Haus am Park I Urbex Art I Samara Blue Photo Art I Lost Place I Urbex Art Photography I Urbexart I My Way of Art I Samara Blue I Dreamtime Lost Place | Haus am Park return An old, abandoned place, yet far too little time to explore and photograph all the furniture and personal belongings left behind. Even so, it was a fascinating adventure. You can find the complete story here: (...) Haus am Park | Entrance Still dazzled by the sunlight, we find ourselves stepping directly into the living room. Apparently, there is no entrance hall at all. Haus am Park | Kitchen An almost surreal atmosphere of gentle sunlight and fine dust surrounds us. In the dim light, the charm of a traditional old German home slowly emerges. Haus am Park | Kitchen The kitchen still feels as though someone had been living here not so long ago. Dust settles gently over the furnishings, while the disorder is the only thing that disturbs this quiet moment frozen in time. Haus am Park | Kitchen A small red heart❣️ in the window. Once a charming kitchen decoration, today a quiet reminder framed by a weathered window. Haus am Park | Kitchen Torn out cupboard doors reveal a small supply of everyday groceries. Apparently, there was no time to take them. Haus am Park | Garden View Through the cloudy windowpanes, battered garden furniture and the remains of numerous flower pots become visible – silent witnesses to a once lovingly tended garden. Haus am Park | Living Area Heavy, dark living room cabinets dominate the room. Even the bar compartment, with its almost complete collection of glasses, looks as though it is still waiting for its next guests. Haus am Park | Living Area Only a few things remain: floral tableware, old VHS tapes and, right in the middle of the clutter, a beautiful dust covered doll. Was it placed there by the last urban explorer? Haus am Park | The Doll Forgotten memories. Was she once the favourite doll of a little girl or a treasured collector's item? Silent, she keeps her secret. Haus am Park | Celling Lamp Still hanging from the ceiling, the old lamp seems to have outlasted everything around it. Perhaps it was once the pride of its owners, bringing light and warmth to their home for many years. Haus am Park | Living Area There, on the sideboard, I found the highlight of the day: family photographs, almost all in black and white. Faces filled with memories of people I never had the chance to know. Their stories will remain their secrets forever. Haus am Park | Memories Carefully arranged. Some photographs are already very old. Different faces, different fashions, different dreams and hopes. As diverse as life itself. Haus am Park | Smile from the Past Among all these memories, a young man smiles proudly at the camera. I wonder what became of him. Haus am Park | A Smile Remains As I walk on, my eyes wander one last time across the cluttered sideboard. The sadness of the disorder slowly fades, but the young man's smile stays with me. Haus am Park | Little Sister The little sister of the slightly kitschy ceiling lamp. My grandmother would certainly have liked it. Haus am Park | A Snapshot Unfortunately, I still had my telephoto lens on the camera, and there was no time to change it. So, I wasn't able to capture the shots I had hoped for. Haus am Park | Guest Bathroom The guest bathroom... complete with a step ladder. Any questions?😂 Haus am Park | One Last Look One last glance lingers on the pinboard. So many traces of a life once lived, and so many questions that will probably remain unanswered forever Haus am Park | A Spontaneous Adventure Info Haus am Park One warm summer weekend, the three of us spontaneously decided to head out on a Lost Place adventure. Our destination was this unassuming apartment building in Germany's nearby Eifel region. It had stood abandoned for decades, was hardly known and, remarkably, had not yet been vandalised. One of my colleagues planned to make her way through the extensive gardens to reach the back of the house and let us in through the front door from the inside. We didn't really want to know any more details than that... The moment the house came into view, a man suddenly sat down on a nearby wall. His dog seemed perfectly used to this and did... absolutely nothing. It simply lay there. Was this really such a good idea? After all, we only wanted to have a look. So we strolled through the beautiful little park first. The only odd thing was this man with his dog, who now walked towards us, giving us a long look from head to toe. To be fair, our sturdy hiking clothes probably didn't make us look like ordinary park visitors. Maybe we'd better observe the situation a little longer and look for a parking space closer to the house. So... back to the car. Our instincts were quite clear. "No... this doesn't feel right." "Let's leave and find another place to park." After dropping off our local expert at the right fence, the two of us took another relaxed walk through the park. I happily photographed its peaceful atmosphere while my partner kept an eye on the mysterious man with the dog, who didn't seem to know exactly where he wanted to go either. Everything felt perfectly relaxed. For the moment... ________________________________________ For a short while we split up so we wouldn't lose sight of him. When we met again, a postman suddenly stopped beside us. What were we doing here? He'd already seen some "photo people" around earlier that day. So I casually showed him the latest pictures on my camera. Naturally, the ones I had just taken in the park. Apparently he liked them, because within moments he enthusiastically started telling us stories about the area. About local history, groundwater levels, the people who lived there... and all those things you never really expected to learn. ________________________________________ As we passed the house once again, the front door suddenly opened. Our colleague had obviously managed to fight her way through the undergrowth and was now letting us in from inside. So, against my better judgement, and completely innocent of course, I entered the house. I do enjoy these little human encounters... By now our attentive citizen seemed to have disappeared, so I cautiously began my first, still fairly relaxed, tour. ________________________________________ While we were quietly taking in the atmosphere, a message arrived from our third team member. "Our good citizen is standing on his balcony." Well... let him. It's his balcony after all. An almost surreal atmosphere of sunlight and drifting dust surrounded me. In the dim light, the charm of a traditional old German home slowly emerged from the shadows. I was captivated instantly. The place was untidy. But nothing had been vandalised. Nothing had been covered in graffiti. What could have caused its former residents to leave so suddenly? ________________________________________ Our third man remained outside. We tried to take as many photographs as possible. But first things first. Where exactly was the escape route? Ah... The bathroom. With a step ladder. Apparently another ladder was waiting outside. Well... that sounded like a plan. Still, it was a shame to have to work under pressure. ________________________________________ Where should I even begin? Very little time. Very little experience. No chance to change lenses. Poor light. Pretty much a typical working day for an urban explorer. ________________________________________ After several rather hectic attempts, I suddenly discovered them. Old family photographs. Black and white. Smiling faces. Precious memories. Exactly the things that inspire me. Don't think. Raise the camera. Press the shutter. Then quickly on towards the staircase. There were supposed to be several more floors. Who knew what treasures might still be waiting for us? ________________________________________ It's a pity I wasn't much better at photographing in low light back then. Take a deep breath. Start again. Maybe the flash will help. It does. Unfortunately, flashes can also be seen from outside through half closed blinds... ________________________________________ Once more my eyes wandered across the ground floor. Reluctantly, I tore myself away. ________________________________________ But we still wanted to explore at least one more floor... ________________________________________ One last look back towards the front door. Bathed in the evening sun, everything suddenly seemed strangely peaceful. ________________________________________ Then our colleague came running from the back of the house. She hurriedly gathered her equipment. "Someone's at the front door. They want to come in. They expect us to open it." Needless to say... "Maybe we should have..." 😉 Oops... Where exactly was that escape route again? As so often in situations like this, first impressions can be wonderfully misleading. ________________________________________ Backpack on. Camera around my neck. My monopod dragging somewhere behind me. No mercy for the equipment. After all, my last relay race at school had been quite a few years earlier. Window open. A little small... ...but manageable. Now where on earth was that promised ladder? Oh... About one metre away from the window. Not happening. Quick glance down. About two metres. That'll be faster. So I probably fell out of the window more than I jumped. No. Thorn bushes have never bothered me very much. ________________________________________ Only our colleague knew the exact way back. From somewhere behind me she loudly directed me through the overgrown back gardens. Maybe just a little faster... It's amazing how large and labyrinthine these hidden gardens can be in the middle of a town. A brief stop. The camera has to go into the backpack. The old Nikon certainly isn't to blame. Quick check. Everything's there. Nothing broken. Nobody following us. Just a few more steps. The final fence. I somehow manage that one too... ...although with rather shaky knees. ________________________________________ Well... what can I say? It was pretty cool. 😄

Streetart I Graffiti I Mural I Dokumentation in Wort und Bild I Documentation in words and Pictures I Streetartphotography I Tiberio Mazzochi Italien I internationale Straßenkunst I Koyote I Hommage an Beuys I Silk City Gallery 2021 I Krefelder Perspektivwechsel I Kultur I Kultur in Krefeld I Kunst I Kuratorin Fredda Wouters I Samara Blue I Seidenweberhaus I aktuelle Situation der amerikanischen Ureinwohner Tiberio Anfang street art - Tiberio Mazzocchi/Italy "Coyote " return youtube Facebook * Instagram Beuys, an Indian, a coyote, more Indians? What might these creatures have in common? Artist info (...) Tiberio Infos Annotation : With this artist, too, one can see that he understood the difficult situation of the people on the theater square and that it depresses him, that he considers a visual representation to be necessary, even essential. The title comes from the artist himself. Artist information Tiberio Mazzoccchi Tiberio: "KOJOTE Street Art work made in KREFELD (Germany) July 2021freehand drawing Beuys' most emotional performance: In 1974 the artist was locked in a cage with a coyote in New York for several days. He only has a felt blanket and a stick, which he describes as "Eurasian". Beuys' goal was to establish a relationship of trust between himself and the animal, a symbol of reconciliation between man and nature, but the work can also be read in a political sense, as a rite of reconciliation between modern-day Americans and their persecuted ancestors and imprisoned on reservations, symbolized by the captive coyote. In my work entitled "COYOTE" I wanted to draw a parallel to Beuys' work and his political message: the marginalization of Native Americans. So I saw that things have not improved to this day.... the people who routinely roam this place called "The Silk Factory" are vagabonds, desperate, drug addicts.... Marginalized and forgotten by society, just like the Native American tribes of North America were persecuted and marginalized." Source: Tiberio Mazzochi FB page/personal * * * Tiberio is a Maestro Madonnaro and musician who studied art and music in Milan. He plays classical guitar and violin and has enchanted audiences with street paintings at festivals in Italy, Germany and the USA. He has won numerous prizes and awards. He received the title of Maestro Madonnaro in Grazie di Curtatone in 2017, after having already won the categories Semplici (Easy Madonnari) in 2013, and Qualificati (Qualified Madonnari) in 2017 with first place. He also won the audience award as the highest award at the International Madonnari Festival Kevelaer in 2019. Source: official information from the city of Krefeld

Urbexart I Streetart I Graffiti I Mural I Seidenwberhaus I Silk City Gallery I Streetartphotography I My Way of Art I Dreamtime I Samara Blue street art - Silk City Gallery 2021 - Krefeld return 4. Krefeld change of perspective in the silk weaver house A lost place becomes a canvas. Gray in gray, only color can help. The building has this color in the period from 19.07. - 07/25/2021 as part of the 4th Krefeld change of perspective and the artistic direction of the curator Fredda Wouters received enough. Information about the Seidenweberhaus, its history and the great painting campaign from my very personal point of view will soon be available here (...). Meanwhile, in the gallery below, check out the already completed reports, just as I experienced the Silk City Gallery. Continue reading (...) This project will be further completed after the revision of the homepage. A bit patience :-). Just click on the pictures and you will be forwarded to the page of the respective artist. Simply click on the pictures and you will be redirected to the page of the respective artist. This project will be completed after the revision of the homepage. Have patience :-). Vanessa & Lydia Hitzfeld - FERTIG Cuboliquido - FERTIG Martino Pitture/Daniele Lazazzara - FERTIG Kerim Musanovic - FERTIG Marion Ruthard - FERTIG Michele Buscio - FERTIG Tiberio Mazzoccchi - FERTIG Fabio Fedele - FERTIG M.Berg I J.Kirk PurcelI I C.Kirk (i.A.) Eduardo Relaro (i.A.) Julia Bethke (i.A.) Luisa Estrada - FERTIG Camilla Margerito - FERTIG Alex Maksiov (i.A.) sonjaAMAZErell - FERTIG OLDHAUS I Kerim Musanovic - FERTIG TUBUKU/Mrzyglod/Wosik (i.A.) Bener1 I Hoker1 I Guillem Font Alina Orav - FERTIG Mittendrin und Drumherum The End youtube youtube youtube youtube youtube youtube Continue Annotation: This 4th and for the time being last action of the Krefeld change of perspective under the creative and committed leadership of the curator Fredda Wouters was something very special for me. For the first time I was able to accompany a street art event photographically from the beginning. That was extremely impressive. Documenting this exciting "making off", supplemented by information about art and artists, is my very personal approach to the topic of street art. I used working titles for some of the images because I haven't been able to research all the titles of the artworks yet. The order in which the pictures tell their story also follows. Until then, the images in the gallery are in any order. Since I don't just take photographs but am also interested in the artists, the backgrounds and the little things on the side, I try to get authentic information about the artists and their pictures. I was able to discuss this personally with most of the artists after the event. Thank you very much for that. If I have taken information from the Internet, I have marked it as such. On the one hand, doesn't do "copy & paste" for me_cc781905-5cde-3194-bb3b -136bad5cf58d_ Sense, on the other hand it has something to do with respect for the work of others!. Since this procedure is time-consuming, I will gradually put my reports online as I have the time and leisure. I hope you enjoy the virtual tour of our aging silk weaver house. Completely in the sign of the value and endangerment of nature, seen a little from the perspective of Beuys and here and there with a clear reference to the city of Krefeld. Interpreted and creatively presented by 30 local and international street artists of all ages. It was an exciting, inspiring week for Krefeld. Just drop by from time to time and see which story is new online. :-) Krefeld in July 2021 SC weiter lesen

The Araberhaus at Kiefernstraße 12 in Düsseldorf: the story behind its creation and a personal portrait of artist Karsten Breidenbroich, aka MalKarsten. Karsten Breidenbroich return Anfang MalKarsten Kiefernstraße 12 | Araberhaus Hi, would you like to know something about “my Araberhaus” on Kiefernstraße? “Sure :-). Can I call you back this evening?” It was that easy to get in touch with Karsten Breidenbroich, the artist behind Kiefernstraße 12. It took another couple of days before the phone call actually happened. Nikon D3500 | 15.04.2021 | F/11 | ISO 200 | 1/100 | 18mm | © Samara Blue/Kerstin Ellinghoven In an open and relaxed conversation, Karsten told me not only about the making of his house, but also a little about himself, his way of painting and the fact that he was born in Krefeld and lived there for many years before moving to the other side of the Rhine, to Düsseldorf. If you would like to learn a little more about MalKarsten, who set out to paint the world in bright colours, have a look here: "I just want to paint" You can find the history of the origins of the "Arab House" in the picture gallery. Simply click on the pictures. I would also like to take this opportunity to thank photographer Jürgen Wintermantel-Menze, who documented Karsten’s work on “his” house on Kiefernstraße at the time and kindly allowed me to use his photographs for this article. Without these images, this report would not have been possible. Karsten Breidenbroich, a Multitalented Artist in Multicolor “Having an opinion of my own, colors and daylight, those are important to me.” says MalKarsten in an interview with NiederRhein EDITION ONLINE. How Karsten Became MalKarsten His smallest painting, he says, is 70 x 100 cm. Well, that is already pretty big. So the huge facade of the building at Kiefernstraße 12, which he painted in September 2016, almost seems like the logical next step. Karsten paints people and animals, but also abstract motifs. I had read in several interviews that he was difficult to get hold of. He wants to be found. Constant presence and availability are simply not his thing. You cannot just find his works at the touch of a button on the World Wide Web. He would rather pack up his artwork and take it to someone who is interested. Okay, I thought. My actual aim is to find out more about the artworks on Kiefernstraße. Who painted what, why and when? Can't be that difficult, I thought. Almost all the houses have a sign beneath the house number which includes the names of the artists. So I thought I would simply ask politely. Maybe I would be lucky. With Karsten, as I mentioned above, it was incredibly easy. Sometimes the unexpected happens :-). So I was not only able to put together the “Making-of” of Kiefernstraße 12, but also learned quite a few personal things and simply had an interesting, friendly conversation with a very special person. But who exactly is this MalKarsten, whom you apparently often encounter wearing clothes splattered with paint? Born in 1972 and raised in Krefeld, Karsten Breidenbroich already showed his creative side in primary school. Musically, he started out with a xylophone and later moved on to the guitar, which he apparently still enjoys playing today. As he grew older, he gradually realized that he wanted to turn his artistic talent into a profession. At the University of Applied Sciences in Düsseldorf, he first studied business administration and then interior design. After graduating, he moved to Düsseldorf, where he worked with great enthusiasm as a self-employed interior designer for ten years. Then, around eleven years ago, his father developed cancer. Karsten accompanied him through this difficult time, began reflecting on his own life and realized how important it is to let the people who matter to you know how much they mean to you, rather than waiting until it might be too late. At around the same time, Karsten heard about Zombie Boy, a well-known Canadian performance artist and model who had also faced a serious blow in his life. Like Karsten’s father, he had been confronted with a serious illness. Zombie Boy had been diagnosed with a brain tumor at the age of 15. After his recovery, he gradually had large parts of his body tattooed. Impressive ... It was around this time that Karsten decided to leave his regular working life behind and devote himself to art. Fortunately, his father had recovered by then. Sadly, Zombie Boy died after falling from his balcony in August 2018. Karsten regrets that he never had the chance to meet him in person. Zombie Boy had, however, liked Karsten’s pictures on Facebook, apparently one of them just a day before his death. His face, tattooed to resemble a skull, served as the inspiration for one of Karsten’s darker paintings. Kindred spirits among artists ... Karsten Breidenbroich became MalKarsten, who apparently is still surprised when, for example, someone approaches him in a Düsseldorf pub and asks to have a photo taken with him. MalKarsten is actually much better known than he seems to realize himself. Krefeld, June 2021 "Someday I’ll Paint the Whole World" One of the first headlines that caught my attention mentioned that his clients included Sylvester Stallone, Mickey Rourke and Cher. Of course, that made me curious. Karsten tells me that he had exhibited his paintings in a bar in his neighborhood, where a fashion designer involved with Fashion Week noticed him. His paintings were to line the catwalk, and backstage he was supposed to paint jackets. Silvia Fritz, Sylvester Stallone’s fashion designer, was impressed by Karsten’s work. Stallone had launched his fashion label “Sly Inc” in 2012. She simply sent Sly a few photos, and he promptly called Karsten, invited him to L.A. and introduced him to the local art scene. A jacket featuring Sly’s portrait was a gladly given gift in return. For MalKarsten, it was of course a fascinating encounter, although he admits that his heart was pounding. The fact that he happened to be in L.A. on his 45th birthday made the trip even more exciting. Nina Hagen, who shares the same birthday, was also there when the jacket was presented to Sylvester Stallone. At Fashion Week, Karsten was able to enjoy complete artistic freedom. Under Sly’s wing, he explored the L.A. art scene and decorated quite a few pieces of clothing with his art. Sly passed on another painting commission to Cher. Jackets for Katy Perry, Mickey Rourke and Ralf Moeller followed. As the acrylic paints he uses are waterproof and washable at 40 °C, there is nothing to prevent him from creating more individual designer pieces, an original “MalKarsten”, after all. Not exactly cheap, perhaps, but extraordinary and still affordable for ordinary people. I particularly love his paintings with their incredibly vivid monkey portraits. On Mother’s Day 2021, Karsten visited Krefeld Zoo to study the nature of these fascinating animals, as he openly told me on the phone. I was welcome to join him. Unfortunately, I was unable to accept this special invitation because of a private appointment. But it shows how open he is towards his audience. ... and what inspires an exceptional artist like Karsten from Düsseldorf? Life itself, he says. With him, everything sounds so simple and unpretentious, and yet his works are fascinating in so many different ways. On his way from one place to another, he finds plenty of inspiration, he explains. Sometimes he does, sometimes he doesn’t, but that’s not such a big deal either. Working out a painting and its meaning through an accompanying text is not really his thing. “If I want to say something, I talk. Language is quite unambiguous for that.” I absolutely love this statement because it gives me the opportunity to approach a work of art in a more relaxed way. MalKarsten thus became something of an insider tip, and not only in the American art scene. Karsten lives on the third floor of an old building in central Düsseldorf. The building has a beautiful courtyard and a hall that was once intended for master students of the Art Academy. Originally, four floors were used by artists. At the time, two floors were still being used this way. Alongside Karsten Breidenbroich, a close former associate of Düsseldorf artist Jörg Immendorff also lived there, while the remaining apartments were occupied by people who were not professionally involved in art. He paints his pictures with a 3D effect, and his feelings are intense. “Even stretching the canvas over a wooden frame gives me a feeling of happiness. When I paint, I feel that I’m alive. Someday I’ll paint the whole world.” He has already painted his way as far as America. He’ll manage the rest as well. His first pair of trousers splattered with paint may have been an accident, but by then this colorful design had become his trademark. Ultimately, that is exactly what makes him happy, Karsten tells me. Painting, not money. Sure, his unique pieces of clothing probably bring in a fair amount of money, but ultimately it goes back into paint and materials, creating new art and new joy. If money were the most important thing to him, he would simply paint himself some, he explained in an interview with Petra Verhasselt for NiederRhein Edition Online the previous year. His partner Spoo, herself an artist, advertising professional and communication designer, sums it up perfectly. The money earned is merely an “intermediate medium”, something without which artistic work would not be possible. After all, canvases and paint do not grow on trees. But the art Karsten creates is lasting. The appreciation people show for his art is what matters most to him. He makes it clear that, for example, the established art market is pretty much irrelevant to him. He paints, and that’s that. Krefeld, June 2021 Revised edition: August 2026 (language revision and adaptation to the current website design). He also paints for you and me, a wall or a T-shirt. Get in touch with him. It will be a special experience worth every cent. A saying that is often attributed to Albert Einstein spontaneously comes to mind: “Creativity is intelligence having fun.” I have nothing more to add :-). Krefeld, June 2021 Sources / References 1. Telephone interview, Samara Blue/Kerstin Ellinghoven, 17 May 2021 2. Interview, Blog&Art, 17 February 2020 3. NiederRhein Edition Online , 02/2019, text by Petra Verhasselt 4. The Guardian , 3 August 2018: “Zombie Boy Rick Genest, tattooed muse to Lady Gaga, dies aged 32” 5. Bureau du coroner , Gouvernement du Québec, 28 October 2019: “Death of Rick Stephan Genest – The Coroner Reveals her Conclusions” 6. Gerald Krieghofer , ZITATFORSCHUNG, 21 May 2019: “Kreativität ist Intelligenz, die Spaß hat.” Albert Einstein (angeblich)

The Puzzle House on Düsseldord´s Kiefernstraße: street art by Ben Mathis and the MaJo Brothers- Photography, background stories and unique details. Anfang Puzzle Kiefernstraße 17 | Puzzle House/Trailer Ben Mathis/MaJoBrothers return The façade of the Puzzle House on Kiefernstraße was created in 2007 as a collaboration between Ben Mathis and the MaJo Brothers , also as part of the (5mal5 ) project organised by Farbfieber e. V. Düsseldorf . With this project, in which the final five houses were also designed by various well-known street art artists, an entire row of 14 houses had ultimately become a Gesamtkunstwerk, a complete work of art. One reason for me to look at each of these houses individually and give it space for a story of its own. Puzzle House & Trailer Kiefernstraße | Photo: Samara Blue | Kerstin Ellinghoven “I have gone astray like a lost sheep; seek and find me, for I have not forgotten your commandments.” Psalm 119:176 How often do we lose our way in the turmoil of life? Lose ourselves in the demands of everyday life? Silently search for help, trying to rediscover and hold on to a small part of who we truly are? Especially in these unreal times ... Puzzle House Kiefernstraße with Trailers | Photo: Samara Blue | Kerstin Ellinghoven Although the façade and the trailers are beginning to show their age, the original artwork is still clearly visible. For me, the trailer still blends harmoniously into the overall design today. Kiefern 17 Before the 2007 Transformation | Photo: Joe Henning | Editing: Samara Blue The Time Before This is how worn down Kiefern 17 looked before the house became a canvas for Ben Mathis and the MaJo Brothers in 2007. Many thanks to Joe Henning of the MaJo Brothers for providing me with this “historic photograph”. The transformation becomes all the more striking when you compare the before and after ... Puzzle House & Trailer Kiefernstraße | Photo: Samara Blue | Kerstin Ellinghoven “I have gone astray like a lost sheep; seek and find me, for I have not forgotten your commandments.” Psalm 119:176 How often do we lose our way in the turmoil of life? Lose ourselves in the demands of everyday life? Silently search for help, trying to rediscover and hold on to a small part of who we truly are? Especially in these unreal times ... 1/17 The Story Behind the Puzzle House and the Trailers Ben Mathis was responsible for creating the grid, while the MaJo Brothers created a large part of the figurative elements. Cogwheels of different shapes and sizes alternate with robot-like figures in the individual sections. Robotic arms seem to emerge from windows, moved by a mechanism invisible to the viewer. The grid, rendered in various shades of grey and white, is given striking accents by the additional use of an intense orange-red. During a phone conversation, Ben explained to me, when I asked about it, that this colour provided a good contrast to the neighbouring house and was therefore used. If you look closely, you can see that in the transition area towards house No. 19, the elements blend together in several places, creating subtle but carefully considered transitions to the neighbouring house. Another way of expressing togetherness. To make sure that the façade was not populated solely by figures from the MaJo Brothers, Ben Mathis added some of his own. They can be recognised by their more angular shapes. Since the construction trailers standing in front of the house could not, or were not allowed to, be moved while the façade was being painted, they were simply incorporated into the design. After all, no distracting foreign objects were supposed to appear in the final photographs. But what were the construction trailers needed for? That was a question I first asked myself and then Ben Mathis. At the time, the construction trailers were used as a kind of church. Among other things, they were intended as a place to maintain contact with the residents. Coffee and sandwiches made sure that their physical well-being was not neglected either. As a visible sign of their purpose, portraits of Jesus can be found on the fronts of these trailers. Rumour has it that the clergyman responsible was not particularly pleased with the figurative depiction. Nearly 15 years later, I was unable to find out exactly what was considered wrong with these colourful images of Jesus. Perhaps the lamb’s expression doesn’t look quite as innocent as it should. ;-) For me, they evoke a hint of flower-power feeling. Unfortunately, I’m a little too young to have experienced that era myself. But sometimes I regret that I never had the chance to experience that feeling first-hand in my youth. It is one of the reasons why the Kiefernstraße as a complete work of art fascinates me so much. Krefeld, Juni 2021 Sources:thedorf.de ,40grad-urbanart.de , benmathis.de, farbfieber.de Telephone interview with Ben Mathis June 21 When one of my images suddenly ended up in a book This image later took on a life of its own. Silvia Bolatzki discovered it and asked me if she could use it in her book “Preisgegeben und wunderbar geborgen”. It appears on page 469 as image 22, where it is associated with a sense of calm, peace and comfort. I was especially pleased to see my photograph used in this context. When I took it, I certainly never imagined that one day it would find its way into a book about pastoral care for the effects of trauma and stress. Silvia Bolatzki: “Preisgegeben und wunderbar geborgen”, Vandenhoeck & Ruprecht, p. 469, fig. 22.

Urbexart I Besondere Orte I Special Spots I Burgen I Museen I Historie I Geschichte I Fotodokumentation I Vergangenheit I Erinnerungen I Kreative Fotografie I Samara Blue I My Way of Art I Dreamtime Favourites - not only in Krefeld return 1a. Schlaraffenburg Crefeldensis e.V. 2. Doll Fountain Krefeld 3. Wild Horses of Dülmen Museums, monuments and other places steeped in history also offer the opportunity to explore the past, keep track of history and track down dusty beauties. Sometimes I am also asked to photograph and document special places. I am happy to share these vivid photo series if I am given permission to do so. In this way, I learn interesting historical facts first-hand and gain access to places that are not normally accessible to the general public. Please click on the image to view and read. 1. Schlaraffia Crefeldensis I Et Kloeske I Krefeld A look behind the scenes - where women don't normally have access Bitte zum Anschauen und Lesen auf das Bild klicken. 2. Doll's fountain I Krefeld Provisional report The Puppenbrunnen in Krefeld is located at Südwall 30-32, 47798 Krefeld . You can reach it as a pedestrian from the Hansa Center, walking along the pedestrian zone in the direction of Kaufhof. The Puppenbrunnen is located where the pedestrian zone, Neusserstraße, crosses the Südwall. (... ) Weiterlesen Puppenbrunnen The puppet fountain is a modern art fountain with six figures that move in different ways and all have a connection to Krefeld. In summer, when the water splashes lively, this is a good opportunity for children to let their companions relax for a while. Depending on how adventurous the kids are, it can be quite a wet and happy affair. For a long time, I couldn't find any direct evidence in my research that this beautiful fountain was the work of Bonifatius Stirnberg, who created a very similar fountain in Aachen at a similar time. Now I am all the more pleased that I was able to find a student of the artist who is still in contact with Mr. Bonifatius Stirnberg. So with his help, with the support of the family and the information I already had, I was able to put the complete history of the doll's fountain in Krefeld on paper. Ok, trust the internet ;-)- So follow me now together with the exceptional artist Bonifatius Stirnberg on a journey through the centuries not only in terms of fashion ... Krefeld in November 2023 | in May 2024 Anker 1 Geschichte hinter dem Puppenbrunnen The PUPPENBRUNNEN I KREFELD - Fashion through the centuries Von Samara Blue/Kerstin Ellingenhoven, Krefeld. 02.05.2024 The Puppenbrunnen in Krefeld is a counterpart to the fountain in Aachen and is located at Südwall 30-32, 47798 Krefeld. Pedestrians can reach it from the Hansa Centre by walking along the pedestrian zone in the direction of the former Kaufhof. The Puppenbrunnen is located where the Neusserstraße pedestrian zone crosses the Südwall, slightly offset to the right. It is a modern bronze fountain with six moving figures arranged around a rectangular cuboid. This is slightly larger than the lovingly crafted and detailed figures. The figures and cuboid are located on a round, slightly raised platform made of a kind of concrete, so that viewers can interact with the figures easily. The water drains into a circular depression underneath the fountain, which guarantees that the interacting visitor's shoes are reasonably dry. The name of the company that donated the fountain, Derichs & Konertz, and the dates 1926 and 1976 are apparently also cast in concrete on the side of the platform. It is assumed that 1926 is the year in which the two companies merged. 1976 commemorates the year the fountain was built. Once you have curiously walked around the fountain and taken a look at the various historical figures, you might ask yourself who was immortalised there and for what reason. As I was also very interested in this, I went on a little historical research. Starting with the Internet, which was not really informative about this particular fountain, I became aware of the doll fountain in Aachen. As it is very similar in style to the one in Krefeld, I assumed that it must be by the same artist, Bonifatius Stirnberg. However, I did not find any confirmation of this. But I did come across a gallery that represents the interests of the artist Bonifatius Stirnberg, the builder of the Aachen doll's fountain. I was able to make direct contact with a former pupil of the artist and learnt a lot about this remarkable artist and craftsman in telephone conversations. He confirmed that Mr Bonifatius was also the artist behind the doll's fountain in Krefeld, which took me a long way forward, and sent me a book by the artist. A fascinating book of fountains ... PLAY I CHANGE I UNDERSTAND... The illustrated book ‘Plastiken für die Stadt’ by Aachen artist Bonifatius Stirnberg begins with these interactive verbs. In order to gain a deeper understanding of this beautiful fountain and its significance, I would like to take a closer look at the fascinating artist and craftsman Bonifatius Stirnberg, starting with his biography: *He was born on 20/02/1933 in Freienohl/Sauerland (Meschede). *Only 15 years later, in 1948, he began an apprenticeship as a wood sculptor, which he successfully completed in 1951 with the journeyman's examination. *In 1953, he also completed the subsequent carpentry apprenticeship in the same year with the journeyman's examination. *In 1957, he passed his master craftsman's examination as a wood sculptor in Cologne. From 1953 to 1959, he studied interior design and sculpture at the Werkkunde Schule Aachen. *Even before completing his studies, he worked as a freelance artist from 1958. *From 1962 to 1966, he expanded his repertoire and creative skills by studying at the Düsseldorf Art Academy in the sculpture department under Prof. Josef Beuys. Prof Josef Beuys. *Since 1973 he has been working in his own studio in Aachen, which also includes a separate, well-equipped bronze foundry. All his works of art are produced in this studio, from the initial idea to the final touches. Even now, at the ripe old age of over 90, he can still be found in his workshop in Aachen every day. Stirnberg was obviously very interested in the nature of cities/his city. Houses, building facades, squares, places of interest, green spaces and much more are among the parts of a city that are accessible to all citizens and visitors and that can ultimately also be found on corresponding postcards. However, these cards often present a view that has been embellished with the help of wide-angle lenses and extreme photo editing. Bonifatius Stirnberg obviously has a divergent view of this, which is reflected in many ways in his art. After all, a city is represented by more than just such fair-weather views. Every city has its very own history, starting with its name, which has changed again and again over the centuries, just like its external appearance. We often judge the importance of a city by its appearance. If it is doing well, it is lavishly built and the city flourishes. Evidence of these good times can always be found in buildings and landmarks. Witnesses of the bad times, on the other hand, are often not on public display, but only preserved in special places. You have to explicitly seek them out if you are interested in these topics. It is similar with modern works of art. These, too, are often hidden/carried away in various museums, for which you often have to pay a considerable entrance fee. If you don't want to deal with them, you simply don't go near them. If this modern art then suddenly appears on the outside, e.g. on the walls of buildings, walls or bridges, it is often met with incomprehension. Yet this art could also be a living reminder of past times and historical aspects. Although they will be passed down for a while and told by older people in particular, at some point they too will be forgotten, like the smells of a bakery or the drape of a certain dress tailored according to historical fashion. Dead remains such as walls, stones, etc. often survive for centuries and therefore much longer, but they no longer have a living face. Only old trees can sometimes act as living witnesses to what a person once experienced with them. This is where Balthasar Stirnberg's works of art come in. His figures with lively faces and contemporary clothing are also intended to appeal to visitors with little artistic experience, e.g. children who like to look at, feel and try out the world with unbiased eyes. If public artworks are located in places with a lot of space around them, people often go to these places specifically because they want to see this particular work of art. Stirnberg's artistic fountains, on the other hand, are often found in rather obscure places, at crossroads, narrow alleyways or sometimes on the grounds of nurseries and schools. Inevitably, you come across them again and again in everyday life and they seem to cross people's everyday paths spontaneously. These fountains always have a special connection to the place and/or the city where they can be found. The figures have movable limbs so that the visitor can always move them into different poses and relationships to each other. A voyage of discovery into the past, not just for children, although they are always attracted by the various waterways. So that they don't have to get completely wet after their playful exploration tour, the streams of water in Stirnberg's fountain are designed in such a way that the cheerful water player realises that water is wet and makes them wet if they play too wildly, and can row back a little or flee the danger zone prematurely. Through this unbiased, playful engagement with historical figures, their stories and destinies, young people can often learn more and more easily than in history lessons. This is exactly what art in general, and Balthasar Stirnberg's art in particular, can/should do. The Krefeld Doll Fountain can also be found in the centre of Südwall 30-32, 47798 Krefeld, on the daily footpaths of the people of Krefeld. Although it no longer carries water in the colder seasons, the glittering drops of water quickly cast a spell over visitors hurrying along in the nicer weather. Again and again, someone stops and looks. They feel carefully, then a little more boldly, to see what they can move and how. Usually it doesn't stop with just one spectator. There are several more, so sometimes it wasn't easy to take photos of just the fountain. ‘Fashion through the centuries’ is the title of the Krefeld doll's fountain. A theme that the residents of the velvet and silk city could relate to when it was erected in 1975. It was the intention of the artist and probably also of the donating company Derichs & Konertz that not only the residents could identify with his art in their city, but also that visitors could take something interesting home with them. This fountain is one of Balthasar Stirnberg's earlier works and will be almost 50 years old in 2024. It has already lost a few feathers during this time. Shortly after its construction, a figure was stolen and it was only found again by chance during a police operation almost 20 years later. Unfortunately, there is always some fool who thinks he has to immortalise himself on the work of art by splashing paint on it. In the meantime, the ravages of time are also gnawing away at this work of art and fine moss is spreading here and there. The wooden parts are also not forever immune to wind and weather. But even if Krefeld can unfortunately no longer be regarded as a city of velvet and silk from my point of view, this fountain still stands in its place and demonstrates a piece of immortality, indeed history, with its valuable, basically resistant material. History for the former velvet and silk town on the Lower Rhine and also a piece of artistic history from the life of the exceptional artist and craftsman Bonifatius Stirnberg. Personally, I would be very happy to see the fountain renovated, not least because it is a piece of history for me, but also because the valuable and resistant bronze material used stands for durability and endurance. -Samara Blue/Kerstin Ellinghoven. Krefeld in March 2024 Quellen: Galerie-am-elisengarten.de:Bonifatius Stirnberg - Galerie Petzold - deutsch (galerie-am-elisengarten.de) Plastiken für die Stadt von Bonifatius Stirnberg Emile Paes (a former student of Stirnberg's) Krefeld in November 2023 | in May 2024 3. Wildpferdefang 2019 - Dülmen/Merfelder Bruch About the special honor of being a catcher While looking for 2-3 animal pictures for another project, I stumbled across my folder with almost 900 pictures that were taken in 2019 during a visit to the wild horse capture in Dülmen with my sister. As it's naturally not easy to choose from so many pictures and, as a horse girl since childhood, the wild horses in Dülmen are a particularly magical place for me, these beautiful, wild horses have their own section in my collection of magical places. Enjoy impressions of a wild rodeo around the corner in my native Westphalia. Information about the little horses can be found in the pictures and here (... ) Info Wildpferde weiter lesen Profile: Size: approx. 125 - 135 cm height Origin: Westphalia/Germany Color: Predominantly grey and bay, also black-brown Characteristics: Original pony, frugal, calm, robust Suitability: Riding and carriage pony Use: Children's riding and carriage pony So that the texts do not become too long, I have added further information to the individual pictures. More information Wild horses Dülmen Every year, a spectacular wild horse capture takes place on the wild horse track in Dülmen. Located just west of Dülmen/NRW, wild horses have been living in a herd of around 400 in the wild for what feels like an eternity, without care or human intervention, except for this one day. The day they were caught. The area in which they live is called Mehrfelder Bruch and was first mentioned in a document in 1316. At that time, the habitat covered an area of several thousand hectares, which was continually reduced in size through cultivation and appropriation, so that today, with the Mehrfelder Bruch, they only have around 400 hectares at their disposal. The Duke of Croy's family thus created a reserve which, with around 400 wild horses, is the only one left on the European continent. Even if this sounds small compared to earlier times, it is far more space than is available to the average horse today. Habitat The area, which consists of moorland, heathland, coniferous and oak forests, offers the animals a varied diet all year round, so that they are only fed hay in some places in winter. Otherwise, the wild horses are left to their own devices. They can rely on their instincts, feed themselves appropriately and cope with all weather conditions. They find protection from extreme weather conditions in the forest areas. This way of life means that only the best-adapted animals prevail and can pass on their predispositions/genes to their offspring. This is how the small Dülmen wild horses were able to survive as a healthy and resistant breed through natural selection. Nature reserve wild horse track in the Merfelder Bruch The main purpose of the Merfelder Bruch nature reserve is to preserve nature and the herd living there. Everything necessary is done to ensure the long-term preservation of the herd. The aim is to preserve the habitat in its existing form in the long term, as changes to the biotope would otherwise also change the type of horse through natural selection. The question is repeatedly asked as to why the Dülmen wild horses are being bred rather than conserved. There are two inseparable criteria for successful breeding. People (can) only breed according to measurable and/or visible characteristics. These can include jumping ability, speed, stamina and much more. The second goal is to anchor these traits in the gene pool of the animals so that these traits can be passed on to the offspring as reliably and retrievably as possible. In this way, characteristics such as robust health and natural instinctive behavior can be slowly pushed back from the genetic make-up. In this way, special and valuable original genetic material would be irretrievably lost. This highlights the importance of preserving the original breeds in their natural habitats, as they are subject to ongoing natural selection. These original breeds are called "primitive breeds", which does not imply a negative aspect, but rather refers to the natural value of these species. Since there are only very few herds like these that live almost completely without human contact, behavioral researchers also have a large field of activity here. Appearance and appearance of the horse breed Most of the wild horses are currently bay or brown. They have an eel line running down their backs, which is an indication of the breed's originality. The emerging zebra markings on the legs of some animals also point to their wild origins. At the beginning of the 20th century, wild horses still looked very different. All colors could be found as well as white markings. Due to the small number of individuals, there was a risk of inbreeding and in order to increase the herd as healthily as possible with fresh blood, breeding was continued with various pony breeds. Crossbreeding with Welsh ponies, Mongolian ponies and Polish Koniks expanded the gene pool. No color selection was made here until 1960. It was not until 1984 that care was taken to cross only grey stallions, which led to the fact that most horses today are gray ponies. Theoretically, all colors except grey can still occur today, although the pure chestnut is very rare. The animals have a rectangular body shape, less pronounced withers and sloping shoulders. Their neck is of medium length and slightly curved. The medium-sized head has a broad forehead and small ears and a straight or slightly concave bridge of the nose. Strong hindquarters with small, hard hooves may also be the result of their almost wild lifestyle. In contrast to the Norwegian horses, the Dülmen wild horses have a hanging mane which, like their tails, is very luxuriant. The animals are described as very robust, intelligent and capable of learning. In addition, they have a balanced character and a predominantly good-natured nature if they have a suitable relationship with people, which makes them so valuable for dealing with children. They are rather undemanding in terms of keeping and feeding. They can reach an advanced age of 30-40 if kept in a species-appropriate manner. For these reasons, there are rather few animals of this original horse breed available. Most of them are sold online, even worldwide. Depending on age, pedigree and level of training, these animals can easily cost € 2,500 - 3,000. Another type of purchase are the annual auctions at the Wildpferdefang in Dülmen, where the one-year-old stallions are auctioned off after being caught from the herd. Some information on this can be found in the pictures. Capturing wild horses In order to avoid rivalry with the young stallions, they are caught from the herd every year. This popular event has been held every last Saturday in May since 1907. The exception to this were the years in which social life was practically paralyzed by the coronavirus pandemic. These yearlings are auctioned off at the end of the event. As these robust little horses quickly lose their shyness in front of people and are also known to be smart, good-natured and frugal, they quickly find new owners. Due to their calm character, they are often used as riding horses for children and as carriage horses. Necessity of catching yearling stallions As sexually mature young stallions try to compete with their rivals and form their own herds with the conquered mares, which ultimately also claim their own living space, which is not available in the Merfelder Bruch despite its size, humans must intervene to regulate this. Predators such as wolves and bears no longer exist in our domesticated latitudes and are therefore unable to intervene naturally to regulate the populations. They are driven into the arena with their herd and separated there by hand without any aids in order to keep their first contact with humans as gentle as possible. Although they lose their freedom of the Merfelder Bruch when they are sold, they get used to their new home and their new roommates very quickly if they are kept in a species-appropriate manner. -Samara Blue/Kerstin Ellinghoven Krefeld in April 2024 QueQuellen: Wildpferde im Merfelder Bruch/Herzog von Croy´sche Verwaltung www.ehoreses.de Comment : In 2019, almost 5 years ago, my camera and I were often overwhelmed by the lighting conditions and the fast movements. However, as this day and its images are very close to my heart, I reworked them as best I could. Unfortunately, the quality couldn't always be saved. Krefeld in April 2024 Quellen/Recources: Ein Herz für Tiefe - Dülmener Wildpferde: Dülmener Wildpferd | Alle Infos im Rasseporträt (herz-fuer-tiere.de) Zeitschrift Welt : "Die Herde bedeutet alles" - 25.05.2022 von Andreas Fasel www.hallo24.de Wildpferdefang in Dülmen: Alle Infos für Besucher (hallo24.de) www.die.glocke.de: Wildpferdespektakel: 34 Junghengste gefangen | Die Glocke (die-glocke.de) www.dzonline.de: Wildpferde und Fänger unter sich (dzonline.de) Meine eigenen Eindrücke vor Ort/My own impressions on site Schlaraffenburg Doll´s Fountain Wild Horses

Urbexart I Haus der Puppen I Lost Place Photography I Lost Place I Verlassene Orte I Rottenplace I Samara Blue I My Way of Art I Dreamtime Lost Place - House of Dolls return What awaited me in this house of dolls, I wondered all the time on the way there. After some searching we ended up in front of a rather inconspicuous little house on the edge of a country road. In Gedanken hatte ich während der Fahrt einige Bilder vor meinem inneren Auge Revue passieren lassen, die ich bisher im Internet vom "Haus der Puppen" so gesehen hatte. Leicht gruselige "Chucky die Mörderpuppe" Impressionen kamen mir spontan in den Sinn. Beim Näherkommen empfing uns erstmal allgegenwärtiges Chaos. Doch was genau hatten wir erwartet? So, nun standen wir vor der Tür. "Tretet ein ins Haus der Puppen ... Don't think twice, come in, be careful and look. Tretet ein ins Haus der Puppen ... In meiner Freude über einen neuen Lost Place hatte ich ehrlich gesagt so eine Unordnung nicht erwartet. Mein entsetzter Blick fiel in einen schmalen Flur ... ... und ich erkenne beim genaueren Hinsehen tatsächlich eine Puppe. In der Unordnung nicht leicht auszumachen. Ein Puppenjunge, nahezu kopflos, zerbrochen. Die einst liebevoll zusammen gestellte Kleidung schmutzig und verstaubt. "Ich bin der andere, der andere ist ich. Er ist der Spiegel, der es dem Ich erlaubt, sich zu erkenne. Seine Zerstörung zerstört die Menschheit in mir." (De.Jarofquotes.com) Doch diese Worte beantworten auch heute noch nicht meine Frage, warum Menschen ein Haus, das nicht das eigene ist, so zerstören?!? Warum können sie nicht froh sein, dass man einen verlassenen Ort gefunden hat, an dem man verweilen, Fotos mitnehmen und in Erinnerung behalten kann!? Nackt und lieblos in die Ecke gesetzt ... "Als wir noch klein waren, konnten wir es kaum abwarten erwachsen zu werden. Aber jetzt stellen wir fest, dass kaputtes Spielzeug und verlorene Buntstifte viel besser sind als gebrochene Herzen und verlorene Freunde." (FUNPOT.NET) Das Bad, eine einzige Müllhalde ... "Gelegentlich den Kopf zu verlieren ist keine Schande, solange einem der Verstand dabei nicht abhanden kommt." (Metropolis) Unter Unrat und zerfetzten Dingen schaute ein niedliches Gesicht hervor. Offensichtlich hatte sich hier ein Bewohner für schöne Bilder interessiert. Am Fuß der Treppe in die erste Etage überlegten wir kurz, ob wir wirklich weitergehen sollten. Hatte uns vielleicht einer der Nachbar gesehen? Würde sich das Waten durch Müll und Unrat noch lohnen? "Je älter ich werde, desto mehr erkenne ich, dass ich keine Lust mehr auf Stress, Konflikte und Dramen habe. Ich brauche gutes Essen, viel Schlaf und Menschen, die mich mögen wie ich bin." (www.istdaslustig.de) Für einen Wimpernschlag blieb mein Blick an liebevollen Deko Details hängen. Verstaub und angeschmuddelt ... Weißt du, dass Puppen die besten Freunde sind? Auch, wenn sie nicht sprechen können, hören Puppen, was du sagst. Und hast du gewusst? Wenn man sie allein lässt in einem Zimmer, dann werden sie lebendig.Lebendig? Ja! Aber wenn wir plötzlich rein kommen, sausen sie blitzschnell wieder auf ihre Plätze. Aber wieso werden sie nicht lebendig, wenn wir dabei sind? Wenn wir sie sehen können? Weil es wie Magie ist. Man muss an Magie glauben, damit magische Dinge passieren können." - aus "Little Princess" Recht unterschiedliche Interessen schienen die Bewohner gehabt zu haben. Einsam, verlassen, unwichtig geworden ... Ohne Worte ... "Ich rede bisweilen mit Menschen so, wie das Kind mit seiner Puppe redet: Es weiß zwar, daß die Puppe es nicht versteht, schafft sich aber durch eine angenehme wissentliche Selbstdeutung die Freude der Mitteilung." (Arthur Schoppenhauer) Nachdenklich betrachtete ich diese Puppe mit liebevoll gehäkeltem Kleidchen und stellte mir vor, was die Puppenmutti ihr wohl einmal anvertraut hatte. Ein Lichtblick, der mich schmunzeln ließ :-). Hat hier ein Fotoliebhaber gewohnt? Neugierig googlte ich, was wohl in diesem Buch geschrieben steht. - Erschienen 1989 und aktuell in Antiquariaten zu erhalten. Endlich eine kleine Verbindung. Ein Buch, das vor 31 Jahren erschienen ist. - Siehe Link: Ein weiteres Zimmer, fast noch schlimmeres Durcheinander. Ein großer Teddy, scheinbar unversehrt blickte mich mit freundlichen Augen an. Fast von alleine hielt meine Kamera diese Szene fest. "Teddys umarmen dich nicht zurück Aber manchmal sind sie alles, was du hast. (Deutsche Sprüche XXL) - Dieser flauschige Geselle ist niemandens Freund mehr. Ein flüchtiges Bedürfnis, ihn mitzunehmen überkam mich, natürlich tat ich das nicht. Hinterlassenschaften personalisiert :-(. Damit auch jeder, der hier vorbei kommt, sehen kann, wer schon da war. Wieder einmal cooler, ausgefallener ... Warum muss das sein? Was hat man davon? Sorry, aber ich konnte und kann das immer noch nicht nachvollziehen. Vileleicht sollte man ein Urbex-Gästebuch auslegen ;-). “Wie kann ein erwachsener Mensch seine Jugend nur so vollkommen vergessen, dass er eines Tages überhaupt nicht mehr weiß, wie traurig und unglücklich Kinder bisweilen sein können. Es ist nämlich gleichgültig, ob man wegen einer zerbrochenen Puppe weint oder weil man, später einmal, einen Freund verliert.” ― Erich Kästner, Erich Kästner, Das Fliegende Klassenzimmer - Eine liebe Erinnerung an meine eigene Kindheit. - Wer mag: Siehe Link: Unversehrt und offensichtlich liebevoll arrangiert. Ein Lichtblich am heutigen Tag. Ein wenig heile Welt versöhnte mich ein Stück weit mit der leider realistischeren Szenerie. Da ich mich vor lauter Begeisterung nich für eine Perspektive entscheiden konnte, gibt es noch ein Bild :-) - Nicht nur Chaos ... "Ihre Zeit ist begrenzt, also verschwenden Sie sie nicht damit, das Leben eines anderen zu leben. Lassen Sie sich nicht von Dogmen in die Falle locken. Lassen Sie nicht zu, dass die Meinungen anderer Ihre innere Stimme ersticken. Am wichtigsten ist es, dass Sie den Mut haben, Ihrem Herzen und Ihrer Intuition zu folgen. Alles andere ist nebensächlich." (Steve Jobs) - Der Moment, an dem ich am liebsten die heiligen hallten verlassen hätte :-(. Gedanken, die mir durch den Kopf gingen, während ich überlegte, was Menschen dazu bringen kann, ihr ganzes Leben so einfach zurück zulassen. Und was zum Teu... andere dazu bringt, dieses ehemalige Zuhause eines anderen so zuzurichten?!?!? Ich stand am Fenster im ersten Stock und schaute hinaus. Hinaus in die scheinbar heile Welt. Mein Blick fiel ziellos auf eine scheinbar funktionierende Weltuhr: Sydney, New York, Moskau, Chikago, Rio - surreal ... "Ein wenig komme ich mir vor wie eine Puppe, der ein Bauteil fehlt. Eine kaputte Puppe, die nie ein ganzer Mensch werden kann. Mangelware. Die anderen Menschen gehen an mir vorbei und ich gehe an ihnen vorbei. Sind sie durchsichtig? Oder bin ich durchsichtig? Braucht die Welt mich überhaupt? Bin ich ein notwendiges Wesen? Braucht die Welt mich überhaupt?" - aus "Fruits Basket" von Natsuki Takaya We - Das Waisenmädchen Toru Honda schlägt sich tapfer alleine durch ...Link: Szenenwechsel - ein altes Haushaltsgerät - erstaunlich gut erhalten ... Ein Blick nach oben durch eine teilweise weggebrochene Zimmerdecke gab den Blick frei auf Teile eines maroden Dachbodens. Es wurde Zeit, dass wir diese Etage verlassen ... "Wer nie durch Scherben ging, hat nie gelebt. Wer nie am seidenen Faden hing, weiß nicht wie es geht. Wer nie sein Herz verlor, weiß nichts vom Glück. Wer nichts gegeben hat, der kriegt auch nichts zurück. (Matthias Reim) - Song siehe Link: "Wir gehen mit dieser Welt um, als hätten wir noch eine zweite im Kofferraum." (Jane Fond) - Diese Worte kamen mir ganz spontan in den Sinn, als ich mir meine Umgebung beim Hinausgehen betrachte ... "Derjenige, der etwas zerbricht, um herauszufinden, was es ist, hat den Pfad der Weisheit verlassen." (J.R.R: Tolkien) - Welche Weisheit? "Die Schatten deiner Kindheit, sie lauern noch heute in deiner Seele." (Pinterest) - Aus dieser Perspektive wirkte die Szenerie beinahe friedlich, versöhnlich ... "Jeder Tag hat sein Licht und seine Schatten. Wichtig ist, die kleinen Glückmomente wahrzunehmen, die uns geschenkt werden." (unbekannt) - So ein Bild in der Nachbearbeitung ist für mich ein kleiner Glücksmoment. Nicht, weil es besonders gut geworden ist, sondern weil ich mich trotz des vorgefundenen Chaos gefreut habe, dort gewesen zu sein. "Die Welt wäre ein besserer Ort, wenn jeder das reparieren müsste, was er zerbrochen hat. (VS") - Ich glaube, mein Ärger und die Entäuschung über den Zustand dieses Spots wird langsam deutlich. Ein letzter Blick in die Runde, nichts vergessen? Nun ja ... Even if this spot was not what I had hoped for, it left an impression. A look back, the camera stowed away, the dust brushed off the clothes. All that's left is the drive home... So ganz konnte ich mich doch noch nicht trennen. Vielleicht würde ich ja noch etwas finden, das sich lohnen würde, zu fotografieren ... ... schnell noch ein Blick durch die zerbrochenen Scheiben der Eingangstür, ein letztes Puppengesicht für die Erinnerung. Zweifelhafte Müllentsorgung ... Leider kein besonders romantisches Motiv für Lost Car, aber der Vollständigkeit halber ...

Streetart I Graffiti I Mural I Urbexart I Düsseldorf I Kiefernstraße I Kiefernbleibt I Kieferngoes40 I Ben Mathis Kiefernstraße 7 | Dragon House return Ben Mathis Anfang Drachenhaus Bright yellow and vibrant red, the façade of the Dragon House at Kiefernstraße 7 takes amazed visitors into the world of Chinese mythology. It was designed by street art and graffiti artist Ben Mathis and created in 2008/2009 as part of the “5mal5” project in cooperation with Farbfieber e. V. With this colourful and powerful design, the residents of the house wanted to express the diversity of human life. Dragon House Kiefern 7 - Ben Mathis | Photo: Samara Blue | Kerstin Ellinghoven The Dragon House at Kiefernstraße 7 in Düsseldorf was created by street art and graffiti artist Ben Mathis in 2008/2009. A large Chinese dragon in vibrant shades of orange and red stretches across the yellow façade surrounded by clouds. Drachenkopf am Drachenhaus Kiefernstraße 7 | Foto: Samara Blue | Kerstin Ellinghoven Impressive, vibrant and beautifully coloured, this lucky dragon watches over the residents and visitors of Kiefernstraße. 🐉🎨 View along Kiefern by Dragon House of Ben Mathis | Photo: Samara Blue | Kerstin Ellinghoven “And suddenly, there is someone who simply pours a few buckets of colour into your life and makes your world colourful again.” Author unknown A quote that may not be mine, but can be applied in so many different ways. When I look down Kiefernstraße from this perspective and take in the Dragon House, it is actually the first one that spontaneously comes to mind. Dragon House Kiefern 7 - Ben Mathis | Photo: Samara Blue | Kerstin Ellinghoven The Dragon House at Kiefernstraße 7 in Düsseldorf was created by street art and graffiti artist Ben Mathis in 2008/2009. A large Chinese dragon in vibrant shades of orange and red stretches across the yellow façade surrounded by clouds. 1/10 The story behind the Dragon House This Chinese dragon represents power, happiness, prosperity, kindness and intelligence. In China, the dragon is regarded as an ancestor of humankind. It embodies strength and energy and stands for health and a long life. It combines several creatures within itself, symbolising its versatility: the head of a camel, the antlers of a deer, the body of a snake covered in fish scales, and feet armed with razor sharp claws. The entire design for this building, which was also known as the “Schwesternheim”, was created by Ben Mathis. He prepared and primed the façade himself, while the motifs were created using spray paint. During my telephone interview with Ben, I was quite surprised by this, because I could hardly imagine that such finely detailed contours could be achieved with a spray can. But then again, I am only the observer, not the expert. He spent two to three weeks working on the building, he told me on the phone more than twelve years after completing the artwork. What is remarkable is how well the colours have survived. Ben has a simple explanation for that, too: Kiefernstraße 7 is mostly in the shade, which means the colours do not fade as strongly. Quite simple, really, isn't it? But who is Ben Mathis? Born in Rouen, France, in 1977, he moved to Düsseldorf at the age of ten. Ten years later, he was already creating large scale outdoor works. From 2002 to 2003, he studied industrial design at Niederrhein University of Applied Sciences. Between 2003 and 2010, he studied pharmacy at Heinrich Heine University Düsseldorf, as he knew that, at least in the beginning, he would not be able to make a living from his art alone. His Dragon House, created in 2008/2009, was therefore completed while he was still a student. It was not his first large scale work, and it certainly would not be his last. In 2011, he completed his doctorate. In an interview with the Düsseldorf art magazine “THE DORF”, Ben Mathis talks vividly about his early experiences as a graffiti artist. How it all began ... Ben discovered spray painting through new classmates when he was in the 8th or 9th grade. At first, his school became his canvas, but later the young rebels were drawn to new places. They rode their bicycles to railway tracks and turned night into day, decorating bridges around the area. What drives a graffiti artist? Some are looking for adventure, for the thrill. Others seem to channel their destructive energy into colour. And then there are the truly creative ones, the artists who manage to bring their art into urban spaces and make it accessible to everyone, unlike art confined to galleries and museums. Ben obviously belonged to the latter, the creative ones. He perfected what he could achieve with a spray can. Over time, he lost interest in the restrictions of clandestine night time sessions and began looking for ways to express his creativity legally. Smaller commissions followed, along with works on walls and canvases that could be sold. One thing led to another, and Ben's artistic career began to gather momentum. In his view, street art has changed over the years. It is no longer simply the ability to master a spray can with precision that matters, but also the opportunity to bring your own creative ideas into the public space and communicate with a wider audience. Bringing the directness and simplicity of the art to the viewer is, in his opinion, one of street art's great strengths. Unlike works presented in museums and galleries, these artworks reach their audience without being filtered first. Naturally, not everything can therefore be considered “artistically valuable”. “That's life.” That happens, too. Street art, graffiti art and murals, the term used for large wall paintings, are bold and colourful, he says, fast and direct. Taking an explicit position or expressing a political viewpoint is not necessarily his intention. He considers art that points directly at social problems, almost as if pointing an artistic finger at them, rather blunt. Instead, he prefers to raise critical questions through paradoxes: contrasts that, at first glance, appear to contradict one another and not really belong together. In this way, the viewer may be encouraged to think. He does not see it as his task to judge, but rather to make people more aware of their surroundings. Having one consistent personal style is not the ultimate goal for him. What matters most is the enjoyment he finds in his work. He loves the power of his art and does not necessarily want to follow predetermined or carefully planned paths. A path may sometimes lead in the wrong direction, and his work may take unexpected turns, but ultimately his creations still reveal a certain continuity, a thread running through them. Krefeld, June 2021 Sources:thedorf.de ,40grad-urbanart.de , benmathis.de, farbfieber.de Telephone interview with Ben Mathis June 21

Silk City Gallery 2021 I Seidenweberhaus I Perspektivwechsel Krefeld I Streetart I Graffiti I Luisa Estrada I Black an White I Blumenstraße I Samara Blue Urbex Art I Samara Blue street art - Luisa Estrada/Mexico "Flower Street - BlackAndWhite " return Anfang Honigwabe Facebook * Homepage * Instagram Luisa Estrada's street looks almost like a city within a city. Simple but concise in black and white, it presents "our flower street". Artist info (...) Anote: Theflower street in Krefeld, Luisa Estrada used a long piece of the facade as a model for her "black and white" design. If you take a look at the corner of Blumenstrasse and Moerser Strasse on Google, you can easily see their exact position. With the silk weavers who worked on their looms in the houses there, she not only creates the connection to the velvet and silk city of Krefeld, but also directly to the silk weaver house. Short interview Luisa Estrada Luisa: "Hello Kerstin, thank you for your interest in my work in Krefeld. I'm happy to answer any questions you have about my painting." I would like to know why you chose the flower street. Luisa: "II was looking for something characteristic of the city, although I don't know Krefeld, I like to work with what I perceive as typical for the respective location from my own perspective. In the cities there are always very typical things, for example in the architecture. This can vary greatly in different countries. Different colors and architectural styles show typical country features. In addition, the individual functionalities are important for the cities. The creativity of the inhabitants of these cities is also reflected there. In this case, while checking Google Maps, I found the Flower Street attractive and interesting and decided to depict it. In the end it stops being that place and the painting becomes a reflection of the city itself, it's decor, a reflection of those who live there." Annotation: This intention surprised me a little. Luisa easily transports a "simple" streetscape into an interesting, decorative work of art and encourages me, as a newcomer to Krefeld, to delve into the history of the city of Krefeld once more. Did you choose the location for the photo yourself? Luisa: "Yes, I found this position suitable for my project." Could you get to know Krefeld a little better? n? Luisa: Not really, just the route that took us from the hotel to the building where we painted. I was looking forward to visiting the Josep Beuys Museum. I like to ask the artists about anecdotes, mishaps, special moments and sometimes what color they paint/spray with. Luisa: Perfect. When you attend events where multiple people work together, everything is an anecdote, every moment becomes relevant and part of that story. At the beginning, when everything starts, you gradually approach others with great curiosity to know who they are and what they do. For me it was the first time I used scissors or a crane. I was a bit nervous but luckily everything went well and I enjoy using this machine. In general, I really enjoyed painting and I was satisfied with the result. I have only painted walls very few times before, so it was a special experience for me to be invited to this event. I used a range of shades of gray for my rendering. I usually work like this when engraving, so I reduced the landscape, which actually had purple colors, to this area. If I understand your answer correctly, your picture has no direct relation to Beuys, does it? Luisa: The picture has something to do with Beuys, maybe a little more far-fetched. I rely on Beuys' statement that anyone can make art. With his social sculpture, he also said that art is a possible tool of social transformation. Under these two premises, I think it is possible and interesting to be able to see your city, your street, your house from a different point of view and/or from a different perspective. In this case from the perspective of the foreigner and from above. Everything is possible, something new, different and maybe even beautiful. So we not only see the same old Krefeld, but the creativity of those who build is in it. Those who inhabit these peculiar and original spaces, the result of an artistic construction. A construction that has formed over time. If we go further and think of a distant future where we may not be anymore but there will still be some ruins, we will see all of this as a reminder of past lives and it will be that the architecture or remains of it at the the end is art." I really like your style in black and white. Someone said you always paint like this. What made you do it? Luisa: "Well, I'm not a real painter. I am an engraver. I engrave on linoleum, foamed PVC, metal etc. . I have painted in public spaces other times, but more than painting, I have made large-scale drawings. I can say that I really painted for the first time in Krefeld. Since I was able to work through the topic in shades of gray that were easily accessible to me, I really enjoyed this exercise." Annotation: I liked this idiosyncratic, classic depiction of the flower street right from the start, when the first outlines were sketched. The black and white representation is so different from the other partially colorful representations. It is amazing and remarkable that the artist does not necessarily come from the street art direction. She gives us Krefeld a piece of Krefeld as art and gives the viewer the freedom to associate this picture with Beuys or simply find it beautiful. Is there a title for your picture? Luisa: "Not really. It could mean "black and white flower street". Source: Luisa Estrada personally Annotation: Finally, a little bit of history about the Blumenstraße in Krefeld. There are probably no reliable findings as to where the flower street got its name from. It is believed that the name refers to the gardens outside the then city walls relates. The street has existed since July 18, 1837. There were several houses with in-house weavers on Blumenstrasse. The importance of home weaving was last seen at the time of the Franco-Prussian War. Poorer weavers from the area moved to Krefeld and urgently needed cheap housing. Among other things, 40 blocks of houses were built on Blumenstrasse between the West Wall and the Ringstrasse. Behind the elaborately decorated facades of the so-called three- or four-window houses were small, open apartments without water and sanitary facilities. 5-9 families are said to have lived so cramped in these houses. Since the weavers needed good light, the looms were placed by the windows. At the beginning of the 19th century, with the advancing industrialization, the importance of home weavers decreased rapidly. A steel mill was built in front of the town and a port was built. Krefeld became an industrial city. A little of the former charm of the Blumenstraße has been preserved in a few listed buildings. Source: WAZ 16.11.2012. Thanks to Wolfgang R. Krefeld for his support in researching Blumenstrasse Info Luisa Artist information Luisa Estrada Name: Maria Luisa Estrada Sanchez (Luisa Estrada) Luisa Estrada is a visual artist based in Mexico City. The inhabitants and everyday life in the big city inspire her. In her work she tries to capture the dynamism and unique character, enormous scale and unnatural landscapes of cities. Luisa favors a graphic technique in which she manually engraves reliefs in PVC material, linoleum and wood and prints them on handmade paper. She studied at the Universidad Nacional Autónoma in Mexico, (UNAM), 2002-2008, and at the National University of Colombia (2005). She received her Masters in Visual Arts from the Academy of San Carlos UNAM in 2012. She is co-director of the Ruta Grafica Mexico collective and a member of the Sistema Nacional de Creadores in Mexico City. Source: official information of City of Krefeld

Streetart I Graffiti I Murals I Dokumentation in Wort und Bild I Documentation in words and pictures I Streetartphotography I Alina Orav I Deutschland I Internationale Straßenkunst I Gefährdung der Natur I Silk City Gallery 2021 Krefeld I Krefelder Perspektivwechsel I Kultur I Kultur in Krefeld I Kuratorin Fredda Wouters I Samara Blue I Seidenweberhaus Alina Anfang street art - Alina Orav/Estonia "Reduplicated Entrance " return Facebook * Homepage * Instagram Hidden, hidden, not visible. A small picture at St. Antonstr. Easy to miss. But very interesting when you hear about its meaning. Artist info (...) Annotation: Alina's picture was something special for me. Located on St. Anton Strasse, it was completely covered by scaffolding through the company sign. That's why I only became aware of it during the week. All I could see was an intense red color and I couldn't really see anything. Despite all my attempts, I couldn't take any sensible photos of the "making off" with me. Following this action, Alina was kind enough to provide me with detailed information about her painting including some photos. For me, these were insightful conversations with Alina Orav, who is remarkably multilingual with English, Estonian, Italian and Russian. We then agreed in English. I decided to reproduce the conversation 1:1 here in the hope that this would best explain what Alina said about her artwork. I will go into more detail on one or the other in the series of pictures, even if this makes the report a little more extensive. This little work of art deserves it! Especially at heart I want the home page der put. It documents the extreme versatility of the still young artist, who is not only concerned with street art. The title of the picture comes from the artist herself. A very big thank you to Alina for her support. I value that as appreciation for my projects :-). * * * Alina Info Alina Orev to her picture Alina 08/05/2021: As you can see in the last photo - the black frame or border is part of the work. Also the windows of the upper floor continue the black frame... There are portals in other portals that are represented in the architecture of the building. Alina 08/05/21: There is also a precise vantage point from which I can photograph my work. It's across the street from the white footprints. You can also zoom in (depending on the camera). But the important part of the work is also above the painting. I play with the architecture of the existing building. Alina 08/10/21: I admire the geometric architecture of the silk weavers house. The line where the architecture ends and my painting begins is optically merged. The painting continues the architecture. The shape of the building from a bird's-eye view is reminiscent of a step pyramid, which adds a lot of historical context. Following this idea, I have depicted portals within portals on the surfaces of the structure. The painted image can be perceived as a counterpart to the step pyramid. According to Carl Gustav Jung, houses in dreams can represent the psyche of the person who perceives them. In this sense we have reached the inner child - the heart of the building - fragile, immaterial, almost fading into the wall of its heavy, robust, physical, protective concrete temple. * * * Questions to Alina 08/10/21 as a supplement to her explanations Question: Do you have a title for your picture or did I miss it somewhere? ;-) Yes. The title is "Reduplication of input". I interpret the title to mean that Alina fitted her painting into the structure of the building's facade, so to speak, and thus created a new, additional entrance. Question: A remarkably sensitive and thorough explanation of your image. I'll have to keep that in mind a few more times as I edit. I also found it fascinating that your picture was the only one that could only be seen properly after the scaffolding was removed. My feeling is that you hid while painting until everything was finished. I don't think that was on purpose, was it? Alina : Yes, the scaffolding situation was given. It was not planned. I myself first saw the work from the photos when the scaffolding was being dismantled. That's why I would be very happy about photos of the work. Question: Can you also tell me something about what the baby is holding? and what does the red ball a little to the left mean? Alina: "The baby is holding a small blue sphere in his hand. If a tunnel is a void, then a sphere is a round object that can be given different meanings depending on the context. The red ball is set in motion by the handrail of the stairs. The red ball is painted red similar to the child. Therefore, they could be related. They also create horizontal movement in the composition of the painting. The ball that the child is holding is of a similar color to the vertical cavities. Therefore, they too may be related or have a similar origin. The blue parts of the painting (including the blue sphere) create vertical movement in the composition. The sphere could also be interpreted as floating in the air due to its vaporous halo." Question: I heard that you recently became a mother :-). maybe it has something to do with your choice of subject? Alina: "The motherhood experience definitely influenced my decision to paint the child." One more thing about the child: if the building is a dream house, then the baby is a fragment of it. It is a symbol of new beginnings, birth of new ideas and also refers to future human generations. Meanwhile in the context of a human psyche - it could be a movement in the opposite direction - back to our childhood, the encounter with our own inner child. However, if the building is demolished, the baby will symbolize the inevitable passage of time - growing up. Also erasing memories." Source: Alina Orac personally Artist information Alina Orav Alina Orav born 1989 is an Estonian visual artist. She is a member of the Estonian Artists and Painters Association. She received her master's degree from the Estonian Academy of Fine Arts in 2017. She has also studied at universities in Florence and Vancouver and practiced anamorphic illusion art in London 2013 and Amsterdam 2015. She also did an internship in animation (2018) in Volda. For 16 years she has presented her works nationally and internationally at various solo exhibitions. She also showed her art at group presentations and street art festivals in Estonia, Germany, Denmark, Netherlands, Italy, Finland, Russia, Latvia, Iceland, Canada, Japan and the USA. Alina Orav has also been a curator of various group exhibitions in Finland and Canada. In 2017, Alina received a grant to develop the Polyview image - a painting that can be viewed and interpreted from different specific perspectives, each time showing a different individual composition. In 2018 she presented her invention at a world congress of the International Federation of Theater Studies in Belgrade. In the same year she presented her first multi-perspective animation at Tallinn Art Week. Alina's work can be found in private collections in Estonia, Finland, Sweden, Germany, Italy, England, Iceland, Russia and the USA. Source: official information o f City of Krefeld

Photography, Digital Art and stories by Samara Blue / Kerstin Ellinghoven. Discover lost places, urban art, street art, poetry, DAZ Studio and special places in images and words. Samara Blue - Kerstin Ellinghoven Maintenance: For a short time, some pages will be unavailable. Maintenance: For a short time, some pages will be unavailable. Maintenance: For a short time, some pages will be unavailable. Welcome Welcome to my website. This is where photography, images and words, and little stories come together. At the heart of my work are special places, unusual perspectives, and creative pieces that bring images and words together. Discover lost places, urban art, street art, poetry, and other creative projects somewhere between documentation, imagination, and stories found along the way. Art for Your Walls Photography · Image & Words · Stories Discover LOST PLACES Abandoned places & transience DAZ STUDIO 3D art, imagination & storytelling FAVORITE PLACES Places, stories & memories STREETART KREFELD Art in public spaces STREET ART DÜSSELDOR F Colours, houses & stories LYRICS & IMAGES Where words meet images ART PRINTS Selected works as prints Some of my works are also available as Fine Art Prints. Here I share ideas for how they can work in different interiors. Discover art prints → Note: My website is currently being refreshed with a new, brighter design. Over the coming weeks, the DAZ Gallery will also be reorganized and given a fresh new look. During this transition, you may notice slight differences in the appearance of some pages. Thank you for your patience, and I hope you enjoy exploring my creative home! 🌿

Urbexart I Ausgebranntes Hotel I Lost Place I Verlassene Orte I Rotten Place I Lost place Photography I Samara Blue I My Way of Art I Dreamtime Lost Place - Burned out hotel return Actually, the first time should be something special. Follow me to my first real Lost Place. Schwindelnder Blick nach oben ... Mit geliehener Kamera, von nichts wirklich eine Ahnung hat mein Mann mir diesen besonderen Ort gezeigt. Einst ein Hotel, ein Ort der Entspannung, der Ruhe mit einem Hauch von Luxus. Der Versuch, eine wenn auch traurige Geschichte nach zu empfinden. Das Leben ist wie eine Treppe: Wir wissen nie, ob es mit uns aufwärts oder abwärts geht. (Ernst R. Hauschka) - Für diese Treppe ist es das Ende. Erste Gedanken als wir das Gelände betreten. Keine Zäune, keine Absperrungen, offene Türen und Fenster ... WAZ Jun 2009 - Einst zählte es zu den besten Adressen in Wattenscheid: Das 1975 erbaute „Hotel am Südpark”, war bekannt für sein gutes Restaurant und die attraktiven Räumlichkeiten. Vielen Bürgern ist es in guter Erinnerung – unter anderem von Hochzeitsfeiern, Jubiläums-, Kegel- oder Firmentreffen. Doch das liegt lange Zeit zurück. Der Brand am 29.11.2004 bedeutete das endgültige Aus. Seitdem bieten Gebäude und Gelände einen tristen, unansehnlichen Anblick. WAZ Juni 2009 - Seitdem bieten Gebäude und Gelände einen tristen, unansehnlichen Anblick. Ein Schandfleck in der grünen Idylle an der Höntroper Straße. Der Eigentümer erklärt, sich derzeit intensiv um eine Lösung für das Objekt zu bemühen. WAZ Jun 2009 - Haus und Grundstück gehörten zu diesem Zeitpunkt der UHB-Gruppe. Geschäftsführer Holger Burhenne: „Das ist kein Objekt, das man so schnell und einfach vermarktet .... Seriös bauen wollte das Unternehmen UHB Burhenne dort. Doch die Stadt Bochum lehnte im Juli 2014 einen Antrag auf Bauvorbescheid für ein Mehrfamilienhaus ab. Es sollte dort weiter eine Gastronomie entstehen. Im September 2014 entschied das Verwaltungsgericht jedoch, dass die geplante Nutzungsänderung auf Wohnungsbau legitm sei. Siehe hierzu unten stehenden Link Knapp 2700 qm ist das Grundstück groß. Ein Mehrfamilienhaus mit 15 barrierearmen Eigentums- und Penthauswohnungen wurde geplant. Die Wohnungen sollten zwischen 79 um 142 qm groß sein. Die Gesamtkosten wurden zur dieser zeit auf € 5,3 Millionen veranschlagt. Eine Gewohnheit kann man nicht aus dem Fenster werfen. Man muss sie die Treppe hinunterboxen, Stufe für Stufe. (Mark Twain) Auf den Spuren der Vergangenem. Luxus, weitläufige hohe Räume und große Fenster lassen einen Hauch der zerstörten Schönheit auferstehen. Und doch wird hier kein Hotel mehr entstehen. Luftig helle Senioren Wohnungen wären hier durchaus denkbar. Kaum vorzustellen, dass hier einmal Besucher auf ein Bierchen in den hauseigenen Biergarten gegangen sein mögen ... Die Markus Bau, ein Bochumer Bauträgerunternehmen, stellte dann auch im Oktober 2016 den Antrrag auf Erteilung eines Bauvorbescheides für 15 Eigentumswohnungen. Der Vertrieb der Wohneinheiten soll durch die Immobilienabteilung der Sparkasse erfolgen. Die Natur ist unerbittlich und unveränderlich, und es ist ihr gleichgültig, ob die verborgenen Gründe und Arten ihres handelns dem Menschen verständlich sind oder nicht. (Galileo Galilei) WAZ Okt 2017 - Die letzten Stunden sind für das vor mehr als zwölf Jahren abgebrannte "Hotel am Südpark" angelaufen. Ein letzter nachdenklicher Blick auf die verlassene Szenerie. Entstanden sind diese Bilder im März 2016. Ein gutes Jahr bevor die Abrissbirne ihr Werk begonnen hat. WAZ Okt 2017 - Der Abschied. An einem Freitag im Oktober 2017 rückte eine Spezialfirma an und begann sogleich mit den Abrissarbeiten. Das in den vergangenen Jahren vergammelte Gebäude im grünen Umfeld des der Stadt sollte kein Ärgernis mehr für die Anwohner darstellen. Zum Schluss verschwindet die Brandruine, die nur noch ein Schandfleck und Müllabladeplatz war, schneller als man schauen kann. So sind meine Fotos eine bleibende Erinnerung an das, was hier mal war. WAZ Okt 2017 - Nun ist der Weg frei für Schöner wohnen .. Einst führten diese Stufen empor zu einem Ort, an dem Gediegenheit, Eleganz und exquisites Ambiente herrschten. Doch einmal verlassen,ist die Unerbittlichkeit der Natur überall zu sehen. Vom Menschen verlassen und ignoriert ist sie schneller und vehementer auf dem Vorzug, als man sich denkt. Ein Zeichen, dass der Mensch nur Gast auf Erden ist? - (...) Wann wird man je verstehen (..) Joan Baez/Sag mir wo die Blumen sind ... vielleicht aber einer interessanten Zukunft entgegen gegangen. Am Ende dem Abriss nicht entkommen ...