This text explores the elements of landscape design with clear, detailed drawings which convey the effect of formal, climatic, geological, textural and architectural botanical elements and their significance for the landscape designer. This study considers all the elements that go to make up the vocabulary of landscape architecture: hard landscape - pavings, squares, steps and walls; soft landscape - such as paths, tree planting and hedges, and the numerous devices - such as vistas, walkways and clearings, to be deployed. The ways in which water - lakes, pools, rills, cascades and canals - can be utilized to effect are also categorized clearly. Schaal sets out to relate historical methods of landscape design to contemporary ideas in art and design with a descriptive text that students, teachers and practitioners alike should find of direct practical value.

Landscape as Inspiration

Arts & Photography

Schaal, Hans Dieter

Architecture

wiley

Architekturen 1979-1990 = Architectures 1979-1990 (German Edition)

Reference

Foreign Language Study & Reference

Verlag G. Hatje

With the increase of general knowledge about the world, nature, the cosmos and with the development of technology, the urge grew – quite heretically – to kill old, fairy-tale religious stories as lies. Every scientific knowledge increased our level of knowledge, thus our education, but led to a renewed expulsion. First people regarded the earth as the centre of the universe, then they had to learn that we, together with our planet, orbit the sun and are only a tiny round sphere among billions of other spheres in the Milky Way and the entire cosmos.

Auf der Suche nach verlorenen Paradiesen (German Edition)

Other Media

Edition Axel Menges

Hans Dieter Schaal. Stage Architecture 2001–2021: With an introduction by Wolfgang Willaschek

In his note to the edition of Neue Landschafts-architektur/New Landscape Architecture published 1994 in England as Landscape as Inspiration, Geoffrey Jellicoe compares my drawing considerations with the works of Paul Klee. What at first sounds a bit highfalutin is correct insofar as I do not move exclusively in the banal everyday and functional space in everything I draw, design and realize, but always reflect second and third surrealities as well. Art does not reproduce the visible, but makes visible", how Paul Klee formulated the process. Every viewer and reader could rightly ask the question: What do such expressions of art have to do with every-day architecture? I think: a great deal. And that is because all architectural problems and their solutions are multi-layered. Just like pure works of art. Every building summarizes and redefines its architectural, urban, village and landscape surroundings. Intentionally or unintentionally, exaggerated or restrained, each building can look like a meteorite or bomb strike, an inconspicuous remark or a beautification attack. I am interested in the past, the present and the future of an urban or landscape site. My view wants to integrate archaeological working methods just as much as functional fulfilments and imaginative-surreal, sometimes utopian efflorescence. I would never go so far as to formulate: Architecture is the necessary, and art is the unnecessary. Of course, every artist-architect who embarks on this complicated-complex path will have difficulties with the banal, seemingly superficial everyday reality in nature, the landscape and the city. It is therefore not surprising that I have only been able to realize a few architectural and visual productions and that, in the course of the last decades, I have been increasingly pushed into the areas of stage design and other design areas. At the moment, thanks to the ecological movement, hardly anyone is interested in the connection between art and architecture. More important are sustainability and zeroenergy houses in which the windows can hardly be opened. Could it be that building culture, indeed the whole of culture, will soon sink into green primeval forests and huge wetland biotopes? Or will foreign, warlike peoples destroy or occupy our cities and landscapes and cultivate them anew?

Hans Dieter Schaal, Selected Works / Ausgewählte Arbeiten 1971–2023

History & Criticism

One of the aims of this book is to rip the rotten, dead ideas out of the term "museum", to open the windows, air the exhibition galleries thoroughly and give vital, hopeful significance to the museum as a location, relating to the present, the past and the future. After that, when walking through the new rooms, sceptics will be astonished. They may not become optimists, but they will still admit that they would not have thought the ancient medium had so much strength and life in it. What does this museum look like, and what does it contain? Hans Dieter Schaal imagines this new museum, which in reality consists of many buildings, as the world's memory and consciousness. All the world's knowledge is stored and collected here. From all spheres: natural sciences, commerce, finance, the humanities, medicine, technology, music, architecture, art. The place serves as an assembly point and information centre. History and its developments are presented here, the present state of affairs is described and analysed, and strategies for the future are demonstrated. The Global Museums is all things in one: laboratory, workshop, building site, university, theatre, opera house and museum.

Global Museum

Hollywood is not only the secret world capital of dreams and the fictions of the subconscious, but also the capital of architecture. Hollywood is the Rome and the Versailles of the 20th and 21st centuries. A new awareness of space spanning the entire world was created here. These backgrounds, stage sets and filmic spaces are indelibly fixed in every spectator's mind.

Learning from Hollywood: Architecture and Film

The subject of this book is memory. Memorials are used to counteract forgetting. In the democratic and pluralistic society, where all developments are accelerated by modern communication channels, the definition of a monument as a ceremonial and weighty sign of memory bringing to life historic moments has become obsolete. We have a positively endless number of collective experiences, and as many signs of memory. Under these circumstances, what remains that can still be described as a monument? In this book, the author addresses these questions, offering his far-reaching insights into all areas of architecture and art history, philosophy and the new media. The book will benefit any reader looking for thoughts and information from outside the mainstream.

Memorials: Betrachtungen über Denk-Male in unserer Zeit (German Edition)

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Books by Schaal, Hans Dieter