Berlin City Highlights (A Small Range of Highlights)
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L Oca Tion Condominiums by the East Side Gallery
CONDOMINIUMS BY THE EAST SIDE GALLERY SIDE EAST THE BY CONDOMINIUMS LOCATION LOCATION e the food and nightlife and nightlife e the food PAGE 2 INTRODUCTION In the midst of the inspiring bustle of the metropolis, around a lovingly landscaped garden courtyard, a pleasant refuge that lends its inhabitants peace and energy for the vibrant life outside its front entrance is emerging. The enduring, timeless elegance of the architecture and the stylish serenity of the mate- rials and surfaces sourced with self-assured taste create this pure reflection of a distinctive residential lifestyle. Few places in Berlin condense the city’s new cosmopolitan places in Berlin condense the city’s Few Spree. of the River on the banks Anschutz site the flair like new world a whole of Friedrichshain, district In the vibrant busi- and lifestyle work-life shopping, of entertainment, and labels with an international hip Berlin startups nesses, all from the same time, visitors At is opening up. reputation and the Gallery Side the East to flocking are the world over neighbourhoods wher surrounding Berlin flair. with a pure entice Berlin flair Pure lifestyle residential of a distinctive expression Pure Berlin – world-class metropolis by the Spree PAGE 4 LOCATION As established as Paris, as liveable as Copenhagen, as hip as New York – the German capital is very popular in many respects. Visitors are flocking to Berlin to experience its diverse cultural landscape and retrace European history. Students, artists and those with great ambitions are mov- ing to Berlin to be part of the vibrant art or startup scene and experience the spirit of the city that is constantly reinventing itself. -
Hocquet (Centre Max Weber, Université Jean Monnet - Saint-Étienne) [email protected]
Urbanities, Vol. 3 · No 2 · November 2013 © 2013 Urbanities The Exhibition of Communist Objects and Symbols in Berlin’s Urban Landscape as Alternative Narratives of the Communist Past Marie Hocquet (Centre Max Weber, Université Jean Monnet - Saint-Étienne) [email protected] The objective of this article is to investigate the different approaches at play in the material and symbolic production of the urban space through the study of the transformations of the East-Berlin urban landscape since the German reunification. I will show how the official accounts of the ex-GDR have crystallised in the Berlin urban space through the construction of a negative heritage. I will then focus on how the increase in historic tourism in the capital has contributed to the emergence of legible micro-accounts related to the local communist past in the urban space that compete with the official interpretations of this past. Key words: Berlin, symbolism, communism, heritage Introduction Urban space can be considered as a privileged place where one can observe the work of self- definition undertaken by societies. This is because human beings take their place in a physical environment by materialising their being-in-the-world. The urban landscape is defined by Mariusz Czepczyński as a ‘visible and communicative media through which thoughts, ideas and feelings, as well as powers and social constructions are represented in a space’ (Czepczyński 2010: 67). In the process outlined above, the narrativisation of the past and its inscription in the urban space is a phenomenon of primary importance. Our cities’ landscapes are linked to memory in a dynamic process which constantly urges societies to visualise themselves, to imagine the future and to represent themselves in it. -
Design Competition Brief
Design Competition Brief The Museum of the 20th Century Berlin, June 2016 Publishing data Design competition brief compiled by: ARGE WBW-M20 Schindler Friede Architekten, Salomon Schindler a:dks mainz berlin, Marc Steinmetz On behalf of: Stiftung Preußischer Kulturbesitz (SPK) Von-der-Heydt-Straße 16-18 10785 Berlin Date / as of: 24/06/2016 Design Competition Brief The Museum of the 20th Century Part A Competition procedure ..............................................................................5 A.1 Occasion and objective .......................................................................................... 6 A.2 Parties involved in the procedure ........................................................................... 8 A.3 Competition procedure .......................................................................................... 9 A.4 Eligibility ............................................................................................................... 11 A.5 Jury, appraisers, preliminary review ...................................................................... 15 A.6 Competition documents ....................................................................................... 17 A.7 Submission requirements ...................................................................................... 18 A.8 Queries ................................................................................................................. 20 A.9 Submission of competition entries and preliminary review ................................. -
Revision Guide – History Around Us Stasi Prison
The Gryphon School GCSE HISTORY UNIT 3: HISTORY AROUND US The Prohibited District: Berlin Hohenschonhausen REVISION GUIDE 1 The exam: You will take one exam of one hour for this unit. You will be required to answer TWO questions out of a choice of three. Note: Each school has chosen a different site to study, so questions will always refer to “your site” rather than Hohenschonhausen. SPECIMEN PAPER: As part of your GCSE (9–1) History B (Schools History Project) course you have studied a historical site and what remains of it today. Refer to features from the site as well as other sources you have studied and your own knowledge of the past to help you with the questions below. You may find it helpful to draw a simple sketch of the site you have studied before you start. This may remind you of its main features. You are advised to spend no more than three minutes doing this. In your answers, you may include simple sketches of features that can be seen at your site if you think this will help you to explain your ideas. Answer any two questions 1. Did your site change dramatically over its history? Use physical features of the site and other sources as well as your knowledge to support your answer. [20] Spelling, punctuation and grammar [5] 2. Explain how we can know that your site was important to people at a particular time in its history. Use physical features of the site and other sources as well as your knowledge to support your answer. -
Berlin by Sustainable Transport
WWW.GERMAN-SUSTAINABLE-MOBILITY.DE Discover Berlin by Sustainable Transport THE SUSTAINABLE URBAN TRANSPORT GUIDE GERMANY The German Partnership for Sustainable Mobility (GPSM) The German Partnership for Sustainable Mobility (GPSM) serves as a guide for sustainable mobility and green logistics solutions from Germany. As a platform for exchanging knowledge, expertise and experiences, GPSM supports the transformation towards sustainability worldwide. It serves as a network of information from academia, businesses, civil society and associations. The GPSM supports the implementation of sustainable mobility and green logistics solutions in a comprehensive manner. In cooperation with various stakeholders from economic, scientific and societal backgrounds, the broad range of possible concepts, measures and technologies in the transport sector can be explored and prepared for implementation. The GPSM is a reliable and inspiring network that offers access to expert knowledge, as well as networking formats. The GPSM is comprised of more than 150 reputable stakeholders in Germany. The GPSM is part of Germany’s aspiration to be a trailblazer in progressive climate policy, and in follow-up to the Rio+20 process, to lead other international forums on sustainable development as well as in European integration. Integrity and respect are core principles of our partnership values and mission. The transferability of concepts and ideas hinges upon respecting local and regional diversity, skillsets and experien- ces, as well as acknowledging their unique constraints. www.german-sustainable-mobility.de Discover Berlin by Sustainable Transport This guide to Berlin’s intermodal transportation system leads you from the main train station to the transport hub of Alexanderplatz, to the redeveloped Potsdamer Platz with its high-qua- lity architecture before ending the tour in the trendy borough of Kreuzberg. -
He Big “Mitte-Struggle” Politics and Aesthetics of Berlin's Post
Martin Gegner he big “mitt e-struggl e” politics and a esth etics of t b rlin’s post-r nification e eu urbanism proj ects Abstract There is hardly a metropolis found in Europe or elsewhere where the 104 urban structure and architectural face changed as often, or dramatically, as in 20 th century Berlin. During this century, the city served as the state capital for five different political systems, suffered partial destruction pós- during World War II, and experienced physical separation by the Berlin wall for 28 years. Shortly after the reunification of Germany in 1989, Berlin was designated the capital of the unified country. This triggered massive building activity for federal ministries and other governmental facilities, the majority of which was carried out in the old city center (Mitte) . It was here that previous regimes of various ideologies had built their major architectural state representations; from to the authoritarian Empire (1871-1918) to authoritarian socialism in the German Democratic Republic (1949-89). All of these époques still have remains concentrated in the Mitte district, but it is not only with governmental buildings that Berlin and its Mitte transformed drastically in the last 20 years; there were also cultural, commercial, and industrial projects and, of course, apartment buildings which were designed and completed. With all of these reasons for construction, the question arose of what to do with the old buildings and how to build the new. From 1991 onwards, the Berlin urbanism authority worked out guidelines which set aesthetic guidelines for all construction activity. The 1999 Planwerk Innenstadt (City Center Master Plan) itself was based on a Leitbild (overall concept) from the 1980s called “Critical Reconstruction of a European City.” Many critics, architects, and theorists called it a prohibitive construction doctrine that, to a certain extent, represented conservative or even reactionary political tendencies in unified Germany. -
Virtual Germans
Berlin Program for Advanced German & European Studies Berlin Program Summer Workshop Virtual Germans June 19-20, 2014 Freie Universität Berlin Preliminary Program In her travels through Eastern Europe in the 1990s, the writer Ruth Ellen Gruber noted that non-Jews were embracing, creating, and marketing an idea of Jewishness that had little to do with the Jews who had lived in the region before the Holocaust. Through practices and cultural products, these “virtual Jews” had come in dialog with “their own visions of Jews and Jewish matters, and themselves.” In recent years, the historian Winson Chu has adapted this concept to show the enactment of a “virtually German” culture that serves commercial interests, European reconciliation, and cosmopolitan credentials in Poland today. In 2014, the Berlin Program summer workshop will invite papers that expand upon the idea of “virtual Germans” in a variety of constellations, including Germans and German-speakers who have fashioned new identities for themselves abroad, people living in Germany of diverse backgrounds whose German belonging is contested, as well as constructions of Germanness in the virtual realm of cyberspace and in the classroom. This workshop will pay special attention to the global flow of “Germanness” as well as to its local constructions. By exploring such representations and contestations, we can see how new definitions of Germanness arise and how new inclusions and exclusions are made. Thursday, June 19 9:00-9:15 Arrival & Coffee 9:15-9:30 Opening Remarks & Introduction 9:30-11:00 -
Berlin - Wikipedia
Berlin - Wikipedia https://en.wikipedia.org/wiki/Berlin Coordinates: 52°30′26″N 13°8′45″E Berlin From Wikipedia, the free encyclopedia Berlin (/bɜːrˈlɪn, ˌbɜːr-/, German: [bɛɐ̯ˈliːn]) is the capital and the largest city of Germany as well as one of its 16 Berlin constituent states, Berlin-Brandenburg. With a State of Germany population of approximately 3.7 million,[4] Berlin is the most populous city proper in the European Union and the sixth most populous urban area in the European Union.[5] Located in northeastern Germany on the banks of the rivers Spree and Havel, it is the centre of the Berlin- Brandenburg Metropolitan Region, which has roughly 6 million residents from more than 180 nations[6][7][8][9], making it the sixth most populous urban area in the European Union.[5] Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one- third of the city's area is composed of forests, parks, gardens, rivers, canals and lakes.[10] First documented in the 13th century and situated at the crossing of two important historic trade routes,[11] Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933) and the Third Reich (1933–1945).[12] Berlin in the 1920s was the third largest municipality in the world.[13] After World War II and its subsequent occupation by the victorious countries, the city was divided; East Berlin was declared capital of East Germany, while West Berlin became a de facto West German exclave, surrounded by the Berlin Wall [14] (1961–1989) and East German territory. -
List of Contents
List of Contents Foreword 7 The Architectural History of Berlin 9 The Buildings 25 Gothic St. Nikolaikirche (St. Nicholas Church, Mitte) 16 • St. Marienkirche (St. Mary's Church) 18 • St. Nikolaikirche (St. Nicholas Church, Spandau) 20 • Dorfkirche Dahlem (Dahlem Village Church) 22 Renaissance Jagdschloss Grunewald (Grunewald Hunting Palace) 24 • Zitadelle Spandau (Spandau Citadel) 26 • Ribbeckhaus (Ribbeck House) 28 Baroque Palais Schwerin (Schwerin Palace) 30 • Schloss Köpenick (Köpenick Palace) 32 • Schloss Friedrichsfelde (Friedrichsfelde Palace) 34 • Schloss Charlottenburg (Charlottenburg Palace) 36 • Zeughaus (Armoury) 38 • Parochialkirche (Parochial Church) 40 • Sophienkirche (Queen Sophie Church) 42 • Staatsoper (State Opera) Unter den Linden and Hedwigskathedrale (St. Hedwig's Cathedral) 44 • Humboldt- Universität (Humboldt University) and Alte Bibliothek (Old Library) 46 • Ephraim-Palais (Ephraim Palace) 48 • Deutscher Dom (German Dome Church) and Französischer Dom (French Dome Church) 50 • Die Stadt- palais (Town Palaces) Unter den Linden 52 Classicism Schloss Bellevue (Bellevue Palace) 54 • Brandenburger Tor (Branden- burg Gate) 56 • Pfaueninsel (Peacock Island) 58 • Neue Wache (New Guardhouse) 60 • Schauspielhaus / Konzerthaus (Playhouse/ Concert Hall) 62 • Friedrichswerdersche Kirche (Friedrichswerder Church) 64 • Altes Museum (Old Museum) 66 • Schloss Klein-Glienicke List of Contents 13 Bibliografische Informationen digitalisiert durch http://d-nb.info/1008901288 (Klein-Glienicke Palace) 68- Blockhaus Nikolskoe and St. -
Exploring the Altes Museum the Altes Museum Or Old Museum Was
1 Sara Marcus 12-11-18 From Royalty to Bourgeoisie: Exploring the Altes Museum The Altes Museum or Old Museum was constructed in Berlin between 1824-30 by Karl Friedrich Schinkel (1781-1841). Originally known as the “Königliches Museum,” it was commissioned by King Friedrich Wilhelm III of Prussia for the purpose of being the first public art museum in Prussia as well as the first royal museum. As the relationship in the 19th century changed between art, the observer, and who should be a part of that experience, the Altes Museum was erected to embody the idea of Berlin as a center of learning and culture, and to elevate its citizens in the presence of art. The Berlin Museum emerged from a small group of the ruling class and it was first officially demanded and proclaimed by the Art Academy under Friedrich Wilhelm II. (Das Berliner Museum entsteht aus einer kleinen Gruppe der herrschenden Schicht. Öffntlich wurde es zuerst gefordrt und verkundet… in der Kunstakademie unter Friedrich Wilhelm II.)1 After the Wars of Liberation, his son, King Friedrich Wilhelm III, continued to advocate for the foundation of a public art museum to display the collection of artifacts that Prussia had amassed over the years. During the reign of Napoleon, Prussian art was forcefully taken to be displayed in Paris, which alerted the Prussian people that a permanent home to show off their national heritage was necessary.2 While ideas for a museum were already in the air, it is safe to say that the main reason why construction started when it did was in response to Napoleon’s looting. -
Berlin's New Cultural Heart
I Research Text Berlin’s new cultural heart Cultural stronghold and historical centre Berlin, September 2017 – Today, Berlin belongs to one of Europe’s leading centres of culture – and its heart beats strongest directly in the old historical city. For centuries, Berlin’s city centre has been home to a unique concentration of outstanding cultural institutions constructed on the ground where the medieval city of Berlin was founded. The modern Mitte district does not just boast the UNESCO World Heritage Site of the Museum Island, but also two opera houses and six major theatres, as well as museums, innumerable galleries and arts venues. Now, this cultural ensemble is gaining a new dimension with many new major cultural projects located here, just a few minutes’ walk apart. You can find an overview of the main on-going and planned landmark projects below. Pierre Boulez Saal Opened in March 2017, the new Pierre Boulez Saal is a major international concert hall. Initiated by Daniel Barenboim, General Music Director of the Staatsoper Unter den Linden, the hall was developed by American architect Frank Gehry and with globally acclaimed acoustician Yasuhisa Toyota creating the impeccable acoustics. Lined with light Canadian cedarwood, the Pierre-Boulez-Saal offers a flexible design allowing the auditorium’s seating as well as the stage to be arranged in various constellations for a wide spectrum of events. The concert hall is also the public face of the Barenboim-Said Akademie, not only serving as its home venue but also a space where young musicians from conflict zones in the Middle East can practice under the guidance of their mentors. -
Heinrich Zille's Berlin Selected Themes from 1900
"/v9 6a~ts1 HEINRICH ZILLE'S BERLIN SELECTED THEMES FROM 1900 TO 1914: THE TRIUMPH OF 'ART FROM THE GUTTER' THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Catherine Simke Nordstrom Denton, Texas May, 1985 Copyright by Catherine Simke Nordstrom 1985 Nordstrom, Catherine Simke, Heinrich Zille's Berlin Selected Themes from 1900 to 1914: The Trium of 'Art from the Gutter.' Master of Arts (Art History), May, 1985, 139 pp., 71 illustrations, bibliography, 64 titles. Heinrich Zille (1858-1929), an artist whose creative vision was concentrated on Berlin's working class, portrayed urban life with devastating accuracy and earthy humor. His direct and often crude rendering linked his drawings and prints with other artists who avoided sentimentality and idealization in their works. In fact, Zille first exhibited with the Berlin Secession in 1901, only months after Kaiser Wilhelm II denounced such art as Rinnsteinkunst, or 'art from the gutter.' Zille chose such themes as the resultant effects of over-crowded, unhealthy living conditions, the dissolution of the family, loss of personal dignity and economic exploi tation endured by the working class. But Zille also showed their entertainments, their diversions, their excesses. In so doing, Zille laid bare the grim and the droll realities of urban life, perceived with a steady, unflinching gaze. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . S S S . vi CHRONOLOGY . xi Chapter I. INTRODUCTION . 5 . 1 II. AN OVERVIEW: BERLIN, ART AND ZILLE . 8 III. "ART FROM THE GUTTER:" ZILLE'S THEMATIC CHOICES .