HÜBSCH, Heinrich - b. 1795 Weinheim, d. 1863 Karlsruhe - WGA

HÜBSCH, Heinrich

(b. 1795 Weinheim, d. 1863 Karlsruhe)

After studies in Heidelberg (1813–15) and at Weinbrenner’s school of architecture in Karlsruhe (1815–17) he traveled extensively in Greece and Italy (1817–24). He succeeded Weinbrenner as Baurat (Building Inspector) at Karlsruhe, Baden, in 1827. In 1831 he was appointed Oberbaurat. He designed many churches and other public buildings, mainly in the Grand Duchy of Baden. His best work of architecture is arguably the elegant Trinkhalle (Spa Pump Room), Baden-Baden (1837–40), with its segmental arcades.

Hübsch is also known for his writings. He is credited with creating the Rundbogenstil architectural style. In his book In welchem Style sollen wir bauen? (In which style should we build?, 1828) he distanced himself from Weinbrenner’s Neoclassical style. This book created a climate of opinion antagonistic to the Neoclassicism dominant in Baden and Prussia. Prompted by rational French arguments, Hübsch argued that style should be derived from carefully considered structural methods and a realistic approach to cost. His plumping for Byzantine Romanesque round-arched forms was based less on style than on the qualities of brick as a building material.

His other publication Die altchristlichen Kirchen (Karlsruhe, 1862) is a work on basilican architecture, published also in French as Monuments de l’architecture chrétienne.

Exterior view
Exterior view by

Exterior view

The Kunsthalle (art gallery) in Karlsruhe is one of the early museum buildings of Germany. H�bsch underlines the importance of the building by using touches of grandeur drawn from architectural history and the careful selection of building material. The three-arch doorway motif confers an almost religious aura on the building. H�bsch succeeds in combining forms of German Romanticism and the Italian Renaissance into a new, very modern style.

Exterior view
Exterior view by

Exterior view

The Kunsthalle (art gallery) in Karlsruhe is one of the early museum buildings of Germany. H�bsch underlines the importance of the building by using touches of grandeur drawn from architectural history and the careful selection of building material. The three-arch doorway motif confers an almost religious aura on the building. H�bsch succeeds in combining forms of German Romanticism and the Italian Renaissance into a new, very modern style.

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