Author: lucasbreder Page 1 of 3

Marmor II

Seaport / Cyclades, GR, 2016
82 x 103 cm

381 Unknown / Athens, 2017
50 x 40 cm

550 Artemis / Athens, 2017
50 x 40 cm

o.T. / Hammersbach, 2017
83 x 90 cm

Land / Mediterranean, 2016
60 x 70 cm

adit, Mo 42 / Wetterstein Mountains, 2017
60 x 90 cm

3292 Menander / Athens, 2017
50 x 40 cm

close to `Brett´ / Wetterstein Mountains, 2017
60 x 90 cm

// in progress

Marmor-II_01_82x103

Marmor-II_02_3731

Marmor-II_03_3748_ohne-sockel_NEU

Marmor-II_04_Höllental-9171-9178

Marmor-II_05_land_60x70_sw

Marmor-II_06_Loch-II

Marmor-II_07_Menander_3784

Marmor I

 

 

 

 

 

 

 

 

 

 

 

Marmor / Mármaros
07, 02, 03, 04, 05, 01
Cyclades, GR
04. 2016 – 06.2017
50 cm x 40 cm

Marmor_01_8604

Marmor_02_1507

Marmor_03_2201

Marmor_04_2213

Marmor_05_3593

Marmor-II_08_49-58

Marmor_06_1500

Portrait 2017

 

 

 

 

 

 

 

 

 

Dani / Portrait 2017
90 cm x 65 cm

Leo / Portrait 2017
90 cm x 65 cm

Jadir / Portrait 2017
90 cm x 65 cm

Portrait-01_Dani_7251

Portrait-02_Leo_5173

Portrait-03_Jardi_7362

Dickicht II

 

 

 

 

 

 

 

 

Mato I / Goiás, BR, 2017
70 cm x 105 cm

Mato II / Goiás, BR, 2017
70 cm x 105 cm

Palm II / BSB, DF, 2017
54 cm x 31 cm

Palm I / BSB, DF, 2017
54 cm x 95 cm

Dickicht-II_01_6345

Dickicht-II_02_6345

Dickicht-II_03_palmenblatt_69-72

Dickicht-II_04_palmenblatt_69-72

Dickicht

“The secret life of plants” makes reference to a song by Stevie Wonder. It was part of a soundtrack for a movie of the same name from the 1970s. The movie as well as the publication it was based on advocate the theory of a “primary perception” by plants.

ML: I am less interested in the postulated theory than in the attempt at demonstrating it. I don’t know whether it can be assigned any scientific relevance, but it provides sufficient material for speculation and narratives of supposed realities. This is also precisely what interests me about photography. A medium that is often used as evidence of an apparent reality. I’m generally concerned with a photographic image, the question regarding the narrative element. Regarding the reflection of what has been seen, the possibility of speculating about things, what occurs at the beginning, the irritation in the image. The beginning of a narrative that can be developed from vision. …
The chosen view into the undergrowth shows the coexistence, juxtaposition, and confusion of different things. A shimmering, ornamental chaos. Initially a world that lacks orientation, that changes by the minute, becomes another world with each change in the incidence of light. An unsettling disorder that evades any direct description. Without a focus on anything specific. In this sense, this work, torn out of its spatial context, constitutes a counterpoint to the designatable individual blossoms. …
The work deals with seeing, with the mechanisms of one’s own perception. Reflecting on what is visible by means of describing it. After the tree, the leaf, the branch, the trunk, the foliage, there is initially a lack of words for the complexity. With the approximation, with the progression of the description, as the photographer as well as the viewer of an image I weave one or any number of my own stories, see the hidden fragments of a plot, references in pictorial composition in art history, …
Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

o.T./
Brasilia, DF / Goiás, BR
2013 / in progress
80,0 x 57,0 cm / 100,0 x 71,3 cm / 120,0 x 85,6 cm

Theodor Fischer

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

2012
4c / with Pk. Odessa Co
120 x 90 cm

2011/12
sw / for the publication „Theodor Fischer Atlas, Städtebauliche Planungen München“

Markus Lanz

born in 1965, architect and extraordinary member of the Association of German Architects (BDA), lives and works as a photographer and urbanist in Munich and Brasília. Besides freelance artistic work, in his research and teaching activities he devotes himself to the description and reflection of spatial and relevant urbanist phenomena, in particular lived space. In 2010 he founded the photographers’ group Pk. Odessa Co. in collaboration with Simon and Sebastian Schels. Markus Lanz teaches the perception of space in the field of tension between architecture and photography, in 2011 as a visiting professor at the Universitat Politècnica de Catalunya in Barcelona and in 2012 at the Technische Universität München (TUM), and since then as a lecturer at the TUM and the Munich University of Applied Sciences.

Cooperation:
Simon Jüttner, Sebastian Schels / Pk. Odessa Co
Ana Gabriela Castello Branco dos Santos

photography / exhibition, publication, curation (selection)

photography / exhibition, publication, curation (selection)

(2018)
In: Porous City, Birkhäuser, 2018
In: Lina Bo Bardi, TOTO Publisher, 2018
In collaboration with Pk.Odessa Co,
for: Jaretti & Luzi, 1954 – 1974, B. Schmutz D. Fiederling, Park Books 2018
for: `Wertstattbuch´, Maier Neuberger Architekten, 2018

(2017)
In collaboration with Pk.Odessa Co,
for: DBU Bauband 2: Zukunftsfähiger Schulbau. Detail
in: Werk, Bauen + Wohnen, (03-Architekten, Palais Mai, Th. Fischer), Zürich, 10.2017
in: Bauwelt, Stiftung Nantesbuch, 10.2017

(2016)
`marble´, solo exhibition in Gallery Schlegel, Munich

(2015)
In: Lina Bo Bardi; photography, exhibition, The Watari Museum of Contemporary Art, Tokyo.

0010_Lina Bo Bardi_Watari Um_2015
Ins Bild Setzen; group exhibition, with Pk-Odessa Co, in Bavarian Architectural Association, Munich.
In: AV Monografías; Lina Bo Bardi, 1914-1992, photography, publication, Arquitectura Viva.
Nachtsicht; group exhibition, Munich, Nuremberg.

0011_performative urbanism_2015

In: Performative Urbanism, Generating and Designing Urban Space; photography, publication, Berlin

0012_Lina Bo Bardi_Hatje Cantz_2015

(2014)
Lina Bo Bardi, photography, for exhibition and publication, Architecture Museum, Pinakothek der Moderne, Munich. Hatje Cantz, Berlin.
School, HOT Architekten, DAM Award for Architecture in Germany, Winner 2014; photography with Pk. Odessa, in exhibition and publication, DAM Deutsches Architekturmuseum

0013_wiedemann_pk_2015

Die Wirkung der Dinge; Josef Wiedemann, photography with Basti Schels, Pk. Odessa, in publication, Tübingen Berlin.

0014_exhibition Schaustelle_2013_9570

Provisorium; photography, group exhibition, Schaustelle of Pinakothek der Moderne, Munich.

0015_show and tell_AM

SHOW & TELL – Architekturgeschichte(n) aus der Sammlung; co-curation, Architecture Museum of the TU, Pinakothek der Moderne, Munich.

(2013)

0016_slop_aussen_3255-2013

The secret life of plants; photography, exhibition with Pk. Odessa Co in: Kunstpavillon im Alten Botanischen Garten, Munich.

(2012)

0017_Fischer Atlas Titel_2012
Theodor Fischer. Stadträume München; curation and photography, exhibition, with Chair of Urban Design and Regional Planning, TUM, Pk Odessa Co, in Architekturgalerie Munich.
Theodor Fischer, Atlas; research and photograpy, publication with Sophie Wolfrum, Alexandra Block, Franz Schiermeier; Munich.

(2011)
Heterotopia; photography, group exhibition, with Ana Gabriela Santos, in Edificio-Sede do Banco Central do Brasil, Brasilia –DF.

(2010)
Mumbai Disclosing City; curation and photography, exhibition, with Chair of Urban Design and Regional Planning, TUM, Pk Odessa Co, in Architekturgalerie Munich,

0018_Biennale Venedig 2010
Sehnsucht; contribution, with Simon Schels, Venice Biennale of Architecture, German Pavilion.
Perlen, selected buildings and places in Munich; photography, publication und exhibition, with Pk. Odessa Co., ed. Architekturgalerie Munich.

(2009)
Multiple City; co-curation and photography, exhibition in Hamburgmuseum, Hamburg.

0019_Exhibition_Multiple City_AM 2008_ML

0020_Multiple City Jovis_2008
(2008)
Multiple City. co-curation and photography, exhibition, Architecture Museum of the TU, Pinakothek der Moderne, Munich:
Multiple City Stadtkonzepte 1908/2008; photography, publication, Jovis Leipzig

(2007)
A toda costa; curation, exhibition, Architekturgalerie Munich.

word / lecture, discussion, publication (selection)

word / lecture, discussion, publication (selection)

(2017)
Situation, in Porous City, Birkhäuser, 2018
Processes of architecture; Interviews with Maier Neuberger Architekten
Debate Heimat, Kulturwoche Kempten
`Everyday life in a slum´, program Kulturwoche Kempten

(2014)

1010_Lina Bo Bardi_Edmar de Almeida_ML AS 1011_Lina Bo Bardi_Suzuki_(C)ML AS

Trabalhar com Lina Bo Bardi; Film, interviews with Edmar de Almeida, Suzuki, Danilo Santos de Miranda, Zé Celso Martinez Correa, with Ana Gabriela Santos, in Architecture Museum, Pinakothek der Moderne, Munich.

1012-show and tell_02
Oral History; Longterm interviews with architects and planners: Fritz Auer and Carlo Weber (Olympiapark 1972, Munich), Richard J. Dietrich (Metastadt), Otto Meitinger (Reconstruction of Munich Residence), Christiane Thalgott (15 years Head of Department of Urban Planning, Munich)
forArchitecture Museum of the TU, Pinakothek der Moderne, Munich.

(2013)

1013-GCLC_A_Munich_000_ML 1014-GCLC_Munich_001_ML
GLOBAL CITY -LOCAL CITY, City Lab Munich; Programme consultancy, introductory lecture, SPIELART, funded by the Culture Programme of the European Union

ein Bild; Photo discussion: with Jonas Lüscher in The secret life of plants; exhibition.with Sophie Wolfrum, Max Ott in Theodor Fischer. Stadträume München; exhibition.

(2012)
Architektur als Ressource; Article in www.goethe.de.
Urban Image – Urban Space; Lecture, discussion, Technische Hochschule Nürnberg.
Mais além da Imagem Urbana; Lecture, Departemento de Teoria e Historia de Faculade de Arquitectura da UnB, Brasila.
Architektur für alle – Zivilgesellschaft bauen; Article in Humboldt, Goethe Institut.
Renaissance der Stadt – die neue Attraktivität der Innenstädte; Article in www.goethe.de. Kreativquartiere – Städte entdecken neue Impulse für ihre Entwicklung; Article in www.goethe.de

(2011)
Panel of Experts, study on the spatial development of Hackenviertel Munich; Moderation, Department of Urban Planning, Munich City Council.
Kunstareal Munich; Workshop moderation, with Oskar Holl, KulturForum der Sozialdemokratie.
Urban Space and Photography; Lecture, UPC, ETSAB Barcelona.

(2010)

1015-A5_Vorabendveranstaltung_ML

A5, Week of Architecture, Association of German Architects, Urban Landscape Munich; Thematic advice, programme development; Moderation and curation of several discussions; Citytour: Behind the noise barrier; Urban Land Scape, article in BDA Informations, LVB Bayern;
Urban Land Scape; Interview: Deutschlandfunk, BR.
Die Stadt im 20. Jahrhundert; Book review and discussion, with Prof. V. Lampugnani, Ch. Sattler, Prof. S. Wolfrum, Munich, Verlag Klaus Wagenbach.
Preliminary examination and moderation of architectural competitions for the main building department of the Max Planck Gesellschaft, with Hantje Hipp.

(2009)
Living Megastructures; Panel discussion with Sabine Bitter, Helmut Weber, in: Stadtmuseum Munich.
Wohnprojektetag Bayern; Moderation, Supreme Building Authority of the Bavarian State Ministry of the Interior, Bavarian Architectural Association, Alte Kongresshalle Munich.
Hofstatt, Zukunft findet statt; Moderation, panel discussion with Marcel Meili, Julian Nida-Rümelin, Elisabeth Merk, Oliver Frank.
Urban Identity; Lecture, IRGE, University Stuttgart.
Master Plan for Shanghai; Interview and photography, in Wohnrevue.CH.
Können wir uns die Stadt noch leisten? Panel discussion, BR Zündfunk, in Mufatthalle, Munich

(2008)
Multiple City; Interviews in BR, ZDF (Second German Television).
A toda costa; Article with Sophie Wolfrum, in Multiple City, Leipzig 2008.
The Coast at all costs; Article in ´scape, 2008/2.
Megacities, Brasilien; Lecture, Master‘s programme Clima Design, TU München.

(2007)

1016-TUM-brasil 1015-TUM-toda costa

Rio de Janeiro, Brasilia, Sao Paulo. Article, in: brasil TU München.
TODA COSTA; Article, with Sophie Wolfrum, in: Wertewandel. werkundzeit 1-2/ 2007.

(2006)
Body Extensions, prosthesis and space; Article in stb, TU Munich.
Tunnel. Spatial Reality; Interview, article in Transitwellen, München.
Stadtgestalt und neue Architektur, Munich, panel of experts.

(2005)

titel_sw.indd
Self Service City, Istanbul; Panel discussion with Orhan Esen, Stephan Lanz.
Self Service City: Istanbul; Book review, b_books, Berlin.
Istanbul, Change of a metropolis; Article, in: Wissenschafts-Blatt München.

teaching and further research activities

teaching and further research activities

2014 – 2016
Academic, Hochschule München, Munich (HM)

since 2012
Academic, Department of Architecture, Technische Universität Munich (TUM)

2011/12
Guest Professor, Technische Universität, Munich (TUM)

2011
Guest Professor, Escola Tècnica Superior d‘Arquitectura de Barcelona (ETSAB)
Lecturer for urban design, TU München

2010
Academic, Master‘s Programme Clima Design, TU München

2003-2009
Research and Teaching Associate, TU München
Chair of Urban Design and Regional Planning, Prof. S. Wolfrum
Teaching Programme Development in structure and content; Organisation of study excursions Istanbul; St. Petersburg; Rio de Janeiro, Brasilia, Sao Paulo; Costa Blanca, Valencia, Benidorm, Alicante; Dehli, Chandigarh, Ahmedabad, Mumbai; Development and assistance of numerous design studios and scientific seminars; Organisation and assistance of student exchange programme with UIUC, Illinois and FAUUSP, São Paulo; International students´ workshops: Kigali, Ruanda; Saint Petersburg, Russia; Publication.

titel.indd

2001-2003
Teaching Associate, TU München, Chair of Urban Design and Regional Planning, Prof. F. Stracke

01ws-dickicht-2013_2167-2179-(C)MLanz

Blossom

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

o.T. /
Brasilia, DF
2013
35,0 x 50,0 cm

Cardboard

CARDBOARD
Abandoned minimal arrangements for a temporary purpose

The outspread cardboard is the expression of a desire to organize one’s own sphere. The minimal, initial intervention is the claim to a site. It seeks a specific location in space, proximity to an occupied building, at the border to a protected interior, under the protective cover of trees … The way the cardboard is arranged, the traces of its use lends its former user the appearance of vulnerability. Relate something about the current state of a society.

cardboard
2013 / in progress
17 x 14 cm
on DINA4

São Paulo

DÉRIVE
The beginning of the work is the inquiring exploration of a city by means of extensive, aimless rambling. It’s all there.

THE RELEVANCE OF APPEARANCE
A photograph depicts the visible areas of space only. The detail of a real situation at a specific time in the past. How do the levels of the space present themselves? The concreteness, the concept, the complex situation? I want to learn to read what appears. By taking photographs. The thing itself. For an understanding of space and the conditions of space production.
Phenomenological reduction.

Integrated into a culturally coded perceptual pattern, the photograph is readable as a symbolic depiction of a space. At the same time, it establishes a connection to an individual perception and experience. Photographs contain a specific attitude toward things.

People in photographs of architecture. Where am I, where are the others? What am I doing here, and what can any of us do here? Architecture, enduring pithiness in its form, yet at the same time offering a wealth of experience in terms of its versatility. Possibilities of interacting in space. This is where space and the quality of architectural spaces becomes visible. Working with people on the spot is part of my work.

Watson

IN SPACE WE READ
Watson´s Hotel, Esplanade Mansion, Kala Ghoda / Mumbai

in collaboration with Simon Schels

The first cast iron structure building in India (1867-1869) was pre-fabricated in England, shipped into Bombay and assembled on site. Located in the former Fort Precinct of the City, the Watson´s Hotel forms an important corner in the center of the Kala Ghoda Art District. The “whites-only” luxury hotel with its 130 rooms and the glamorous central atrium was closed in 1960. The new owner subdivided the building into individual spaces used for residences and offices. The building has a multi-tenanted and multi-user space pattern. In the absence of any common care therefore, the cast iron structure is now failing. Worn out due to years of neglect, inappropriate additions and physical modifications.

since 2010 / sketches

watsons analog 2.tif

Marine Drive

The architectural ensemble of Marine Drive was built in the 1930s as one of the largest collections of Art Deco buildings in the world. The Art Deco style was the formulated expression of a newly emerging Indian elite implicitly rejecting the architectural ethos of the grand Gothic and Indo-Saracenic imperial buildings.
The ensemble is well protected and highly endangered in the same moment.
Faced to the sea and well located in the greater area, Marine Drive was and still is a preferred liberal quarter in Mumbai with a high investment pressure.
The Bombay Rent Control Act, passed in 1947, froze some rents at a low level and thus impedes refurbishment, renovation or even painting of the buildings.
Nowadays the ensemble at Marine Drive is strictly monitored by the World Heritage Committee.

Visibility of production conditions of space. Architectural photography.
The known view is the view with the buildings in the back faced to the sea.
/ eat the breeze

2010

Mumbai

MUMBAI. DISCLOSING CITY
Megacities illustrate urbanist phenomena and social problems of worldwide relevance, beyond media-related clichés that are dominated by photographs of apocalyptic scenarios.
Based on the dimensions of the city proper, Mumbai is the largest city in the world.

2010
* exhibition MUMBAI. DISCLOSING CITY
Architekturgalerie München, director, in cooperation with stb,TU München and Pk.Odessa Co.

Brasília

BRASÍLIA. BEYOND URBAN IMAGE
Attempt at a dense description. Text and photographs.

Brasília, one of the most spectacular urban development projects of the modern era, went from drawing board to reality within a period of only four years, and thus the myth of the planned city was born. For half a century now, never-ending, identical images have shown us Brasília as a cold utopia. Brasília’s reality has since changed significantly. Despite the fact that essential components of the urban structure were reshaped, negated, or neglected, we are now getting a spatial idea of all of the dimensions on which the city’s master plan is based and thus of possible scenarios that may be developed from them. (…)

Against the background of the prevailing European critique of modernity and the associated revitalization of planning dogmas, the work ventures a second, an open view of the planned city of Brasília and everyday life as it is lived there beyond the images that preserve the myth. The gaze is not directed toward a city that claims to provide a solution to coexistence in an urban society, but rather toward its inherent potential. It seeks the specific spatial qualities, their appropriation and overlay. The work scrutinizes the mechanisms of image formation as generated and consistently validated by photography.

In progress.

Big Munich

Network City. Munich Region
What urban spaces do we produce? Through planning. Through use. A narrative.

2008

Multiple City

To the extent that urban structures constantly reproduce themselves in multiple ways, so does perception change as well as the visibility of urban phenomena.
Thus the development of urban photography always exhibits parallels with urban planning and development. It is in this field of tension that I seek to photographically capture the themes and concepts of the city in formed and lived urban space, here and now.

Garden City | Urban Landscape

Functional City | Patchwork City

Region as City | Network City

Tessuto Urbano | City as Collective Memory

Urban Regeneration | Urban Renewal

Urban Design | Architecture of the City

Genius Loci | Place and Atmospheres

Situational Urbanism | Performative Urbanism

Mobile City | Telepolis

Healthy City | Sustainable City

Social Housing | Lifestyle Urbanism

Pleasure City | City of Perfection

City as Image | Urban Icon

New Towns | New Capitalist City

Territory City | City as Prize

The Myth of Metropolis | The Myth of Megacity

* topics of the exhibition MULTIPLE CITY
2008 / in progress
publication, exhibition: MULTIPLE CITY. CITY CONCEPTS 1908/2008
in Architecture Museum of the TU, Pinakothek der Moderne, Munich

Josef Wiedemann

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space. The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the Munich-based architect Josef Wiedemann

Allianz Hauptverwaltung, Königinstrasse, Munich
Landesbausparkasse, Karolinenplatz, Munich
Erweiterung der Dresdner Bank, Promenadenplatz, Munich

2014
with Pk. Odessa Co
publication Josef Wiedemann, “Die Wirkung der Dinge”

Theodor Fischer

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

2012
4c / with Pk. Odessa Co
120 x 90 cm

2011/12
sw / for the publication „Theodor Fischer Atlas, Städtebauliche Planungen München“

prinze 001

Lina Bo Bardi

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

2014

publication „lina bo bardi 100“
exhibition: Pinakothek der Moderne, Munich / Watari-Um Museum of Contemporary Art, Tokyo

+
film series: Trabalhar com Lina Bo Bardi
cooperation with: Ana Gabriela Castello Branco dos Santos
interview with:
Danilo Santos de Miranda. Diretor do SESC no Estado de São Paulo
Zé Celso Martinez Corrêa. Dramaturgo, ator e diretor do Teatro Oficina
Suzuki. Arquiteto, Dr. Prof. Universidade de São Paulo
Edmar de Almeida. Artista plástico

paar 3016_5855(C)M Lanz

paar 30316_1973(C)M Lanz

02 Watsons House Mumbai 2010 an 19(C) Schels Lanz

03 Watsons House Mumbai 2010 an 33(C) Schels Lanz

04 Watsons House Mumbai 2010 an 24(C) Schels Lanz

05 Watsons House Mumbai 2010 an 4(C) Schels Lanz

06 Watsons House Mumbai 2010 an 5(C) Schels Lanz

07 Watsons House Mumbai 2010 an 01 12(C) Schels Lanz

08 Watsons House Mumbai 2010 an 21(C) Schels Lanz

09 Watsons House Mumbai 2010 an 22(C) Schels Lanz

10 Watsons House Mumbai 2010 an 15(C) Schels Lanz

11 Watsons House Mumbai 2010 an 9(C) Schels Lanz

12 Watsons House Mumbai 2010 an 14(C) Schels Lanz

13 Watsons House Mumbai 2010 an 27(C) Schels Lanz

Watson1

User, 2001:
Ground Floor: Gala Stationary Mart, Shah Ganshi Danji & Co, Ritu´s Choice, Smart & Hollywood, Air India Baggage Claim, Lucky Copy Center, Sheetal Copy Center, Champion Traders, The Relik, Simla Stationary Mart, The Army Restaurant & Stores, Royal Refrigertion Co., M/s R.K. Trading Corporation, Jaykumar D. Ved Advocate

First Floor: J.C.B Controls, N.B. Bijoor Advocate, T.M. Nad, Brij Bushan Saxena-Advocate, S.K. Dubey-Advocate, Suresh Kamat-Advocate, M. Pestonjee & Co, Ashok M. Saraogi – D.C. Shah – R.R. Verma Advocate, Indian Market Research Bureau, Probe Qualitative Research, Anshuman Exports & Imports Pvt. Ltd, Atlantic Sales & Services, National School of Banking, Om Sai Agrotech Investments Ltd, High Tech Publishing Pvt. Ltd, Utangale Nath & Co, Syrisa Travels Pvt. Ltd, Alfred Associates Importers & Exporters, M. Chandran & Co, Anandeep Orbit & Co, Pranlal D. Shah – Hind Engieneering Corporation, Gem International, N.G. Thakkar & Co, Rajputana Textiles Pvt. Ltd, The United Eastern Agencies, Reshma Ruparel Advertising, Nisha Engineering Consultant, Sanjay Enterprises, Nirman Estate Agency, Dream Merchants, …

Second Floor: Mazda Enterprises, Framroze Sorabji Augra, Jamestone Engineering Co, S. Jamshedji & Co, Cement Industries, Mahendra Shah, Deepak Enterprises, Deepak M. Thakkar – Advocates, N.S.B. Financial Services, A.S. Madon & Co, Mahendra H. Shah, J.B. Trust, Salu & Co, Kamla Builders, Rocket Sales Publicity, Shri.E.K. Thakur, Jades Shipping, Lalla Advocate

Third Floor: Tejas Bhatt Advocate, Manas Enterprises, Mrs. Achala Saxena – Avdocate, The Indian Society for Agricultural Economics, Raju More – Advocate, S. Pardawala, Federal & Rashmikant – Advocate, M/s Sharma & Associates, Raju Z. Moray – Advocate, V.C.K. Share & Stock Broking Co., Ashok Kumar & Co, Jaishree Dagli & Associates, Sudesh Kumar & Associates, Suyashree Finstock Pvt. Ltd, M/s G.R. Pandya, Mrs. Anjana Gupta Advocate, Bharucha Trust

Fourth Floor: S. Radhakrishnan, C.M. Jha. R.A. Rodrigues, Goolnaz Advertising Pvt. Ltd, N. Lmakhijani & Co, Iqbal. Mohd. Yusuf Advocate, Naaz Secretarial, Ranjana Devi Nikam Advocates

*cf.: Urban Design Research Institute / Mumbai

kolumbus_2 001

tengstreet 001

03_Theodor Fischer_2012_Mannhardstr (C)Pk

lenbachhaus 001

hohenzollern 001

schyrenskate 001

Theodor Fischer Text 2

SPACE AS A “CRIME SCENE”*

The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.*

 

 

 

 

LIVED SPACE

In contrast, the large-format color photographs are overviews in specific spaces. Space furthermore becomes recognizable as a complex situation. Interaction in architectural space, visible to its depths, attests to the urban fabric and the context beyond the frame of the photograph. Situative work, the development of actions with people on the spot, is part of my architecture photography.

08_Theodor Fischer_Rothmundstr_8191(C)M Lanz

10_Theodor Fischer_Dom Pedro Str_2012_9285(C)M Lanz

11_Theodor Fischer_Prinzregentenstr_2012_2915(C)M Lanz

12_Theodor Fischer_Max Joseph BrÅcke_2012_9005(C)M Lanz

13_WittelsbacherbrÅcke_2012_8841(C)M Lanz

09_Theodor Fischer_Ursulagymnasium_2012_2816(C)M Lanz

01_TITEL_SESC Pompeia_Sao Paulo 2011 4487(C)M Lanz

02 Sao Paulo 2015 6549(C)M Lanz

03 Sao Paulo 2015 6682(C)M Lanz

04 Sao Paulo 2011 4240(C)M Lanz

05 Sao Paulo 2015 6656(C)M Lanz

06 Sao Paulo 2012 4321(C)M Lanz

07 Sao Paulo 2011_8653 (C)M Lanz

08 Sao Paulo 2011 4540 (C)M Lanz

09 Sao Paulo 2011 4756 (C)M Lanz

10 Sao Paulo 2015 6689 (C)M Lanz

11 Sao Paulo 2011 4349 (C)M Lanz

12 Sao Paulo 2011_4828 (C)M Lanz

13 Sao Paulo 2015 6411 (C)M Lanz

14 Sao Paulo 2011 8492(C)M Lanz

01_Mumbai 2010 6185(C)M Lanz

02_Mumbai 2010 7202(C)M Lanz

03_Mumbai 2010 5096(C)M Lanz

04_Mumbai 2009 4464(C)M Lanz

05_Mumbai 2010 6019(C)M Lanz

06_Mumbai 2010 6085(C)M Lanz

07_Mumbai 2010 5417(C)M Lanz

08_Mumbai 2010 6086 2(C)M Lanz

09_Mumbai 2010 6251(C)M Lanz

10_Mumbai 2010 4989(C)M Lanz

11_Mumbai 2010 6696(C)M Lanz

01 Multiple City 2008 1415(C)M Lanz