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44 Figure 4.1 Gabriel Tola, “Neustadt und Altendresden von Osten” [New Town and Old Dresden from the East], Dresden ca. 1570 Source: “Der Blick auf Dresden”, Deutscher Kunstverlag Figure 4.2 Matthaeus Merian the Elder, “Prospect der Brücken zu Dresden” [View of the Dresden Bridges], In: “Topographia Superioris Saxoniae, Thüringiae, Misniae et Lusutiae”, Frankfurt/ Main 1650 Source: “Der Blick auf Dresden”, Deutscher Kunstverlag
4 Perception and depiction of the study area in different periods The distinctive character of the Dresden Elbe Valley land- and cityscape, together with the exceptional vistas afforded by its topography, has proved particularly inspiring to those representational art forms that are concerned with city and landscape views. Artistic readings of this kind shed light on the cultural significance of geographical loca- tions and the views they provide. They document an important aspect of the collective memory of Dresden’s land- and cityscape. Views of the Elbe valley between Albert Bridge and Loschwitz Bridge represent a do- minant theme in the history of Dresden art. Over the centuries, numerous artists have been inspired by the area’s harmonious interplay between architecture and landscape, the expanse of the Elbe floodplains and the changing perspectives offered by the curving river. This unique topography has resulted in a wealth of visual relationships between the city area and the Elbe landscape which have, in turn, been recorded in works of art. The catalogue for “Der Blick auf Dresden” [The View over Dresden], an exhibition currently being held at the Staatliche Kunstsammlungen Dresden to accompany the reopening of the Frauenkirche, has provided an important source for the depictions of historic Dresden included in this chapter. 4.1 Artistic representation The history of artworks that depict Dresden’s city and landscape – especially the area to the east of the Altstadt, where city and nature are closely intertwined – can be traced back to the 16th century, beginning with a work by Gabriel Tola. This unusually wide ink drawing (25 cm x 196.5 cm) depicts the silhouette of the city of Dresden nestled in the Elbe valley. The backdrop is a gently undulating group of hills; the foreground shows a Renaissance park. The artist’s view is from the southern bank of the Elbe. Many of the subsequent depictions of Dresden were to adopt this perspective. In fact, Tola’s visual composition directly inspired a range of illustrations of Dresden that were published in various books on the city, including “Dresden und Leipzig” by Georg Braun and Franz Hogenberg (“Civitates orbis Terrarum”, Cologne 1570), “Dresden” by Sebastian Münster (“Cosmographia Universalis”, Basel 1592), “Die Statt Dresden” by Abraham Saur (“Theatrum urbium”, Frankfurt/Main 1610), and “Vera Amicita. Dresden 45
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 34 and 35: 34 Figure 3.12 Plan of the Elbe riv
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: created lookout points must be give
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
Page 85 and 86: 6 Analysis of field-of-view impact
Page 87 and 88: c. the 3D model of the design of th
Page 89 and 90: using GPS co-ordinates. This techni
Page 91 and 92: entire panorama. The field-of-view
Page 93 and 94: 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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