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Ovale & Blicke (Dominikus Zimmermanns Wallfahrtskirche in Steinhausen) (German Edition)
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Product Details
Author:
Fritz Barth, Achim Ilchmann
Format:
Hardcover
Pages:
80
Publisher:
Edition Axel Menges (August 25, 2026)
Imprint:
Edition Axel Menges
Language:
German
ISBN-13:
9783869050461
ISBN-10:
3869050462
Weight:
6.4oz
Dimensions:
8.26" x 5.7" x 0.3"
File:
Eloquence-SimonSchuster_09032026_P10573212_onix30_Complete-20260903.xml
Folder:
Eloquence
List Price:
$42.00
Pub Discount:
65
Case Pack:
50
As low as:
$32.34
Publisher Identifier:
P-SS
Discount Code:
A
Overview
The book explains how architectural techniques were deliberately
used to achieve the greatest possible impact on the viewer. The essays in this work captivate with their meticulous research and in-depth analysis, making them a pleasure to read for architects, architecture critics and advanced students.
Dominikus Zimmermann’s pilgrimage church of Our Lady and parish
church of St Peter and Paul in Steinhausen, built between 1728
and 1733, is undoubtedly one of the most remarkable creations of
Upper-Swabian Baroque architecture. Architectural history has devoted
considerable space to it, and yet there are important aspects
that have remained unnoticed and unexamined.
The first question that arises is that of the ovals on which the
building is based, whereby two different versions need to be examined:
the design drawing that the architect presented to his abbot
client and the completed building, which could be analyzed in detail
for the first time thanks to a recently created precise measurement.
In both cases, the result shows ambitious oval constructions that
deviate from the usual practice, as well as two fundamentally different
geometric approaches.
The second complex deals with peculiarities of perception. Here,
one must accord the Steinhausen church a prominent position.
Zimmermann designs the path into and through the church interior
as a sequence of stations, each characterized by different expectations
of what is to come – by illusory images of space that the viewer
creates in his imagination based on what he can perceive from
his respective vantage point. These images follow one another as
one walks through the church, they change, expectations are in a
state of constant metamorphosis, until finally the image of the last
station coincides with reality.
A concluding chapter is devoted to the question of whether, and
if so, to what extent Zimmermann’s Steinhausen spatial artwork can
be said to have a dialectical constitution of architecture, and which
dialectically related moments prove to be constitutive of a unity.
used to achieve the greatest possible impact on the viewer. The essays in this work captivate with their meticulous research and in-depth analysis, making them a pleasure to read for architects, architecture critics and advanced students.
Dominikus Zimmermann’s pilgrimage church of Our Lady and parish
church of St Peter and Paul in Steinhausen, built between 1728
and 1733, is undoubtedly one of the most remarkable creations of
Upper-Swabian Baroque architecture. Architectural history has devoted
considerable space to it, and yet there are important aspects
that have remained unnoticed and unexamined.
The first question that arises is that of the ovals on which the
building is based, whereby two different versions need to be examined:
the design drawing that the architect presented to his abbot
client and the completed building, which could be analyzed in detail
for the first time thanks to a recently created precise measurement.
In both cases, the result shows ambitious oval constructions that
deviate from the usual practice, as well as two fundamentally different
geometric approaches.
The second complex deals with peculiarities of perception. Here,
one must accord the Steinhausen church a prominent position.
Zimmermann designs the path into and through the church interior
as a sequence of stations, each characterized by different expectations
of what is to come – by illusory images of space that the viewer
creates in his imagination based on what he can perceive from
his respective vantage point. These images follow one another as
one walks through the church, they change, expectations are in a
state of constant metamorphosis, until finally the image of the last
station coincides with reality.
A concluding chapter is devoted to the question of whether, and
if so, to what extent Zimmermann’s Steinhausen spatial artwork can
be said to have a dialectical constitution of architecture, and which
dialectically related moments prove to be constitutive of a unity.
