
The Upper Palatinate is dull, nothing but dull….
Tucked away in the North of Bavaria, yet devoid of any mountains or other geographical features worth mentioning, resting its quiet and sedate existence somewhere between Munich and Southern Saxony, this area has always been overlooked, just been travelled through and generally been sidelined, if not avoided.
The strong regional dialect, even by Bavarian standards, as well as its proximity to the iron curtain during the time of the Cold War, didn’t help either.
Here, the straight line and the right-angle rule.
The house walls are straight, the windows are square, the doorbells feature the names of the residents in printed capitals. The lawns are straight, the gardens are well maintained and yet unimaginative. In this part of the world, no one wants to stand out.
Adventurous souls who live here, and happen to work in one of the local factories producing bathroom tiles, might decorate the outside of their houses with them, but only if they find enough tiles, to cover all surfaces in the same, monotonous shades of brown or green….
It was here, where I saw my first few days in practice as a qualified vet, taking care of the predominantly large animal patients of a colleague who had previously provided me with an internship at his small countryside clinic. Just a few days after my final exams, he had suffered a near fatal cardiac arrhythmia, so that without any prior warning, I had found myself on the yards and in the stables of the small local farms, where I required the help of the local trouble maker (who’s father had just been jailed for trying and failing to rob the village bank with a plastic gun….) riding shotgun, to translate for me and to make sure that I wasn’t chased off the premises as a foreign intruder….
These days were long gone and there was now little reason for me to stop here on my way to the more appealing countryside of nearby Bohemia. But just then, a sign next to the nearly empty motorway caught my attention…..
Like the bud of a single, yet hardy flower, rearing its head through brittle tarmac, something appeared to have changed since my last visit to the region.

In Abensberg, just a few miles away from the motorway, a golden sphere with a ring of portholes was dominating the skyline. Despite a weight of not less than 12 metric tons, balancing at a height of 35 meters on top of a colourful, yet fragile looking tower, this impossible looking structure, in a single instance, dashed all my preconceptions of the area.


This tower, part of the local brewery, was accompanied by a nearby building, that was anything, but neither straight nor plain or dull. Nearly devoid of right angles or any uniform areas of paint, with uneven walls and oval windows, it was featuring a spire, that was covered in a patchwork of dark and golden tiles while leaning in a precarious angle.

All corners and pointed elements were adorned with small globes in various colours and the whole structure was seemingly held together by a dendritic network of red and blue ceramic shards, that covered the whole building like a mesh of blood vessels or tropical ivy.


Unmistakably this building, as well as the brewery tower, showed the hand writing of the Austrian artist Friedensreich Hundertwasser. The gallery inside the art house provided a retrospective of the life of this colourful exponent of Central European art of the outgoing 20th century.
A tireless painter and beautifier of mostly urban buildings, Hundertwasser did not hesitate to apply his craft to power plants, to motorway service stations, to stamps, to kindergartens and even to public conveniences. Building one of the most unusual towers you will ever see, next to a traditional Bavarian brewery was not really an exception.

Producing most of his colourful paintings and construction plans in complete solitude in very basic, remote locations, that frequently lacked even the luxury of electricity or running water, it seemed natural, that by placing his works in areas where they were least expected , they generated the largest impact and transformation.
This neglected part of Germany not only provided the perfect canvas for his work, in return it presented the region and the local community with a steady stream of visitors for many years to come, and the imagination of one man is likely to inspire generations of future regional artists.

While Hundertwasser had the idea and had provided the initial drawings for the Kuchlbauer Tower, he sadly never saw the structure or the remarkable art house with his own eyes.

With the artist expiring in emblematic fashion on board of the QE 2 in the South Pacific at the turn of the century, it was left to his co-worker and friend Peter Pelikan to construct and to build this island of colour, curves and light in a Sea of straight lines….



























































































