| Oswald Mathias Ungers | |
| Birth Date: | 12 July 1926 |
| Birth Place: | Kaisersesch, Germany |
| Death Place: | Cologne, Germany |
| Significant Buildings: | Messe Torhaus, Frankfurt Wallraf-Richartz Museum, Cologne |
Oswald Mathias Ungers (12 July 1926 – 30 September 2007) was a German architect and architectural theorist, known for his rationalist designs and the use of cubic forms. Among his notable projects are museums in Frankfurt, Hamburg and Cologne.
Oswald Mathias Ungers was born in Kaisersesch in the Eifel region. From 1947 to 1950 he studied architecture at the University of Karlsruhe under Egon Eiermann. He set up an architectural practice in Cologne in 1950, and opened offices in Berlin in 1964, Frankfurt in 1974 and Karlsruhe in 1983.
He was a professor at Technische Universität Berlin from 1963 to 1967 and served as the dean of the faculty of architecture from 1965 to 1967. In 1968 he moved to the United States, where he became the chair of the department of architecture at Cornell University from 1969 to 1975. In 1971 he became a member of the American Institute of Architects. He was also a visiting professor at Harvard University (1973 and 1978) and the University of California, Los Angeles (1974/75). He returned to Germany in 1976, becoming a visiting professor at the University of Applied Arts Vienna (1979/80) and a full professor at the Kunstakademie Düsseldorf (1986).
Ungers died on 30 September 2007 from pneumonia.[1] He was married to (1926–2010) and had one son, the architect Simon Ungers, and two daughters.[2]
Ungers' buildings are characterized by strict geometrical design grid. Basic design elements of his architecture are elementary forms such as square, circle or cube and sphere, which Ungers varied and transformed in his designs. As an architectural theorist and university lecturer, Ungers developed what his critics called "quadratism", his admirers "German rationalism". In doing so, he resorted to the teaching of Jean-Nicolas-Louis Durand who had published in 1820 his pattern books with geometric prototypes for "any building".[3] In his formal language, Ungers explicitly referred to elementary architectural design elements that are independent of contemporary tastes. His historical role models in the history of architecture come mainly from Roman-Greek antiquity. His work was therefore occasionally criticized as formalistic. In connection with his construction on the Frankfurt Messe grounds, there was often talk of a "new clarity". Like hardly any other architect, Ungers has remained true to his once chosen formal language for decades. He was one of the leading theoreticians of Second Modernism.
Well-known students of Ungers include Max Dudler,, Hans Kollhoff, Rem Koolhaas,, and .
Ungers Archive for Architectural Research contains his architecture library, which he began building in the 1950s, as well as the architect's entire artistic legacy.[4] The library focuses on architecture tractate, works on the emergence and further development of perspective and publications on theory of colour. The library includes the first edition of Vitruv's De Architectura Libri Decem of 1495 as well as rare editions such as the Staatliche Bauhaus in Weimar 1919–1923 and publications of the Russian avantgarde, for example Von zwei Quadraten by the architect El Lissitzky. Together with his estate it is housed in the library cube of Ungers' listed building in Belvederestraße 60, Müngersdorf and is available to the scientific public for research purposes.
Part of the Ungers Archive for architectural Research are the models of historical architectural icons which the diploma designer and architectural model builder Bernd Grimm built in collaboration with the architect. Ungers goal was to create a "three-dimensional collection" of historically significant buildings.[5] The models are made of white Alabaster gypsum and have a wooden substructure.