Stones Do Not Speak for Themselves’: Disentangling Berlin’S Palimpsest
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Berger ENG Einseitig Künstlerisch
„One-sidedly Artistic“ Georg Kolbe in the Nazi Era By Ursel Berger 0 One of the most discussed topics concerning Georg Kolbe involves his work and his stance during the Nazi era. These questions have also been at the core of all my research on Kolbe and I have frequently dealt with them in a variety of publications 1 and lectures. Kolbe’s early work and his artistic output from the nineteen twenties are admired and respected. Today, however, a widely held position asserts that his later works lack their innovative power. This view, which I also ascribe to, was not held by most of Kolbe’s contemporaries. In order to comprehend the position of this sculptor as well as his overall historical legacy, it is necessary, indeed crucial, to examine his œuvre from the Nazi era. It is an issue that also extends over and beyond the scope of a single artistic existence and poses the overriding question concerning the role of the artist in a dictatorship. Georg Kolbe was born in 1877 and died in 1947. He lived through 70 years of German history, a time characterized by the gravest of political developments, catastrophes and turning points. He grew up in the German Empire, celebrating his first artistic successes around 1910. While still quite young, he was active (with an artistic mission) in World War I. He enjoyed his greatest successes in the Weimar Republic, especially in the latter half of the nineteen twenties—between hyperinflation and the Great Depression. He was 56 years old when the Nazis came to power in 1933 and 68 years old when World War II ended in 1945. -
Framed Memories of Berlin
Framed Memories of Berlin Kacmaz Erk, G., & Wilson, C. (2018). Framed Memories of Berlin: Film, Remembrance and Architecture. Architecture and Culture, 6(2), 243-263. https://doi.org/10.1080/20507828.2018.1478513 Published in: Architecture and Culture Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights Copyright 2018 Taylor and Francis. This work is made available online in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:02. Oct. 2021 Framed Memories of Berlin: Film, Architecture and Remembrance Abstract Collective memory can be defined as a shared notion of how a social group constructs its past. Architecture and cinema play a major role in the creation of collective memory, buildings by structuring lived experiences and films by framing, re-presenting and fixing those experiences so that they can be collectively revisited. -
Jonathan C. Got Berlin Perspectives on Architecture 1 Olympiastadion
Jonathan C. Got Berlin Perspectives on Architecture Olympiastadion – Germania and Beyond My personal interest with the Olymiastadion began the first week I arrived in Berlin. Having only heard about Adolf Hitler’s plans for a European Capital from documentaries and seen pictures of Jesse Owen’s legendary victories in the ill-timed 1936 Summer Olympics, I decided to make a visit myself. As soon as I saw the heavy stone colonnade from the car park I knew it could only have been built for one purpose – propaganda for the Third Reich beyond Germania. Remodelled for the 1936 Summer Olympics in Berlin by Hitler’s favorite architects Werner March (whose father, Otto March, designed the original 1913 stadium) and Albert Speer, the Olympiastadion was a symbol of power for the National Socialist party and an opportunity to present propaganda in the form of architecture. Being the westernmost structure on Hitler’s ‘capital city of the world’, the stadium was designed to present the then National Socialist Germany to the rest of the world as a power to be reckoned with. Any visitor to the stadium doesn’t only see the gigantic stadium, but also experiences the whole Olympic complex. Visitors would arrive at a 10-platform S-Bahn station able to serve at high frequencies for large events and then walk several hundred meters with a clear view of the huge imposing stone stadium as soon as visitors reached the car park. Though some might argue that neither the U- nor S-Bahn stations named after the stadium provided convenient access to the sports grounds, one has to consider the scale of the event. -
Actes Colloque Chasse.Pdf
FONDATION MUSÉE DE LA CHASSE ACTES DE COLLOQUE FRANÇOIS SOMMER ET DE LA NATURE SYMPOSIUM PROCEEDINGS RECONNUE D’UTILITÉ PUBLIQUE 62, RUE DES ARCHIVES DÉCRET DU 30-11-1966 75003 PARIS, FRANCE 19 & 20 MARS 2015 WWW.CHASSENATURE.ORG EXPOSER LA CHASSE ? EXHIBITING HUNTING? SYNTHÈSE DU COLLOQUE À travers le monde, de nombreux musées sont consacrés à la chasse. La nature de leurs collections comme leur agencement muséographique expriment différentes conceptions de la relation de l’homme à l’animal sauvage. Si leurs concepteurs poursuivent des fins artistiques, naturalistes ou ethnographiques, la perception du visiteur est influencée par sa sensibilité et le rapport qu’il entretient lui-même à la chasse. Alors que la chasse est aujourd’hui de moins en moins familière, il peut s’avérer nécessaire d’adapter l’agencement des collections ainsi que les dispositifs d’interprétation afin de pallier la méconnaissance du public. « Exposer la chasse ? » constitue l’un des aboutissements du projet initial de la division Culture du C.I.C. (conseil international de la chasse et de la conservation du gibier - présidée par Alexandre Poniatowski) de réactualiser l’Annuaire des musées de chasse dans le monde édité en 1975. Le colloque, organisé par la Fondation François Sommer pour la chasse et la nature en collaboration avec le C.I.C. est placé sous l’autorité d’un comité scientifique composé de Claude d’Anthenaise (directeur du musée de la Chasse et de la Nature), d’Yves Bergeron (professeur de muséologie et de patrimoine à l’Université du Québec à Montréal), de Sergio Dalla Bernardina (professeur d’ethnologie à l’Université de Bretagne occidentale), de Philippe Descola (anthropologue et professeur au Collège de France) et de Nélia Dias (professeur au département d’anthropologie de l’université de Lisbonne). -
German History Reflected
The Detlev Rohwedder Building German history reflected GFE = 1/2 Formathöhe The Detlev Rohwedder Building German history reflected Contents 3 Introduction 44 Reunification and Change 46 The euphoria of unity 4 The Reich Aviation Ministry 48 A tainted place 50 The Treuhandanstalt 6 Inception 53 The architecture of reunification 10 The nerve centre of power 56 In conversation with 14 Courage to resist: the Rote Kapelle Hans-Michael Meyer-Sebastian 18 Architecture under the Nazis 58 The Federal Ministry of Finance 22 The House of Ministries 60 A living place today 24 The changing face of a colossus 64 Experiencing and creating history 28 The government clashes with the people 66 How do you feel about working in this building? 32 Socialist aspirations meet social reality 69 A stroll along Wilhelmstrasse 34 Isolation and separation 36 Escape from the state 38 New paths and a dead-end 72 Chronicle of the Detlev Rohwedder Building 40 Architecture after the war – 77 Further reading a building is transformed 79 Imprint 42 In conversation with Jürgen Dröse 2 Contents Introduction The Detlev Rohwedder Building, home to Germany’s the House of Ministries, foreshadowing the country- Federal Ministry of Finance since 1999, bears wide uprising on 17 June. Eight years later, the Berlin witness to the upheavals of recent German history Wall began to cast its shadow just a few steps away. like almost no other structure. After reunification, the Treuhandanstalt, the body Constructed as the Reich Aviation Ministry, the charged with the GDR’s financial liquidation, moved vast site was the nerve centre of power under into the building. -
2009 6 N.Roseau, L'espace Aér
(! ?»8FC4684uE<8A8G?8F9BE@8F 6BAG8@CBE4<A8F78?4I<??8 A4G;4?<8EBF84H Au début du vingtième siècle, deux nouveaux instruments de déplacement font leur apparition, l’automobile et l’avion. Même si l’avion est réservé aux pionniers de l’air, nombreux sont ceux qui considèrent que cette inven- tion peut révolutionner la mobilité et la perception de l’espace. Les espoirs qui accompagnent sa naissance témoignent d’une grande con!ance dans l’avenir. Des perspectives sont alors ouvertes aux urbanistes, qui vont capter les attributs aériens : la conquête de l’espace aérien et la colonisation des hauteurs, la fascination pour l’instantanéité du déplacement, le désir de pureté et de détachement. Peu à peu, la thématique aérienne fait une entrée remarquée dans l’imaginaire urbain. Les images produites révèlent souvent l’absence relative d’une infrastructure médiatrice entre l’avion et la ville. Dé!ant la pesanteur et les hauteurs, compri- mant un peu plus l’espace-temps, l’avion semble pouvoir s’en affranchir et arriver directement en ville. Il ne nécessite pas de réseau physique spéci!que, et l’objet est suf!samment compact pour que certains visionnaires puissent l’imaginer se poser n’importe où. La notion d’aéroport n’apparaît d’ailleurs qu’à la !n des années 20, n’empêchant pas la poursuite des ré"exions sur 82 ?¹8FC4684uE<8A8G?8F9BE@8F6BAG8@CBE4<A8F78?4I<??8 l’accueil de l’avion en ville, comme l’atteste par exemple, le projet d’Aéroparis proposé en 1932 par André Lurçat sur l’Ile aux Cygnes1. -