Wunderkammer
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In the 13th century Nederhorst must have been a simple water tower (keep) on a bump of sand (a horst) in a swampy area. Near this defense work, on the same horst, a wooden chapel had been built much earlier around the year 800.
The donjon was centrally located in a wide meander of the Vecht and had a more or less strategic location on the edge of the Utrecht foundation, bordering the county of Holland. At the time, such structures were usually not intended for permanent residence, but were purely defensive structures; sometimes they were also used to preserve the harvest. As with many other donjons, a residential wing was added later, after which the complex could develop into a castle.
Nederhorst has been on the list of recognized knight cities of the glory of Utrecht since 1536. To qualify as a knight's yard, the building had to be surrounded by a moat, a drawbridge and outbuildings. The castle lord also had to show a certain wealth.
The owner had various privileges, such as a seat in the Ridderorde and thus in the States of Utrecht and some tax exemptions. The seat in the States of Utrecht gave the person concerned access to official functions in the region and in The Hague. On the other hand, a knight had no right to act or act. Anyway, the possession of a knight's court city gave the owner power and prestige.
Godard van Tuyll van Serooskerken radically modernized the house around 1700. The house took on the character of a country estate. In the winter, the elite lived in the city, but in the summer people moved with all their possessions to their country estates. Away from the smelly canals, away from the unhealthy city to the pleasure gardens outside by ship. There they received guests, lingered in the meticulously landscaped gardens, conversed, played music, marveled in the Wunderkammer or went hunting. It was important to impress the guests by an imposing house in the middle of beautiful gardens.
Architektur
Kanten und fließende Linien, Holz und Edelstahl, Tradition und Innovation, hell und dunkel: Die Architektur des PANEUM lebt von der Kombination von Gegensätzen, zieht aus Kontrasten ihre Dynamik und Faszination.
… Und der Besucher kommt um die Frage nicht umhin: Was ist das? Eine in der Sonne schimmernde Wolke? Ein silberner Teigklumpen? Oder vielleicht doch etwas ganz anderes?
Gewiss ist, das PANEUM ist auch eine architektonische Entdeckungsreise und trägt die Handschrift von Wolf D. Prix, CEO von COOP HIMMELB(L)AU, eines der renommiertesten Architekturbüros der Welt. Schon beim ersten Treffen zwischen dem Architekten und dem Auftraggeber, backaldrin-Inhaber Peter Augendopler, entsteht eine Skizze mit einer Box, die das Fundament des Bauwerks bildet und in dem das Kundeninformationszentrum und Veranstaltungsforum für bis zu 120 Gäste untergebracht sind. Alles, außer die Wunderkammer des Brotes selbst. Diese – auch das ist Teil der Ursprungsidee – wird über eine spiralförmig angelegte, freitragende Treppe erschlossen.
Die Spirale schafft ein Treppenauge, das vertikal bespielt werden kann: einem Luster oder einem gigantischen Windspiel nicht unähnlich. Damit zitiert Prix den Mailänder Künstler Maurizio Cattelan, der dasselbe im Guggenheim-Museum in New York gemacht hat. Die Treppe führt hinauf in den Freiform-Gebäudeteil, der selbst wieder eine Kombination von Gegensätzen ist. So kontrastiert er nicht nur mit der rechteckigen Box aus Beton, sondern schafft auch einen faszinierenden Kontrast zwischen innen und außen. Während außen über 3000 Edelstahlschindeln silbern in der Sonne glänzen, wird innen die Holzstruktur des Gebäudes sichtbar. Geschwungene Linien ermöglichen dem Besucher – im wahrsten Sinne des Wortes – einen Rundgang durch alle Ausstellungsbereiche.
Architecture
Edges and flowing lines, wood and stainless steel, tradition and innovation, light and dark: the architecture of the PANEUM comes alive through its combination of opposites and draws its dynamism and fascination from its contrasts.
Visitors can’t help but wonder… What is it? A cloud, shimmering in the sunlight? A silver mound of dough? Or perhaps something completely different?
What is certain is that the PANEUM is also an architectural journey of discovery and bears the signature of Wolf D. Prix, CEO of COOP HIMMELB(L)AU, one of the most renowned architectural offices in the world. Already at the first meeting between the architect and the client, backaldrin owner Peter Augendopler, there was a sketch of a box that would form the foundation of the building, and in which the customer information centre and event forum for up to 120 guests would be housed – everything, except the Wunderkammer itself. Also part of the original idea, this is accessed via a spiral, cantilevered staircase.
The spiral staircase creates an atrium, which can be used in vertical displays, not unlike a chandelier or a gigantic wind chime. Prix attributes Milanese artist Maurizio Cattelan, who did the same at the Guggenheim Museum in New York. The staircase leads up into the freeform part of the building, which is itself a combination of opposites. It not only contrasts with the rectangular part of the building, made of concrete – the box – but also creates a fascinating distinction between the interior and the exterior of the building. While over 3,000 stainless steel shingles on the outside shine silver in the sun, the wooden structure of the building is visible on the inside. Curved lines allow the visitor – in the truest sense of the word – to circle all areas of the exhibition.
source: paneum.at
Architekturbüro: COOP HIMMELB(L)AU
The Customer Information Centre and Event Forum PANEUM - Wunderkammer des Brotes - for the company Backaldrin in Asten consists of two elements: a box shaped plinth building with foyer and event rooms plus the “Wunderkammer des Brotes”, a two storey freeform exhibition area floating on top. The chosen materials augment the contrast of these two elements: The square base building shows a cast-in-place concrete façade while the rounded wood structure of the museum is clad with stainless steel shingles.
The base building houses the event rooms and the adjoining rooms. This area can be used for a variety of events as presentations, receptions or workshops for up to 120 visitors.
The design of the exhibition area is based on the idea of a cabinet of curiosities, a concept for collections originating in the Baroque period. This concept is especially appropriate for the unusual and small-scale objects in the collection related to the topic “bread” which are presented in the exhibition area. For the exhibition concept and design Gruppe Gut from Bozen was responsible.
The centre of the “Wunderkammer des Brotes” is formed by a circular atrium, in which selected items from the collection are individually suspended from the top, as in a differentiated crystal chandelier. The atrium is enclosed by a spiral stair where visitors can look at the exhibited items from various perspectives. The stair provides access to the two exhibition levels, where the objects are presented with the help of walls, tables and cabinets that are integrated into the architecture. Additionally, all floors can be accessed by elevators. The atrium is naturally illuminated from above while the exhibition spaces have artificial light.
The self-supporting wood shell of the exhibition structure is visible in the interior. It is composed of layered circles of cross laminated timber. This method of construction enables the realization of the free form. The high degree of prefabrication with 3D CNC technology (Computerized Numerical Control) lead to a short building time. Leaving the precisely shaped wood timber exposed on the interior, with just a layer of paint, made additional interior finishes unnecessary.
CONTEMPORARY WUNDERKAMMER
Location: Paneum, Asten
Wunderkammer des Brotes
Architektur: Coop Himmelb(l)au
Bearbeitung: Jürgen Krall Photographie
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Bild Nr.: 211_0720_cs6
Fiona Hall represented Australia at the 56th Venice Biennale. The inaugural exhibition at the new Australian Pavilion, Wrong Way Time, was an immersive installation that emphasised three intersecting concerns: global politics, world finances and the environment.
This wunderkammer-like collection of objects, materials and images directs attention to the current environmental, social and political state of the globe.
“The enduring legacy is that Hall looked quite distinctive – not following fashionable trends but rather revealing an artist who is absolutely true to herself – a great ‘maker’ of art works with the ability to convey profound messages,” says NGA senior curator Deborah Hart, who saw Wrong Way Time in Venice.
“She doesn’t tell people what to think but she opens up profound areas of experience for us to contemplate, question and take on board. Her work is provocative but also at times playful and witty, and always engaging.”
Location: Paneum, Asten
Wunderkammer des Brotes
Architektur: Coop Himmelb(l)au
Bearbeitung: Jürgen Krall Photographie
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Bild Nr.: 211_0735_cs6-flickr
Fiona Hall represented Australia at the 56th Venice Biennale. The inaugural exhibition at the new Australian Pavilion, Wrong Way Time, was an immersive installation that emphasised three intersecting concerns: global politics, world finances and the environment.
This wunderkammer-like collection of objects, materials and images directs attention to the current environmental, social and political state of the globe.
“The enduring legacy is that Hall looked quite distinctive – not following fashionable trends but rather revealing an artist who is absolutely true to herself – a great ‘maker’ of art works with the ability to convey profound messages,” says NGA senior curator Deborah Hart, who saw Wrong Way Time in Venice.
“She doesn’t tell people what to think but she opens up profound areas of experience for us to contemplate, question and take on board. Her work is provocative but also at times playful and witty, and always engaging.”
Location: Paneum, Asten
Wunderkammer des Brotes
Architektur: Coop Himmelb(l)au
Bearbeitung: Jürgen Krall Photographie
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Bild Nr.: 211_0727_cs6-flickr
AI generated with Bing Image Creator
Cabinets of curiosities, also known as wonder-rooms (German: Wunderkammer) were encyclopedic collections of objects whose categorical boundaries were, in Renaissance Europe, yet to be defined. Although more rudimentary collections had preceded them, the classic cabinets of curiosities emerged in the sixteenth century. The term cabinet originally described a room rather than a piece of furniture. Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings), and antiquities. In addition to the most famous and best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe formed collections that were precursors to museums.
PROMPT:
Wunderkammer display at the cryptid taxidermy museum in bogomil's weirdville town , a collection of worldwide curiosities, oil painting in the style of Hieronymus Bosch, Pieter Brueghel and the Northern Renaissance.
"Paneum" - Wunderkammer des Brotes (von panis, latein Brot und Museum) ist ein Museum über die jahrtausendealte Kultur der Brotherstellung. Es liegt am Firmensitz des Lebensmittelherstellers Backaldrin in Asten in Oberösterreich.
Das Gebäude wurde von Wolf D. Prix von dem avantgardistischen Architekturbüro Coop Himmelb(l)au geplant. Es besteht aus einem Betongeschoss, einer aufgesetzten gewölbten Struktur aus Holz, die mit Edelstahl-Blech überzogen ist und an einen Brotlaib oder einen Patzen Brotteig erinnert.
Wunderkammer des Brotes.
Kanten und fließende Linien, Holz und Edelstahl, Tradition und Innovation, hell und dunkel: Die Architektur des PANEUM lebt von der Kombination von Gegensätzen, zieht aus Kontrasten ihre Dynamik und Faszination.
Architektur: COOP Himmelb(l)au
Die Spirale schafft ein Treppenauge, das vertikal bespielt werden kann: einem Luster oder einem gigantischen Windspiel nicht unähnlich. Damit zitiert Prix den Mailänder Künstler Maurizio Cattelan, der dasselbe im Guggenheim-Museum in New York gemacht hat. Die Treppe führt hinauf in den Freiform-Gebäudeteil, der selbst wieder eine Kombination von Gegensätzen ist. So kontrastiert er nicht nur mit der rechteckigen Box aus Beton, sondern schafft auch einen faszinierenden Kontrast zwischen innen und außen.
Architektur: COOP Himmelb(l)au
"Wolkenschiff" - vor der Gewitterfront.
… Und der Besucher kommt um die Frage nicht umhin: Was ist das? Eine im Gewitterregen schimmernde Wolke? Ein silberner Teigklumpen? Oder vielleicht doch etwas ganz anderes?
Architektur: COOP Himmelb(l)au
backaldrin International The Kornspitz Company GmbH.
Das Gebäude aus einem Betongeschoss, einer aufgesetzten gewölbten Struktur aus Holz, die mit Edelstahlschindeln überzogen ist und an einen Brotlaib oder einen Patzen Brotteig erinnert, und einer Freitreppe, wurde von Coop Himmelb(l)au geplant.
In der Ausstellung geht es um die jahrtausendelange Kultur der Brotherstellung, Exponate aus 30 Jahren Sammlertätigkeit werden gezeigt.
Location: Paneum, Asten
Wunderkammer des Brotes
Architektur: Coop Himmelb(l)au
Bearbeitung: Jürgen Krall Photographie
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Bild Nr.: 211_0710_cs6
www.youtube.com/watch?v=ykShe9vJWcQ&feature=related
I do not have a duet but I do have Paul Galbraith playing Bach to impress the love of his heart.
(An eight strings guitar and vertically, to heave more freedom in the arms.)
AI generated with Google Gemini
Wunderkammer display at the cryptid taxidermy museum in bogomil's weirdville town , a collection of worldwide curiosities, oil painting in the style of Hieronymus Bosch, Pieter Brueghel and the Northern Renaissance.
PROMPT:
Wunderkammer display at the cryptid taxidermy museum in bogomil's weirdville town , a collection of worldwide curiosities, oil painting in the style of Hieronymus Bosch, Pieter Brueghel and the Northern Renaissance.
Location: Paneum, Asten
Wunderkammer des Brotes
Architektur: Coop Himmelb(l)au
Bearbeitung: Jürgen Krall Photographie
-------------------------------
Bild Nr.: 211_0713_cs6
AI generated with Bing Image Creator
Cabinets of curiosities, also known as wonder-rooms (German: Wunderkammer) were encyclopedic collections of objects whose categorical boundaries were, in Renaissance Europe, yet to be defined. Although more rudimentary collections had preceded them, the classic cabinets of curiosities emerged in the sixteenth century. The term cabinet originally described a room rather than a piece of furniture. Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings), and antiquities. In addition to the most famous and best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe formed collections that were precursors to museums.
PROMPT:
Wunderkammer display at the cryptid taxidermy museum in bogomil's weirdville town , a collection of worldwide curiosities, oil painting in the style of Hieronymus Bosch, Pieter Brueghel and the Northern Renaissance.
Multimedia artist André Heller created a world of wonder to celebrate Swarovski’s hundredth anniversary in 1995. Heller’s thematic centerpiece for Swarovski Crystal Worlds was the shape of the Giant. And he developed the story of a Giant who set out to experience the world and all of its treasures and wonders. With this knowledge, the Giant settled down in Wattens/Tyrol, where he has watched over his Chambers of Wonder ever since.
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Im Jahr 1995 schuf der Multimediakünstler André Heller zum hundertjährigen Jubiläum von Swarovski eine Welt der Wunder. Als thematischen Mittelpunkt erschuf Heller die Swarovski Kristallwelten in Form eines Riesen. Und er erdachte die Geschichte des Riesen, der ausgezogen war, um die Welt mit allen ihren Schätzen und Wundern zu erleben. Mit diesem Wissen setzte sich der Riese in Wattens/Tirol zur Ruhe und „wacht“ seither über seine Wunderkammern.
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Alla Gam di Torino, nella Wunderkammer c'è questa esile, dura, leggera, densa, commovente, piccolissima mostra. Fino al 26 gennaio 2020.
Wunderkammer von der australischen Produktion C!RCA ist eine atemberaubende Mischung aus Akrobatik, Burlesque und Comedy und ist derzeit im Chamäleon Theater Berlin zu sehen.
Foto: Andy Philipson
I made a weird little sculpture thingy! She's a DIM Laia customized by me, floating in a jar I designed. The laser etched glass is also a design I created. She's on display at "Otherworlds Books" in Edmonds all month ♥