Schinkel's statue was toppled from its pedestal, the monuments of Beuth and Thaer had suffered bullet and splinter damage. The sculptor Christian Daniel Rauch spoke of the "first hero on a public place without a sword".ĭuring the Second World War, the Schinkelplatz and the surrounding buildings suffered severe damage. Honoring these three men in this form was a first in the history of Berlin, an expression of the growing self-consciousness of the urban bourgeoisie. With the erection of the third monument the name of the place was altered in Schinkelplatz. In the 1860s monuments for Albrecht Daniel Thaer (1860), Christian Peter Wilhelm Beuth (1861) and Karl Friedrich Schinkel (1869) were erected. In 1837 Peter Joseph Lenné created here a decorative square, then called Platz an der Bauakademie (Square at the Academy of Architecture). The Academy of Architecture (Bauakademie) on this square was the work of the city architect Karl Friedrich Schinkel (1836), who intended to create a square encircled by trees in front of the northern facade of the Academy. Standing are (left) Brix (1798-1840), 'Oberingenieur des Telegrafenamtes', teacher for applied mathematics at the Gewerbeinstitut and the Bauschule and (right) Friedrich Nottebohm (1808-1875), director of the Gewerbeinstitut. Stitting at the table are (left) von Pommer-Esche (1803-1870), Beuth's successor at the Gewerbeinstitut, and (right) J.F. The speaker is Ernst Ludwig Schubarth (1797-1868), professor of chemistry. In the right part four men are listening to a fifth in the Gewerbeinstitut in the Hackesche Palace. Das Gewerbeinsitut / The Commercial Institute.A boy fills the quill shuttle with a new quill. Stutzer, a foreman of the Institute checks the machine. Two men are inspecting the cloth at a Jacquard Weaving Loom - they are (left) Carl Gropius (1781-1854), Producer of silk, and gold and silver fabrics, and (right) Wedding (1798-1872), Fabrikencommissionsrath. Items can be purchased on the Raubdruckerin website or in their small Berlin shop, but you’ll want to hurry as there are very few items available and the store closes for Christmas.Gropius, Wedding, boy, Stutzer, Brix, Nottebohm, von Pommer-Esche, Severin and Schubarth Raubdruckerin clames that its primary motivations are “to stimulate our perception regarding the relationship to our surrounding, refine everyday routines, as well as to be sensitive to the beauty hidden in the unexpected.” “Using the city or what the city is offering is more urban than graffiti, because I am walking on the streets every day, thousands of people do the same, and if she is using the railways to paint, it’s really part of the city,” Marcel Schlutt of fashion mag Katblut said. The collective also regularly runs “street-printing” workshops that anyone can attend. The visibility humanises the project and focuses on the concept of exchange – exchange with the city, the street, and the inhabitants and community therein. The entire operation is swift and discrete but still takes place in the public eye. When they finish printing an item, they take a photograph of it beside the texture that provided the pattern. Their supplies are minimalist, consisting solely of a cardboard frame, ink, brushes, and apparel. The artists make their prints on location, applying ink to the utility hole covers or whatever other surface catches their attention, and printing the designs on totes and t-shirts on the spot. That’s why it’s called Raubdruck because the designs are lifted from manhole covers,“ Emma France Raff told Euro News. They are from surfaces of the streets, from cement surfaces and grids of manhole covers I transfer them to T-shirts and other things and they’re given a new life. “The point is that the prints are not drawn by me. Sustainability is a crucial component of the project, as they aim to offer an alternative perspective and approach to mass production. The Raubdrucken team members find inspiration in the urban landscape and often overlooked surfaces of the city, such as utility hole covers and drains. They started in Lisbon, but have since expanded to Paris, Amsterdam, and Berlin, the latter being their base of operations. Founder Emma France Raff began experimenting with the concept of ‘urban printing press’ in 2006 when she founded the project in partnership with her father, Johannes Kohlrusch.
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