In 1796 the Academy of Fine Arts, Berlin, announced a competition for a monument to King Frederick the Great (reigned 1740–86), and in 1797 Gilly's design, set in a re-ordered Leipzigerplatz, and incorporating a powerful monumental gate, sarcophagi-lids, obelisks, and a Doric temple (suggested by a design of 1786 by Hans Christian Genelli) on a massive podium, was exhibited. With this seductive image, Gilly won the admiration of younger architects and affected many of them, including von Klenze, Schinkel, Strack, and Stüler. Gilly was profoundly influenced by French theories and buildings (notably those of Bélanger), and was closely associated with his brother-in-law, Gentz, whose Mint (1798–1800) had a frieze designed by Gilly. His later unrealized designs, such as those for a National Theatre, Berlin, with its primitive Doric portico, Diocletian windows, and clearly defined bare masses, were among the most advanced of the period, influenced by Legrand and Molinos, and eventually influencing Semper in turn. His stark (also unrealized) designs for a Stonehenge-like mausoleum are unprecedented in their stripped severity. He was Professor of Optics and Perspective at the new Bauakademie (Building Academy or School of Architecture) until his untimely death.
Bothe & Reelfs (eds.) (1994);
F. Gilly (1994);
F. Gilly & and Frick (1965);
E. Kaufmann (1952);
Middleton & and Watkin (1987);
Watkin & and Mellinghoff (1987)
"Gilly, Friedrich." A Dictionary of Architecture and Landscape Architecture. . Encyclopedia.com. (October 16, 2018). http://www.encyclopedia.com/education/dictionaries-thesauruses-pictures-and-press-releases/gilly-friedrich
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