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34 Figure 3.12 Plan of the Elbe river banks, 1935 Source: State Capital of Dresden
exclusion shall not apply to squares, roads and bridges, tram-stop shelters, other refuges and playgrounds, public conveniences, advertisement columns and other such installati- ons provided for public use.“ This resolution was approved unanimously. (Dresden City Council files relating to purchase of the Waldschlösschen meadows and possibility of purchase of the Waldschlösschen, W66, Blatt 41 (Sheet 41), 14 January 1909) In the 1920s and 30s, city building officer Wolf left an indelible mark on the history of urban development of the Elbe river bend between Albert Bridge and Loschwitz Bridge. He was one of the first to recognize - and actually treat - the Dresden Elbe Valley as a “Collective Municipal Area“ or “Total Work of Art“ [“Gesamtkunstwerk“]. (See also chapter 2, section 2.1, p. 15) During the 1930s, Wolf defined the topographical design of the Elbe Valley, which was to serve as a recreational area, in his plans for the banks of the Elbe and oversaw the project‘s implementation. 1936 saw the completion of the “Königsufer,“ a green area extending four kilometers along the Northern slope between the Marien Bridge and the mouth of the Prießnitz river. Wolf developed thematic gardens on the Königsufer, such as rose gardens and shrub gardens as well as stairways, walls, bridges and sculptures. He also had rambling trails built along the banks of the Elbe and a series of vista points such as the terraces at the Saloppe waterworks, the Waldschlösschen pavilion with adjoining terrace, and the panorama terraces at the Drachenschänke [Dragon Bar] and at Albert Bridge. The plan on the left, which dates from 1935, shows the essential elements of Wolf’s design for the „Königsufer“. Also included in this plan is the line for an Elbe crossing in the vicinity of the Waldschlösschen. Further details of the background to this bridge planning are provided in Chapter 5, section 5.1. The Elbe meadows between the Albert and Loschwitz Bridges enjoy a unique location within the city of Dresden. For this reason, they have been used as a traditional venue for events and recreation for many years (e.g. the Vogelwiese during the Baroque period). It is also the main reason why so many popular destinations for inner-city and local outings evolved in the highly scenic locations in and around this area during the first half of the 19th century. Such places include the “Waldschlösschen Brewery“ or “Antons an der Elbe“. The planning measures implemented by city building officer Wolf certainly contributed to further establishing the meadows as an important recreational area close to the city. The flat banks of the Elbe in Johannstadt in particular with their expansive meadows developed into an urban recreational area. Many restaurants and recreational facilities as well as indoor and outdoor swimming pools were established here and thrived until the 1920s and 30s. To the east of Albert Bridge, the Johannstadt banks were at one time even home to a water aerodrome, which was built in 1926 (Dresden – Geschichte der Stadt [History of Dresden], page 209). 35
Page 1: Visual Impact Study (VIS) of the
Page 5 and 6: 1 Introduction 1.1 Background to th
Page 7 and 8: 1.3 Structure of the study The stud
Page 9: In the time allowed for the study (
Page 12 and 13: 12 1200 Castle on the Taschenberg 1
Page 14 and 15: 14 1694 -1733 Augustus the Strong p
Page 16 and 17: 16 Figures 2.3, 2.4 Boundaries of t
Page 18 and 19: 18 Sites are ‚works of man or the
Page 20 and 21: 20 Figure 3.1 Boundaries of the spe
Page 22 and 23: 22 1850 1910 1940 1992 Figure 3.2 M
Page 24 and 25: 24 Figure 3.3 Dresden city map, 189
Page 26 and 27: 26 Figure 3.6 Adolf Lohse, Schloß
Page 28 and 29: 28 Figure 3.8 Theodor Lehnert, Phot
Page 30 and 31: 30 Figure 3.10 Development plan, No
Page 32 and 33: 32 Figure 3.11 Theodor Friedrich, p
Page 36 and 37: 36 Figure 3.13 Festival hall for th
Page 38 and 39: 38 Figure 3.14 Visual relationships
Page 40: 40 Figure 3.16 Lookout points in th
Page 43 and 44: created lookout points must be give
Page 45 and 46: 4 Perception and depiction of the s
Page 47 and 48: in Meißen” by Eberhard Kieser an
Page 49 and 50: for the national press when making
Page 51 and 52: Robert Geissler’s lithograph, pro
Page 53 and 54: 4.3 Conclusion Evidently, artists f
Page 55 and 56: 5 The planned “Verkehrszug Waldsc
Page 57 and 58: Plan 1862 Plan 1891 Plan 1898 5.1 H
Page 59 and 60: Plan 1900 Plan 1905 Plan 1934 see f
Page 61 and 62: Plan 1967 “Between 1960 and 1970,
Page 63 and 64: crossing somewhere in the Dresden m
Page 65 and 66: nach 1945 [Road and Traffic History
Page 67 and 68: fare, in particular its gradient. (
Page 69 and 70: 5.3 Building specifications for the
Page 71 and 72: current Käthe-Kollwitz-Ufer route
Page 73 and 74: The bottom chords below the bridge
Page 75 and 76: idge pylons were enlarged by expand
Page 77 and 78: Marien Bridge The Marien Bridge des
Page 79 and 80: The Old Carola Bridge The Old Carol
Page 81 and 82: etween Übigau (Washington Strasse)
Page 83 and 84: 5.5 Conclusion When the longitudina
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6 Analysis of field-of-view impact
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c. the 3D model of the design of th
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using GPS co-ordinates. This techni
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entire panorama. The field-of-view
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The best method of realistically si
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Source: author’s illustration/aer
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entire panorama. It can be assumed,
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South Bank 09. Dome of the Frauenki
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View Sequences 1. Sequence A Elbe v
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Details 1. Stauffenbergerallee In S
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Waldschlösschen pavilion, the Elbe
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Because of the currently complex si
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7 Conclusions/Recommendations It is
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as the effect of diffuse winter lig
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Nor may the assessors outline any a
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Text sources / Image sources Aussch
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Kultur- und Naturerbes der Welt von
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Imprint Commissioned by Dr. Roland
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