are visibly laid in recesses chiseled in the concrete later. Rosa prepared the corresponding drawings -- 127 Ground plan upstairs, 1:100 -- 130 Sketch of the terrace on a lower level -- 130 The souterrain studio was built later in 1972. The construction phases are not visible. The concrete was subtly chipped off and extended -- 136 Rosa loved to take pictures of his grandchildren at the studio. He had a poster 3.46 m by 1.28 m in size made from this photograph -- 136 Study “Family”, 3 cm, plaster. “Man and Woman”, 1953, 20 cm, plaster. The three-sided storage shelf is at level with the old crawl space -- 138 Nature -- 142 Ground plan downstairs, 1:100 -- 142 Rosa at work. You can see the willow in the background. The terrace on a lower level was not yet planned at this time. -- 142 This temporary home was on the property before before the daylight studio was built. The manual water pump and the willow were taken over and determined the draft to a large extent -- 144 Building up and tearing down -- 146 The studio was conceived as a semi-detached house; therefore the fireproof wall is clearly visible. Rosa had designed the adjoining part of the house for another building. Because the available space was not sufficient, they abandoned its implementation -- 148 Cross section with boiler room/garden shed and view of the northern façade, 1:50 -- 148 The old willow grew right in front of the bathroom with a toilet and a shower -- 155 The chimney is in line with the toilet and the garden entrance -- 156 The stairs to the central heating room project as they do in the studio. Side rooms were built with the same three-dimensional care as main rooms -- 161 On top of the chimney, a space like a crow’s nest was formed for the chimney sweep 7.72 m above the floor. The door was formed like a concrete vane. -- 162 Cadastral map, 1:500 -- 162 First draft f the daylight studio -- 166 Chimney, daylight studio and garden shed partition the small property at Osterwaldstrabe 89 -- 168 The conquest of space -- 171 Biography -- 176 The windows were connected to the concrete without frames. The studio does not have windows, only glass walls -- 178 Chronologic Listing of Artworks -- 179 Acknowledgments -- 180 Sculpture “The Ches Players”, 1936, size unknown, plaster --
Single handedly literally, without heavy machinery or cranes, the sculptor Hermann Rosa constructed studio spaces as accessible large scale sculptures made of exposed concrete. On the one hand, they are open and cleverly composed surfaces, resembling the works of De Stijl or Bauhaus in the dematerialised spiritual classic modernity style while on the other hand they consist of commonplace heavy materials, similar to the down to earth beton brut of his contemporaries Paul Rudolph or Le Corbusier. This volumes sheds light on how Rosa's sculpting power and architectural spatial design melt into a singular expression. Radically and precisely he focused on the spatial and objective, foregoing any kind of colour and decoration, with all details playing a subordinate role to the clarity of shape. Based on new and historic photos, sketches, plans and texts, his exceptional body of work is examined and placed in an international context --
9783721209556 (hd. bd.)
2016593458
Rosa, Hermann, 1911-1981.
Sculptors--Germany. Architects--Germany. Artists' studios--Germany--Designs and plans. Architecture, Domestic--Germany--Designs and plans.