Stadträume München, 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.