Tendenzen Im Kirchenbau Nach 1950
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El Lissitzky Letters and Photographs, 1911-1941
http://oac.cdlib.org/findaid/ark:/13030/tf6r29n84d No online items Finding aid for the El Lissitzky letters and photographs, 1911-1941 Finding aid prepared by Carl Wuellner. Finding aid for the El Lissitzky 950076 1 letters and photographs, 1911-1941 ... Descriptive Summary Title: El Lissitzky letters and photographs Date (inclusive): 1911-1941 Number: 950076 Creator/Collector: Lissitzky, El, 1890-1941 Physical Description: 1.0 linear feet(3 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: The El Lissitzky letters and photographs collection consists of 106 letters sent, most by Lissitzky to his wife, Sophie Lissitzky-Küppers, along with his personal notes on art and aesthetics, a few official and personal documents, and approximately 165 documentary photographs and printed reproductions of his art and architectural designs, and in particular, his exhibition designs. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in German Biographical/Historial Note El Lissitzky (1890-1941) began his artistic education in 1909, when he traveled to Germany to study architecture at the Technische Hochschule in Darmstadt. Lissitzky returned to Russia in 1914, continuing his studies in Moscow where he attended the Riga Polytechnical Institute. After the Revolution, Lissitzky became very active in Jewish cultural activities, creating a series of inventive illustrations for books with Jewish themes. These formed some of his earliest experiments in typography, a key area of artistic activity that would occupy him for the remainder of his life. -
Frankfurt Rhine-Ruhr Metropole Berlin 2012
Frankfurt Rhine-Ruhr Metropole Berlin 2012 SATURDAY ICAM 16 CONFERENCE IS HOSTED BY: SEPTEMBER 1, 2012 Deutsches Architekturmuseum (DAm) Schaumainkai 43, 60596 Frankfurt Tel: +49 (0)69 212 36 706; Fax: +49 (0)69 212 36 386 www.dam-online.de Peter Cachola Schmal, Director [email protected]; mobile: +49 (0)170 85 95 840 Wolfgang Voigt, Deputy Director [email protected]; mobile: +49 (0)162 61 65 677 Inge Wolf, Head of Archive [email protected] Peter Körner [email protected]; mobile: +49 (0)177 78 88 869 MUseUM FÜR ArchitektUR Und INGenieUrkUnst NRW (m:Ai) Leithestraße 33, 45886 Gelsenkirchen Tel: +49 (0)209 92 57 80; Fax: +49 (0)209 31 98 111 www.mai-nrw.de Dr. ursula kleefisch-Jobst, Director [email protected]; mobile: +49 (0)177 58 60 210 Peter Köddermann, Project Managment [email protected]; mobile: +49 (0)177 58 60 211 Akademie Der künste (AdK) Pariser Platz 4, 10117 Berlin Tel: +49 (0)30 20 05 70; Fax: +49 (0)30 20 05 71 702 www.adk.de Dr. eva-maria Barkhofen, Head of Architectural Archive [email protected]; mobile: +49 (0)176 46 686 386 OFFICIAL TRAVEL AGENCY: AGentUR ZeitsprUNG Kokerei Zollverein, Tor 3, Arendahlswiese, 45141 Essen Tel: +49 (0)201 28 95 80; Fax: +49 (0)201 28 95 818 www.zeitsprung-agentur.de Contact person: Anne Brosk [email protected]; mobile: +49 (0)179 51 64 504 2 SATURDAY SEPTEMBER 1, 2012 PRE-CONFERENCE TOUR DAM 13.00 – 17.00 REGISTRATION / MARKET PLACE 14.00 DEPARTURE BY BUS FROM THE DAM 14.20 – 15.30 FARBWERKE HOECHST ADMINISTRATION BUILDING by Peter Behrens, 1920 – 1924 With bridge and tower, the former administration building of the Hoechst AG is a master piece of expressionist architecture. -
Introduction
Introduction The PRESSA opened its doors in Cologne on 12 May 1928. To this day, this international press exhibition, deemed by contemporaries to be the “world’s first look at the press” is unrivalled in size and importance. By the time the last ticket had been sold that October, more than five million visitors from Ger- many and around the world had taken in the facilities, halls and pavilions on the Deutzer banks of the Rhine, all of which had required an unprecedented degree of time and effort to build. They were able to admire the press exhibits and cultural presentations of the many participating nations (including the members of the League of Nations), attend the exhibition’s many informative and entertaining events and see the numerous tourist attractions in and around the host city and along the Rhine. Despite its contemporary and media-historical significance, the PRESSA has, in retrospect, hardly been studied. One might even say that it has been for- gotten. On the occasion of the 80th anniversary of its inauguration, an interna- tional interdisciplinary conference was therefore organised by the Centre for European and International Studies Research at the University of Portsmouth, the Institute of “Deutsche Presseforschung” at the University of Bremen and the Bremen Society for German Press Research in order to come to terms with the PRESSA’s significance. Along with presentations on the preparation and implementation of the exhibition and its political and artistic implications, the conference also dealt with the appearance of the German-Jewish press at the PRESSA. For the first time this press had the chance to present itself, in its own pavilion no less, as part of the general press to a wider public. -
Checklist of the Exhibition Checklist of the Exhibition Note: All Objects Are
Checklist of the exhibition Note: All objects are from the collections of the Getty Research Institute, unless otherwise noted. When “photograph” is listed as the medium, the item is a documentary photograph of an original design or artwork. Futurist Beginnings 1. El Lissitzky Cover of Solntse na izlete (Spent sun) Poems by Konstantin Bolshakov Moscow: Tsentrifuga, 1916 88-B24323 2. Natalia Goncharova Cover of Vtoroi sbornik Tsentrifugi (Second Centrifuge collection) Poems by eleven authors Moscow: Tsentrifuga, 1916 90-B4642 3. Natalia Goncharova Cover of Serdtse v perchatke (Heart in a glove) Poems by Konstantin Bolshakov Moscow: Mezonin poezii, 1913 88-B24316 4. Natalia Goncharova Cover of Vetrogradari nad lozami (Gardeners on the vines) Poems by Sergei Bobrov Moscow: Lirika, 1913 88-B24275 1 4a. Natalia Goncharova Pages from Vetrogradari nad lozami (Gardeners on the vines) Poems by Sergei Bobrov Moscow: Lirika, 1913 88-B24275 Yiddish Book Design 5. El Lissitzky Dust jacket from Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 6a. El Lissitzky Cover of Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 6b. El Lissitzky Page from Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 7. El Lissitzky Cover of Sihas hulin: Eyne fun di geshikhten (An everyday conversation: A story) Tale by Moses Broderson Moscow: Ferlag Chaver, 1917 93-B15342 8. El Lissitzky Frontispiece from deluxe edition of Sihas hulin: Eyne fun di geshikhten (An everyday conversation: A story) Tale by Moses Broderson Moscow: Shamir, 1917 93-B15342 2 9. -
Martin-Elsaesser-Kirchen
Elisabeth Spitzbart S I M E Jörg Schilling S l u i B a „Wichtig ist nur, daß unsere Generation innerlich unab - s b N r a s t b k i hängig wird und aus Sachlichkeit und aus echter Gesin - 9 n e r 7 i t p E 8 nung heraus über ihre eigene religiöse Überzeugung h ❏ ❏ l t s i 3 S o a auch zu einer eigenen künstlerischen Anschauung und p n e 8 i s 0 s t Gestaltung kommt.“ s z p 3 Die Autoren e b r 0 r Martin Elsaesser 1919 e a . I I ( B i 0 r c c d K s t i 7 h h t u i b | 7 r t Elisabeth Spitzbart studierte Kunstgeschichte und r m b i c e J 8 c s h ö e h n ö 3 0 s r e Romanistik an den Universitäten Düsseldorf, Bonn und e g c t 1 e n h e h i . b S n 0 l t m l Stuttgart. Nach Abschluss der Dissertation über „Die c a e 8 e e h u e . d A … 2 i t n l Kirchenbauten von Martin Elsaesser“ (1989) arbeitete a 0 e l n … i Stadtpfarrkirche Stuttgart-Gaisburg, 1913 s S n n 1 z … i e B , 4 g sie als wissenschaftliche Mitarbeiterin und Hochschul - e Innenraum i P u E : g K Elisabeth Spitzbart | Jörg Schilling x f E c e a assistentin am Institut für Baugeschichte der TH Karls - o e h U , r n m p e r R t - r i ruhe (heute KIT). -
International Exhibitions, Expositions Universelles and World's Fairs, 1851-2005: a Bibliography
Freie Universität Berlin, Germany California State University, Fresno, USA International Exhibitions, Expositions Universelles and World’s Fairs, 1851-2005: A Bibliography by Alexander C.T. Geppert, Jean Coffey and Tammy Lau 1. Introduction _________________________________________________________ 5 2. Research Aids ______________________________________________________ 7 2.1 Research Aids General _________________________________________________7 2.2 Bibliographies ________________________________________________________8 2.3 Review Articles ______________________________________________________10 2.4 Journals and Newsletters ______________________________________________10 3. History and Theory of International Exhibitions: General Works _______________ 11 3.1 Official Exhibition Regulations ___________________________________________11 3.2 Exhibition Theory _____________________________________________________11 3.3 Exhibition History _____________________________________________________13 4. International Exhibitions, 1851-2005 ____________________________________ 28 4.1 Australia ____________________________________________________________28 4.1.0 Australia Genera l _____________________________________________28 4.1.1 International Exhibition, Sydney 1879-1880 _________________________28 4.1.2 International Exhibition, Melbourne 1880-1881 ______________________28 4.1.3 Centennial International Exhibition, Melbourne 1888-1889 _____________28 4.1.4 Expo 88, Brisbane 1988 ________________________________________28 4.2 Austria _____________________________________________________________28 -
Herbert Bayer's Exhibition Catalogue for the 1930 Section Allemande
$UFKLWHFWXUDO Miller, W 2017 Points of View: Herbert Bayer’s Exhibition Catalogue for the 1930 Section Allemande. Architectural Histories, 5(1): 1, +LVWRULHV pp. 1–22, DOI: https://doi.org/10.5334/ah.221 RESEARCH ARTICLE Points of View: Herbert Bayer’s Exhibition Catalogue for the 1930 Section Allemande Wallis Miller Sigfried Giedion called Herbert Bayer’s exhibition catalogue for the 1930 Section Allemande a “minor typographical masterpiece.” Like similar catalogues, it is inexpensive, provides an inventory list, has an introduction, functions as a guide, and is illustrated. However, the majority of its images are of instal- lations, not their contents. Bayer accommodates the catalogue type for applied arts exhibitions by list- ing installations as objects, but he confronts the type by showing installations as display contexts that establish points of view, emulating, idealizing and interpreting the experience of the exhibition. By inde- pendently constructing ways of seeing and understanding the exhibition, the catalogue resists being an appendage to the exhibition, despite their close relationship. Giedion may have viewed Bayer’s catalogue as an important but secondary work of graphic design, but this article argues that it is of primary signifi- cance as an exhibition catalogue, an unusual essay on the book typology that is conscious of its history while moving outside — to other types of book design and to exhibitions — to transform it. Introduction In the summer of 1930, crowds filled Paris’s Grand Palais to capacity. The people were heading to the Section Alle- mande (German Section), the German Werkbund’s exhibi- tion at the annual Salon of the Société des Artistes Déco- rateurs (Society of Decorative Artists). -
Exposition Architecture
Exposition architecture Date 1936 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2095 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The Bulletin of The Museum of Modern Art A view of the Stockholm Exposition, 1930, designed by Cunnar Asplund. Exposition Arehiteeture 3 Volume 4 January 1036 Exposition Architecture Expositions, like skyscrapers, dramatize architecture for the general public. Hence they have an influence upon architectural history far greater than their intrinsic importance. Their particular atmosphere of holiday and ballyhoo, their very transience, indeed, appeal to the imagination of a wide public which is otherwise rarely stirred by any ideas of architecture at all. Real innovations of structure or design seldom make their first appearance in expositions. But World's Fairs are sounding boards for ideas, both good and bad, which have already taken solid form under more obscure conditions. At the first World's Fair, the Great Exposition of 1851 in London, the English saw a building of whose like few had ever dreamed. Technically Pax- ton's Crystal Palace was no more than an enlargement of the Palm House at Chatsworth which he had designed over a decade earlier. Yet visitors to the Crystal Palace saw a vision of buildings all of metal and glass—a vision which the architects and engineers of the time were incapable of realizing on any general scale. -
The ECB Main Building
Main Building November 2020 Contents 1 Overview 2 1.1 The commencement Error! Bookmark not defined. 1.2 Project Milestones 8 1.3 Building Description 14 1.4 Site 19 1.5 Energy Design 27 1.6 Sustainability 29 1.7 Memorial 31 1.8 Photo Gallery Timeline (2004-2015) 34 2 Competition 35 2.1 Competition phases 37 2.2 Competition format 54 3 Planning Phase 56 3.1 Different planning phases 56 3.2 Optimisation phase 57 3.3 Preliminary planning phase 59 3.4 Detailed planning phase 60 3.5 Execution planning phase 62 4 Construction Phase 65 4.1 Preliminary works 65 4.2 Structural work 71 4.3 Façade 82 4.4 Landscape architecture 85 5 Appendix 87 Main Building – Contents 1 1 Overview 1.1 The project begins 1.1.1 A new home for the ECB Upon a recommendation by the European Court of Auditors to all European institutions that it is much more economical in the long term to own premises rather than to rent office space, the ECB built its own premises on the site of the Grossmarkthalle (Frankfurt’s former wholesale market hall). The premises were designed by Vienna-based architects COOP HIMMELB(L)AU. Figure 1 185 m high office tower Main Building – Overview 2 Figure 2 120,000 m² entire site area Figure 3 250 m long Grossmarkthalle 1.1.2 Choosing the location When the Maastricht Treaty was signed in 1992, it was decided that the ECB would be located in Frankfurt am Main. In 1998, when the ECB started operations in rented offices in the Eurotower, the search for a suitable site for its own premises in Frankfurt began. -
LISSTIZKY's EXHIBITION SPACES: The
ISSN: 2179 -9938 ESPAÇOS DE EXPOSIÇÃO DE LISSTIZKY: a Grande Transição [LISSTIZKY’S EXHIBITION SPACES: the Great Transition] Inessa Kouteinikova Resumo: A contribuição de El Lisstizky para o modernismo foi decisiva em quatro diferentes áreas, as quais devo reconhecer antes de traçar sua vida e contribuição como um designer de exposições. Primeiramente, como pintor, sua criação do conceito de PROUN significando abertura de espaço e um acesso através do qual alcança a arquitetura e o design tridimensional. Em segundo lugar, como um teórico visual da arquitetura construtivista, e inventor de uma das mais dinâmicas invenções da área, o Skyhood. Em terceiro lugar, como o principal tipógrafo e ilustrador do Construtivismo, criador de um novo tipo de livro, no qual o conceito do design assumiu a apresentação da comunicação, com acesso simultâneo a todas as páginas, de modo que o livro se tornasse um tipo de objeto-PROUN. Em quarto lugar, e o menos discutido, como realizador de um novo tipo de arte na forma de um espaço de exposição total , pioneira nos seus quartos-PROUN e aplicadas nas suas exposições de propaganda 119 Soviética e industrial na Alemanha, entre 1927-1930. Palavras-chave: Espaço de exposição, design de exposição, abstração, supremacia. Abstract: El Lisstizky’s contribution to modernism was decisive in four different areas, which I should note before going on to trace his life and contribution as an exhibition designer. Firstly, as a painter, by his creation of the PROUN concept as a means of opening up space and an access through which to reach architecture and 3-dimentional design. -
Front-Page Jews: Doris Wittner's (1880-1937) Berlin Feuilletons Kerry Wallach Gettysburg College
German Studies Faculty Publications German Studies 2014 Front-Page Jews: Doris Wittner's (1880-1937) Berlin Feuilletons Kerry Wallach Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/gerfac Part of the German Language and Literature Commons, Jewish Studies Commons, and the Journalism Studies Commons Share feedback about the accessibility of this item. Wallach, Kerry. "Front-Page Jews: Doris Wittner's (1880-1937) Berlin Feuilletons." In Discovering Women's History: German-Speaking Journalists (1900-1950), edited by Christa Spreizer (Oxford: Peter Lang, 2014), 123-145. This is the publisher's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/gerfac/25 This open access book chapter is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Front-Page Jews: Doris Wittner's (1880-1937) Berlin Feuilletons Abstract In ‘Die jüdische Frau und das jüdische Buch’ (The eJ wish woman and the Jewish book), an article published 18 March 1931 on the front page of the Jüdisch-liberale Zeitung, Doris Wittner included the following lines that concisely sum up her pioneering ideological and political agendas: ‘Aber bis der endgültige Rechtspruch über des Weibes Ruf und Berufung erfolgt, werden wir -
El Lissitzky Graphic Work in the Merrill C
EL LISSITZKY GRAPHIC WORK IN THE MERRILL C. BERMAN COLLECTION Published by the Merrill C. Berman Collection Concept and notes by Adrian Sudhalter Design and production by Joelle Jensen and Jolie Simpson Photography by Joelle Jensen and Jolie Simpson Printed and bound by www.blurb.com Images © 2018 the Merrill C. Berman Collection Images courtesy of the Merrill C. Berman Collection © 2018 The Merrill C. Berman Collection, Rye, New York Cover image: Detail from El Lissitzky Announcements and order forms in German (Foto-Auge), French (Oeil et Photo), and English (Photo-Eye) for the book: Franz Roh and Jan Tschichold, Foto-Auge: 76 Fotos der Zeit. Stuttgart: Akademischer Verlag Dr. Fritz Wedekind & Co., 1929 5 3/8 x 4” (13.6 x 10.1 cm) (see pp. 72-73) Works in this volume are cross-referenced to “Summary Catalogue of Typographi- cal Work by El Lissitzky” and the “Annotated Transcript of El Lissitzky’s Proun Inven- tory” in Peter Nisbet, ed., El Lissitzky, 1890-1941: Catalogue for an Exhibition of Selected Works from North American Collections, the Sprengel-Museum Hanover and the Staatliche Galerie Moritzburg Halle (Cambridge, MA: Harvard University Art Museums, Busch-Reisinger Museum, 1987), by the abbreviation: [Nisbet ]. TABLE OF CONTENTS 7 VITEBSK 1919-1920 13 BERLIN 1922-1923 47 HANNOVER and LOCARNO 1923-1925 69 MOSCOW, COLOGNE, DRESDEN, and LEIPZIG 1926-1939 121 APPENDIX VITEBSK 1919-1920 7 Cover for sheet music of the Société de la musique hébraïque (Society of Jewish Music), no. 47: Ijaillit une Larme / Noteif Notfoh by Alexandre Creïn Moscow: Obshchestvo evreiskoi muzyki, 1919 Sheet music, two folded sheets (four pages) 12 1/8 x 9 5/8” (32 x 25 cm) [Nisbet 1919/10] Note: Lissitzky’s uniform design for sheet music of the Société de la musique hébraïque was used for a series of musical composi- tions, including those by Alexandre Creïn (1883-1951) and by the Jewish music revivalist Joel Engel (1868-1927).