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#friedhelm grundmann
germanpostwarmodern · 2 years
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House (1967) built for himself in Hamburg, Germany, by Friedhelm Grundmann
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Flower Shop at the Hamburg-Hauptbahnhof Subway Station (1959-64) in Hamburg, Germany, by Friedhelm Grundmann & Horst Sandtmann
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Petruskirche (1969) in Sievershütten, Germany, by Friedhelm Grundmann. Photo by Alexander Voss.
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Community Center Mümmelmannsberg (1976) in Hamburg, Germany, by Friedhelm Grundmann, Otto Rehder & Friedhelm Zeuner
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The tower and the tunnel are the two poles of Friedhelm Grundmann’s architectural oeuvre: throughout his career Grundmann has extensively dealt with churches and subway/commuter train architecture, primarily in and around his hometown Hamburg. But although these seem to be opposing categories their communal character provided a shared point of departure for the architect: Grundmann, at the beginning together with his partner Horst Sandtmann, in both churches and stations focused his attention on the threshold, the gradual transition from the outside to the inside. By means of a skillful guidance through colors, glazing or gradual material changes Grundmann shaped this transition in a particularly sensitive way, often also with the help of art in architecture, an aspect which he as the son of an art historian had a keen sense for.
With „Turm und Tunnel - Friedhelm Grundmann baut für Kirche und U-Bahn“, edited by among others Karin Berkemann & Daniel Bartetzko and recently published by Dölling und Galitz, the first monograph on the architect is available and offers a career-spanning analysis of Grundmann‘s oeuvre. By analyzing his two major building tasks the authors demonstrate similarities and differences as well as the stylistic changes over the decades of his career. After the dissolution of the Grundmann-Sandtmann partnership in 1963 Grundmann’s idiom changed significantly and gave way to a greater plasticity inspired by Le Corbusier, an idiomatic shift that prominently shows in the architect’s own house (1964) in Hamburg and the Nathan Söderblom church in Reinbek. Concurrently commissions for the renovation, conversion or extension of subway stations were less frequent so churches and other projects gained in importance as the authors demonstrate: Grundmann not only occasionally turned to housing and corporate building but in 1975 also became professor at FH Hamburg and frequently wrote about architecture.
Right up to his death in 2015 Grundmann remained an active and critical participant of the architectural discourse and the present monograph is a many-faceted and informative portrait of the architect, his oeuvre and his theoretical reflections.
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Also for church architecture in Germany the seizure of power of the National Socialists in 1933 was a turning point: the tender blossoms of modern church architecture were cut off and, surprisingly in a „Führerstaat“, replaced by traditional designs. As a result the churches, architects and parishes had little to draw on after the end of WWII and the Nazi regime. In the immediate postwar years a considerable number of conferences were held, ideas voiced and discussions led that provided input but not a concrete conception of the postwar church, irrespective whether Catholic or Protestant. Therefore architects and parishes often negotiated future church buildings among themselves, only regulated by the territorial church and the funds available.
In the city of Hamburg, heavily hit by allied bombs, the two decades between 1950 and 1970 was characterized by a boom in the construction of churches that yielded great variety in terms of layout, construction methods and materials used.
In „Dächer der Hoffnung - Kirchenbau in Hamburg 1950-1970“, published in 1995, the Lutheran church in Hamburg took a retrospective look at these boom years: the book contains a selection of churches representing the variety forms designed by architects like Friedhelm Grundmann, Joachim Matthaei or Gerhard Langmaack. But despite the formal and material variations, and that is striking, there rarely is an exception to the longitudinal disposition. This reluctance to experiment with e.g. a central-plan is contextualized in the chapters preceding the catalogue of churches: in a concise overview of the societal standing of religion and the church as institution after WWII the reader is able to understand the difficult situation of an at least partly corrupted organization. From this status resulted a focus on the essential, i.e. the word and the church building as a space of reflection, devotion and reclusion. These characteristics are reflected by the selected churches and underscore the particular earnesty and austerity of the Hamburg Lutherans.
„Dächer der Hoffnung“ offers an interesting micro perspective on the particular genesis, qualities and context of postwar church architecture in Hamburg.
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germanpostwarmodern · 2 years
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Vicelinkirche (1962) in Hamburg, Germany, by Friedhelm Grundmann & Horst Sandtmann
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germanpostwarmodern · 2 years
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Church “Der Gute Hirte” (1968-70) in Hamburg, Germany, by Friedhelm Grundmann & Horst Sandtmann
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germanpostwarmodern · 4 years
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Petruskirche (1969) in Sievershütten, Germany, by Friedhelm Grundmann
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germanpostwarmodern · 4 years
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Kreuzkirche (1969-71) in Lübeck, Germany, by Friedhelm Grundmann & Otto E. Rehder
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germanpostwarmodern · 4 years
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Versöhnerkirche (1962-64) in Bad Segeberg, Germany, by Horst Sandtmann & Friedhelm Grundmann
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germanpostwarmodern · 4 years
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Nathan-Söderblom-Kirche (1966-68) in Reinbek, Germany, by Friedhelm Grundmann
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