Krier, Rob( 1938 )
Spatial sequences sketch, 1978 , Prager-Platz, Berlin, Germany, 26 30 cm, Oil chalk with
pencil on canvasRob Krier is an architect, sculptor, and urban theorist with a broad range of talents. Krier was born in
Grevenmacher, Luxembourg. He studied architecture at the Technical University of Munich,
Germany. Upon finishing, he entered into collaboration with O. M. Ungers and Frei Otto in
Germany. Krier has long been associated with academia, teaching at schools in Germany, France, and
Austria. Krier has also continued to practice with offices in Vienna, Montpellier, and most recently in
Berlin, in partnership with Christoph Kohl.^17
Krier’s recent projects in collaboration with Kohl have revolved around their interests in New
Urbanism. Several of their recent urban projects include: Batavia Haven, Lelystad, Netherlands (a
waterfront development); Brandevoort, Helmond, Netherlands (an urban development plan); and
Citadel Broekpolder, Beverwijk/Heemskerk, Netherlands (a community masterplan). Supporting
this interest in city spaces, Krier has authored books on urban theory and architectural composition,
a few being Town Spaces: Contemporary Interpretation in Traditional Urbanismand Urban Space.
This page (Figure 8. 14 ) contains sketches exploring the Prager-Platz project in Berlin. From 1978 ,
this series represents Krier’s method of visual analysis through the use of sketches. Eight of the nine
sketches illuminate visions of a historic town center in both plan and perspective. The center sketch
conveys the overall oval theme and the other images are detail perspectives, evaluating more specific
public and private spaces intended for this proposal.
Krier describes the rationale behind his thinking while working on this project:
‘The traces of the war that are here to be seen from the starting point for the project
begun in 1978. We proposed an extensive reconstruction of the original oval ground
plan. The points where the streets meet the square were to be architecturally accentu-
ated. The best flats were to be situated at these corners. In the interior of the block, we
planned to put an adult education facility, a kindergarten, a library, and restaurants, as
well as a large swimming pool. The designs for the individual buildings were to be cre-
ated in collaboration with other architects. Cupolas, vaults, and gables of glass supply
above-average natural lighting to the primary spaces. Public spaces generally make a
transition from solid wall to void through semi-solid colonnades and galleries. According
to our design philosophy, street façades are treated as continuous surfaces, intended to
conserve the historic urban fabric.’
As Krier has intended the buildings to be constructed in collaboration with other architects,
these sketches may be suggestions for the ‘flavor’ of the space or designs for the public spaces in the
new construction.
The page, densely covered with sketches, reveals Krier’s enjoyment in thinking with the pencil. The
vignettes fill the page without spacing between the separate scenes. They have been rendered in hues
of blue, pink, yellow, brown, and orange colored pencils. Although blue has been chosen for water and
the skylights, Krier has playfully rendered a pink plaza and bright yellow walls.
The series appears to be a method for Krier to visualize a walk through the spaces. Since the project
was designed to have continuous street façades, the design could be best understood through snapshots
of the internal ‘rooms.’ Whether these sketches were meant to represent specific buildings may be irrele-
vant. Since perspectives (besides models) are the most effective way to view interior space, these
sketches bring the observer inside and successfully seduce an overall impression conveying the ‘feeling’
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