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48 Figure 4.7 Johann Alexander Thiele, “Prospect von Dresden vom Wege nach Bautzen aufgenommen” [View of Dresden as seen on the Road to Bautzen], Dresden, before 1740 (left) Figure 4.8 Anonymous, “Vue de Dresde prise de la route de Bautzen” [View of Dresden as seen on the Road to Bautzen], Germany, ca. 1810 (right) Source: “Der Blick auf Dresden”, Deutscher Kunstverlag Figure 4.9 Karl Friedrich Schinkel, “Fernblick auf Dresden” [Distant View of Dresden], Germany, after 1803 (right) Source: “Der Blick auf Dresden”, Deutscher Kunstverlag Figure 4.10 Franz Wilhelm Leuteritz, “Blick auf die Elbschlösser bei Dresden” [View of the Elbe Castles near Dresden], Dresden 1868 Source: “Der Blick auf Dresden”, Deutscher Kunstverlag
for the national press when making often rather simplistic reference to the proposed construction of the Waldschlösschen Bridge, should therefore only be considered as metaphorical. In the 18th century, artists explored a new view of the city – from Bautzner Strasse on the outskirts of town. Travellers from the east came to Dresden via this route. At several points, the forest cleared to reveal a broad panoramic view of the city. Over several decades, numerous pictures were produced depicting the Elbe valley as seen from Bautzner Strasse. In his painting “Prospect von Dresden vom Wege nach Bautzen aufgenommen” (Dresden, before 1740), Alexander Thiele presents an especially expansive view of the river and city, with gently sloping meadows and isolated low trees. From this perspective the outline of the inner city seems to stretch out across the horizon, and the bends in the Elbe makes the river appear to be very wide. While Thiele represents the surrounding vegetation very accurately; he also uses it compositionally to embed the Dresden city outline in the surrounding landscape. Approximately 70 years later, around 1810, an anonymous painter depicted the city of Dresden from a similar perspective. The composition of this painting differs to Thiele’s in that it integrates not only “natural” elements such as the vegetation into the structure of the painting but also “unnatural” elements such as the twists and turns of Bautzner Strasse and a series of distinctive, individual buildings across the terrain. A watercolour by Schinkel, painted after 1803, shows the city more distantly from the northeast. The two bends in the river, painted in light colours, are at the centre of the composition. The city outline rising above the wide, light river bend is located in the left half of this circular painting – at first glance, it is barely discernible. The colours used and the composition de-emphasise the city to a point where it becomes just one of the valley’s many features. In Schinkel’s depiction, the city fuses almost completely with the surrounding landscape. Franz Wilhelm Leuteritz’s painting shows Dresden from “Dinglingers Weinberg” [Dinglinger’s Vineyard] in the Loschwitz Heights. On the right, the Elbe castles can be seen in the painting’s foreground. The small, distant city outline is shown above the broad, low meadow in the Elbe river bend. From the mid-19th century, the first city panoramas were painted from the perspective of the Waldschlösschen. This marked the beginning of the renowned Waldschlösschen view. 49
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 and 44: created lookout points must be give
Page 45 and 46: 4 Perception and depiction of the s
Page 47: in Meißen” by Eberhard Kieser an
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
Page 95 and 96: Source: author’s illustration/aer
Page 97 and 98: 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
Page 105 and 106:
Waldschlösschen pavilion, the Elbe
Page 107 and 108:
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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