Schinkel, sitte, and loos: The “body in the visible”

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1 Scopus citations


To document what would become the six panels of the Panorama of Berlin, Gaertner placed his camera obscura on the roof of the Friedrich-Werdersche Kirche, completed by Schinkel in 1830.4 The church’s terrace was open to the public and quickly became a select promenade of the Berlin bourgeoisie.5 There on the ground, rising from the pre-industrial labyrinth of the old city, was Schinkel’s new Berlin, which included the Neue Wache (1818), the Kreuzberg War Memorial (1820), the Schauspielhaus at the Gendarmenmarkt (1821), the facade of the Dom (1822), the Schloßbrücke (1823), the Museum am Lustgarten (1830), the Packhof am Kupfergraben (1832), and the Bauakademie (1836). Berlin was not yet sprawling like London where “the city is, it seems, never-ending,” however, the painting showed the first smokestacks of the emerging industrial metropolis, the Borsig Rail Factory complex near the Oranienburger Tor, at the edge of the still agricultural landscape.6 “In the panorama,” Walter Benjamin wrote, “the city opens out to landscape - as it will do later, in subtler fashion, for the flâneurs.”7 At the heart of the Panorama von Berlin Gaertner depicted the remodeled Lustgarten between the castle and the Altes Museum, the center of the new Berlin illustrating the neoteric relation between city and landscape.

Original languageEnglish (US)
Title of host publicationSitte, Hegemann and the Metropolis
Subtitle of host publicationModern Civic Art and International Exchanges
PublisherTaylor and Francis
Number of pages30
ISBN (Electronic)9781135234737
ISBN (Print)9780415424066
StatePublished - Jan 1 2009

ASJC Scopus subject areas

  • Engineering(all)
  • Arts and Humanities(all)
  • Social Sciences(all)


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