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Poelzig was also known for his distinctive 1919 interior redesign of the Berlin Grosses Schauspielhaus for Weimar impresario Max Reinhardt, and for his vast architectural set designs for the 1920 UFA film production of The Golem: How He Came Into the World.
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Poelzig and was
It was the Bauhaus contemporaries Bruno Taut, Hans Poelzig and particularly Ernst May, as the city architects of Berlin, Dresden and Frankfurt respectively, who are rightfully credited with the thousands of socially progressive housing units built in Weimar Germany.
LaVey's primary dedication was to Bernardino Nogara ( misprinted as " Logara "), Karl Haushofer, Grigori Rasputin, Basil Zaharoff, Alessandro Cagliostro, Barnabas, Ragnar Redbeard, William Mortensen, Hans Brick, Max Reinhardt, Orrin Klapp, Fritz Lang, Friedrich Nietzsche, W. C. Fields, P. T. Barnum, Hans Poelzig, Reginald Marsh, Wilhelm Reich, and Mark Twain.
In 1936 Behrens was called from Vienna to conduct a Master class in architecture, in succession to Hans Poelzig, at the Prussian Academy of Arts ( now the Akademie der Künste ) in Berlin, reportedly with the specific approval of Hitler.
Hans Poelzig ( 30 April 1869 Berlin – 14 June 1936 Berlin ) was a German architect, painter and set designer.
Poelzig was born in Berlin in 1869 to the countess Clara Henrietta Maria Poelzig ( daughter of Alexander von Hanstein, Count of Pölzig and Beiersdorf ) while she was married to George Acland Ames, an Englishman.
The name Poelzig was borrowed from architect Hans Poelzig, whom Ulmer claimed to have worked with on the sets for Paul Wegener's silent film The Golem.
Wolters sought to study under Professor Hans Poelzig, but there was no room in the course for the transfer student.
Poelzig and also
Poelzig also designed the 1929 Broadcasting House in the Berlin suburb of Charlottenburg, a landmark of architecture, and Cold War and engineering history.
Poelzig and known
Farben Building, completed in 1931 as the administration building for IG Farben in Frankfurt am Main, now known as the Poelzig Building at Goethe University.
Poelzig and for
Erich Mendelsohn and Hans Poelzig are other prominent Bauhaus architects, while Mies van der Rohe is noted for his architecture and his industrial and household furnishing designs.
Poelzig and Berlin
Poelzig and Weimar
Tessenow is considered together with Hans Poelzig, Bruno Taut, Peter Behrens, Fritz Höger, Ernst May, Erich Mendelsohn, Walter Gropius and Mies van der Rohe one of the most important personalities of the architectural German panorama during the time of the Weimar Republic.
Poelzig and architectural
After finishing his architectural education around the turn of the century, Poelzig designed many industrial buildings.
Poelzig and set
Poelzig and film
( Poelzig mentored Edgar Ulmer on that film ; when Ulmer directed the 1934 film noir Universal Studios production of The Black Cat, he returned the favor by naming the architect-Satanic-high-priest villain character " Hjalmar Poelzig ", played by Boris Karloff.
The film – and by extension, the character of Hjalmar Poelzig – draws inspiration from the life of occultist Aleister Crowley.
Poelzig and .
An entire group of working architects, including Erich Mendelsohn, Bruno Taut and Hans Poelzig, turned away from fanciful experimentation, and turned toward rational, functional, sometimes standardized building.
was and also
This desire, I went on, growing voluble as my conviction was aroused, had mounted at such a rate recently that I now found its realization necessary not only to my physical but also to my spiritual wellbeing.
But it also made him conspicuous to the enemy, if it was the enemy, and he hadn't been spotted already.
He was asking had it been she who left the love note in his sheets ( she also served as maid ) when he saw the Grafin followed by a stately blond girl approaching his table.
This was also a corpse -- a male, judging from the coral arm bands, the tribal scars still discernible on the maggoty face, the painted bone of the warrior caste which still pierced the septum of the rotting nose.
Charles, also fifteen, was tall and skinny, scraggly, with straight black hair like an Indian's and sharp brown eyes.
Although New Orleans was not to learn of it for a spell, she also was a sadist, a nymphomaniac and unobtrusively mad -- the perpetrator of some of the worst crimes against humanity ever committed on American soil.
There was also a long wooden spear and a woomera, a spear-throwing device which gives the spear an enormous velocity and high accuracy.
It was also subtly familiar, for it was the odor of the human body, but multiplied innumerable times because of the fact that the aborigines never bathed.
It was to provide a safe and spacious crossing for these caravans, and also to make a pleasance for the city, that Shah Abbas 2, in about 1657 built, of sun-baked brick, tile, and stone, the present bridge.
There was also a lesson, one that has served ever since to keep Americans, in their conflicts with one another, from turning from the ballot to the bullet.
Joseph Jastrow, the younger son of the distinguished rabbi, Marcus Jastrow, was a friendly, round-faced fellow with a little mustache, whose field was psychology, and who was also a punster and a jolly tease.
And just as `` Laurie '' Lawrence was first attracted to bright Jo March, who found him immature by her high standards, and then had to content himself with her younger sister Amy, so Joe Jastrow, who had also been writing Henrietta before he came to Johns Hopkins, had to content himself with her younger sister, pretty Rachel.
she also went to Washington and appealed to Senator George William Norris of Nebraska, the Fighting Liberal, from whose office a sympathetic but cautious harrumphing was heard.
The Indians who came aboard ship to collect the mail also interested her greatly, even if she was suitably shocked, according to the customs of the society in which she had been reared, to find them `` naked, except a piece of cotton cloth wrapped around their middle ''.
He also disliked Runyon, for no good reason other than the fact that the Demon's talent was so marked as to put him well beyond the Hetman's say-so or his supervision.