{"id":7999,"date":"2026-01-21T17:11:34","date_gmt":"2026-01-21T16:11:34","guid":{"rendered":"https:\/\/quivid.de\/?p=7999"},"modified":"2026-04-10T14:35:32","modified_gmt":"2026-04-10T12:35:32","slug":"salomonische-saeule","status":"publish","type":"post","link":"https:\/\/quivid.de\/en\/salomonische-saeule\/7999\/","title":{"rendered":"Lehrkamin I Salomonische S\u00e4ule"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":12,"featured_media":8005,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[138],"district":[163],"access":[193],"accessibility":[147],"space":[132],"year":[250],"gender":[137],"class_list":["post-7999","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-skulptur-plastik","district-maxvorstadt","access-oeffentlich-zugaenglich","accessibility-auf-anfrage-zugaenglich","space-aussenraum","year-250","gender-w"],"link_en":"https:\/\/quivid.de\/en\/\/en\/salomonische-saeule\/7999","acf":{"werk_qv_id":"","werk_artist":[{"werk_artist_name":"Sander","werk_artist_surname":"Karin","werk_artist_gender":"w"}],"werk_artists":[{"ID":7997,"post_author":"12","post_date":"2026-01-21 16:06:17","post_date_gmt":"2026-01-21 15:06:17","post_content":"Karin Sander (*1957 in Bensberg) lebt in Berlin und Z\u00fcrich. Ihre k\u00fcnstlerische Praxis hinterfragt gegebene Situationen und R\u00e4ume in Bezug auf ihre sozialen und historischen Kontexte und macht sie durch den Einsatz verschiedener Medien anders sichtbar. Ihre Arbeiten wurden weltweit in Einzelausstellungen und Biennalen gezeigt und sind in zahlreichen Sammlungen und Museen in vielen L\u00e4ndern der Welt vertreten. Von 2007 bis 2023 hatte sie den Lehrstuhl f\u00fcr Architektur und Kunst an der ETH Z\u00fcrich inne. Seit 2007 ist sie Mitglied und seit 2022 ist sie Direktorin der Sektion Bildende Kunst der Akademie der K\u00fcnste in Berlin. 2023 vertrat sie zusammen mit Philip Ursprung die Schweiz auf der Architekturbiennale in Venedig im Schweizer Pavillon.\r\n\r\n<a class=\"button-rounded\" href=\"https:\/\/www.karinsander.de\/\" target=\"_blank\" rel=\"noopener\">ZUR WEBSEITE DER K\u00dcNSTLERIN<\/a>","post_title":"Karin Sander","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"karin-sander","to_ping":"","pinged":"","post_modified":"2026-01-21 16:13:16","post_modified_gmt":"2026-01-21 15:13:16","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/?post_type=artist&#038;p=7997","menu_order":4,"post_type":"artist","post_mime_type":"","comment_count":"0","filter":"raw"}],"werk_location_district":"Maxvorstadt","werk_location_address":"Berufschulzentrum Luisenstra\u00dfe 9-11, 80333 M\u00fcnchen","werk_location_longitude":"48.1429987153292","werk_location_latitude":"11.5614238651427","werk_material":"Klinkerziegel, Schamottsteine, Mineralwollschale, feuerverzinkter Stahl, Steigleiter, Befeuerungsanlage f\u00fcr Lehrzwecke, Schornstein: 600 x 90 x 90 cm ","werk_technical_data":"","werk_technical_data_en":"","werk_client":"Landeshauptstadt M\u00fcnchen, Baureferat","werk_visibility":true,"werk_map":true,"werk_parts":"","werk_institution":"","werk_architect":"V-Architekten, K\u00f6ln","werk_architect_landscape":"Adler und Olesch, M\u00fcnchen","werk_photograph":"Stefan M\u00fcller-Naumann","werk_author":"Dr. Martin Seidel","werk_txt_long_en":"<p>\u201cSewing machine meets umbrella on dissection table\u201d is the surrealist metaphor for the freedom art can and may take. The art in architecture project by Karin Sander for the Municipal Vocational School Center of Construction and Arts and Crafts on Luisenstra\u00dfe in Munich\u2019s Maxvorstadt district does not actually involve a sewing machine and an umbrella. Yet, the red brick column that gracefully spirals six meters upwards on the school\u2019s roof is not what one would expect on a building typical of Munich\u2019s functional and austere post-war architecture. Large window fronts, clear spatial organization, a flat roof on the architectural side, and the historicizing look of the winding brick column are worlds apart. Viewers need not stand on the street, craning their necks, puzzling over it for long. It is quickly evident that this structure is an artistic intervention that does not really relate to the architectural language or building services, but rather to the building\u2019s function as a school for construction and crafts. This is where bricklayers learn their trade, and more recently, chimney sweeps as well. The column, with its chimney-like form and decorative brickwork, thus becomes the logo and defining symbol of the school and its users.<\/p>\n<p>Logo and identity development are fundamental requirements for art in architecture. Karin Sander, who has extensive expertise, experience, and exceptional inventiveness in the field of art and architecture, does not stop there. This is evident, from time to time, in the spectacular moments when the aspiring chimney sweeps publicly ascend the brick structure of the sculpture, equipped with a ladder, revealing the practical purpose of this artwork. For, like the teaching chimneys inside the building, this art column can also be used for educational purposes.<\/p>\n<p>It is both a training chimney and a spirally twisted Salomonische S\u00e4ule (Solomon&#8217;s Column). In this second aspect, the artist draws a broad arc from Solomon\u2019s Temple in Jerusalem, through the columns of the baldachin ciborium in St. Peter\u2019s Basilica in Rome, to similarly constructed chimneys of the 19th and 20th centuries. As a solitary sculpture whose essence, form, shape, material, and technique transcend what is necessary for practical application, the column reverts to what it has always been as a traditional architectural element: a symbol of sovereignty and dignity; here, as a nostalgically playful decorative element devoid of functional necessity, it winds around its own axis. The expression of dynamism derived from the solidity of the material and the movement of the ascending lines serves as an appeal to the school\u2019s students. The vibrant pattern of the lines, which reach upwards with force and fluidity, is based on millennia-old art and architecture design principles that resonate with aesthetic needs rooted in human perception.<\/p>\n<p>Thus, the art in architecture column by Karin Sander is not only a functional object and a symbol of inspiration but also a defining sculptural work that balances stillness and activity. It sets a striking artistic accent amid the bustle of Munich\u2019s urban space, situated between the main train station and K\u00f6nigsplatz.<\/p>\n","werk_img":[{"ID":8008,"id":8008,"title":"Kunst am Bau","filename":"quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-03.jpg","filesize":153389,"url":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-03.jpg","link":"https:\/\/quivid.de\/en\/salomonische-saeule\/7999\/kunst-am-bau-3-2\/","alt":"","author":"12","description":"","caption":"Kunst am Bau: Karin Sander","name":"kunst-am-bau-3-2","status":"inherit","uploaded_to":7999,"date":"2026-01-21 15:41:32","modified":"2026-01-21 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15:41:38","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/quivid.de\/wp-includes\/images\/media\/default.png","width":1024,"height":1535,"sizes":{"thumbnail":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08-200x300.jpg","thumbnail-width":200,"thumbnail-height":300,"medium":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08-854x1280.jpg","medium-width":854,"medium-height":1280,"medium_large":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08-768x1151.jpg","medium_large-width":768,"medium_large-height":1151,"large":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08.jpg","large-width":1024,"large-height":1535,"1536x1536":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08.jpg","1536x1536-width":1024,"1536x1536-height":1535,"2048x2048":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08.jpg","2048x2048-width":1024,"2048x2048-height":1535,"alm-thumbnail":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08-150x150.jpg","alm-thumbnail-width":150,"alm-thumbnail-height":150,"_2560":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08.jpg","_2560-width":1024,"_2560-height":1535,"_1920":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08.jpg","_1920-width":1024,"_1920-height":1535,"_1280":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08.jpg","_1280-width":1024,"_1280-height":1535,"_1024":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08.jpg","_1024-width":1024,"_1024-height":1535,"_768":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-08-768x1151.jpg","_768-width":768,"_768-height":1151}}],"werk_txt_long":"<p>\u201eN\u00e4hmaschine trifft Regenschirm auf Seziertisch\u201c ist die surrealistische Metapher daf\u00fcr, was Kunst sich an Freiheit so alles herausnehmen kann und darf. Das Kunst am Bau-Werk von Karin Sander f\u00fcr das St\u00e4dtische Berufsschulzentrum f\u00fcr das Bau- und Kunsthandwerk in der Luisenstra\u00dfe der M\u00fcnchner Maxvorstadt kreuzt zwar nicht N\u00e4hmaschine und Regenschirm. Doch ist auch die Backsteins\u00e4ule, die sich auf dem Dach der Schule rot und mit robuster Grazie sechs Meter in die H\u00f6he schraubt, nicht das, was man auf einem Geb\u00e4ude der funktionalen und sachlich gepr\u00e4gten M\u00fcnchner Nachkriegsarchitektur erwartet. Gro\u00dfe Fensterfronten, klare Gliederung der Fl\u00e4chen, Flachdach auf der architektonischen Seite und die historisierende Optik der windungsreichen Mauerwerkss\u00e4ule auf der k\u00fcnstlerischen Seite gehen weit auseinander. Man muss nicht unten auf der Stra\u00dfe stehen und, den Kopf im Nacken, lange r\u00e4tseln. Es wird schnell klar, dass dieses Gebilde eine k\u00fcnstlerische Intervention ist, die nicht wirklich mit der Architektursprache und der Haustechnik, stattdessen aber etwas mit der Nutzung des Geb\u00e4udes als Schule f\u00fcr Bau- und Kunsthandwerk zu tun hat. Denn dort lernen die Maurerinnen und Maurer ihr Handwerk, und seit Neuestem auch die Kaminkehrerinnen und -kehrer. Und so wird die S\u00e4ule sowohl von ihrer Form als Schornstein als auch von ihrem Schmuckmauerwerk her zum Logo und identit\u00e4tsstiftenden Symbol der Schule und ihrer Nutzerinnen und Nutzer.<\/p>\n<p>Logo- und Identit\u00e4tsbildung sind Grundanforderungen an Kunst am Bau. Karin Sander, die auf dem Gebiet \u201aKunst und Architektur\u2018 gro\u00dfe Expertise, Erfahrung und besondere Erfindungsgabe auszeichnen, bleibt an dieser Stelle nicht stehen. Das zeigt sich, von Zeit zu Zeit, in den spektakul\u00e4ren Augenblicken, in denen die angehenden Kaminkehrerinnen und  kehrer der mit Steigleiter versehenen Skulptur in aller \u00d6ffentlichkeit auf den Ziegelleib r\u00fccken und die praktische Bewandtnis dieser Kunst erkennen lassen. Denn wie die Lehrkamine im Innern des Geb\u00e4udes ist auch diese Kunsts\u00e4ule f\u00fcr Schulzwecke zu gebrauchen.<\/p>\n<p>Aber sie ist noch mehr: nicht nur Lehrkamin, sondern auch eine spiralf\u00f6rmig gedrehte \u201aSalomonische S\u00e4ule\u2018. Mit dieser zweiten Eigenschaft spannt die K\u00fcnstlerin einen gro\u00dfen Bogen vom Jerusalemer Tempel Salomos \u00fcber die S\u00e4ulen des Baldachin-Ziboriums im Petersdom in Rom hin zu entsprechend gemauerten Schornsteinen des 19. und 20. Jahrhunderts. Als solit\u00e4re Skulptur, deren Wesen, Gestalt, Form, Material und Technik \u00fcber das hinausgehen, was zum \u00dcben n\u00f6tig ist, wird die S\u00e4ule wieder zu dem, was sie als traditionelles Architekturelement immer war: ein Hoheits- und W\u00fcrdesymbol, das sich hier als nostalgisch verspieltes Zierelement ohne funktionelle Notwendigkeit um die eigene Achse windet. Der aus der Solidit\u00e4t des Materials und aus der Bewegung der aufsteigenden Linien gewonnene Ausdruck von Dynamik \u00fcbertr\u00e4gt sich als Appell auf die Berufssch\u00fclerinnen und -sch\u00fcler. Das vitale Muster der ebenso kraftvoll wie geschmeidig emporrankenden Linien beruht auf jahrtausendealten Gestaltungsprinzipien von Kunst und Architektur und kommt tief in der menschlichen Wahrnehmung wurzelnden \u00e4sthetischen Bed\u00fcrfnissen entgegen.<\/p>\n<p>So ist die Kunst am Bau-S\u00e4ule von Karin Sander Vieles: Ding des Gebrauchs und Zeichen des Ansporns. Dar\u00fcber hinaus ist sie ein skulpturales Werk von Rang, das Ruhe und Bewegung ausbalanciert und in der Betriebsamkeit des M\u00fcnchner Stadtraums zwischen Hauptbahnhof und K\u00f6nigsplatz einen markanten k\u00fcnstlerischen Akzent setzt.<\/p>\n","werk_txt_context":"<p>Die in Berlin lebende K\u00fcnstlerin Karin Sander wurde im Rahmen eines Kunst am Bau-Wettbewerbs eingeladen, einen k\u00fcnstlerischen Entwurf f\u00fcr die Generalinstandsetzung der Bauteile E und F des Berufsschulzentrums in der Luisenstra\u00dfe 9\u201311 im M\u00fcnchner Stadtbezirk Maxvorstadt zu entwickeln. Die umfangreichen Sanierungs- und Umbauma\u00dfnahmen des Geb\u00e4udekomplexes reagieren auf bestehende strukturelle und energetische M\u00e4ngel und bilden den r\u00e4umlichen und funktionalen Hintergrund der Bauma\u00dfnahme. Das Kunstprojekt &#8220;Salomonische S\u00e4ule\/Lehrkamin&#8221; wurde 2019 von der Kommission f\u00fcr Kunst am Bau und im \u00f6ffentlichen Raum zur Realisierung empfohlen. Die von Karin Sander 2025 realisierte, sechs Meter hohe Backsteins\u00e4ule auf dem Dach der Berufsschule ist dabei zugleich k\u00fcnstlerische Intervention und voll funktionsf\u00e4higer, begehbarer Lehrkamin f\u00fcr die Ausbildung von Kaminkehrer:innen.<\/p>\n","werk_collections":[{"ID":7699,"post_author":"5","post_date":"2023-05-08 13:28:18","post_date_gmt":"2023-05-08 11:28:18","post_content":"","post_title":"Last realized","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"zuletzt-realisiert","to_ping":"","pinged":"","post_modified":"2025-04-28 16:19:34","post_modified_gmt":"2025-04-28 14:19:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/collection\/zuletzt-realisiert\/","menu_order":2,"post_type":"collection","post_mime_type":"","comment_count":"0","filter":"raw"}],"werk_sort_data_category":"Skulptur \/ Plastik","werk_sort_data_artists":"Karin Sander","werk_sort_data_district":"Maxvorstadt","werk_sort_data_year":"2025","werk_sort_data_access":"\u00f6ffentlich zug\u00e4nglich"},"featured_image_src_1280":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-02.jpg","featured_image_src_768":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-karin-sander-salomonische-saeule-kunst-am-bau-2025-02-768x1151.jpg","artists":[{"name":"Karin Sander","url":"https:\/\/quivid.de\/en\/artist\/karin-sander\/"}],"tax_category":"Skulptur \/ Plastik","tax_access":"\u00f6ffentlich zug\u00e4nglich","tax_district":"Maxvorstadt","tax_year":2025,"_links":{"self":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/7999","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/comments?post=7999"}],"version-history":[{"count":10,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/7999\/revisions"}],"predecessor-version":[{"id":8049,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/7999\/revisions\/8049"}],"acf:attachment":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/8018"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/8014"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/8006"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/8016"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/8004"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/8008"}],"acf:post":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/artist\/7997"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/8005"}],"wp:attachment":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media?parent=7999"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/categories?post=7999"},{"taxonomy":"district","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/district?post=7999"},{"taxonomy":"access","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/access?post=7999"},{"taxonomy":"accessibility","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/accessibility?post=7999"},{"taxonomy":"space","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/space?post=7999"},{"taxonomy":"year","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/year?post=7999"},{"taxonomy":"gender","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/gender?post=7999"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}