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A Theme Study of Lesbian, Gay, Bisexual, Transgender, and Queer History Is a Publication of the National Park Foundation and the National Park Service
Published online 2016 www.nps.gov/subjects/tellingallamericansstories/lgbtqthemestudy.htm LGBTQ America: A Theme Study of Lesbian, Gay, Bisexual, Transgender, and Queer History is a publication of the National Park Foundation and the National Park Service. We are very grateful for the generous support of the Gill Foundation, which has made this publication possible. The views and conclusions contained in the essays are those of the authors and should not be interpreted as representing the opinions or policies of the U.S. Government. Mention of trade names or commercial products does not constitute their endorsement by the U.S. Government. © 2016 National Park Foundation Washington, DC All rights reserved. No part of this publication may be reprinted or reproduced without permission from the publishers. Links (URLs) to websites referenced in this document were accurate at the time of publication. PRESERVING LGBTQ HISTORY The chapters in this section provide a history of archival and architectural preservation of LGBTQ history in the United States. An archeological context for LGBTQ sites looks forward, providing a new avenue for preservation and interpretation. This LGBTQ history may remain hidden just under the ground surface, even when buildings and structures have been demolished. THE PRESERVATION05 OF LGBTQ HERITAGE Gail Dubrow Introduction The LGBTQ Theme Study released by the National Park Service in October 2016 is the fruit of three decades of effort by activists and their allies to make historic preservation a more equitable and inclusive sphere of activity. The LGBTQ movement for civil rights has given rise to related activity in the cultural sphere aimed at recovering the long history of same- sex relationships, understanding the social construction of gender and sexual norms, and documenting the rise of movements for LGBTQ rights in American history. -
Galka Scheyer: Eine Jüdische Kunsthändlerin (Braunschweig, 26-28 Nov 19)
Galka Scheyer: eine jüdische Kunsthändlerin (Braunschweig, 26-28 Nov 19) Braunschweig, 26.–28.11.2019 Eingabeschluss: 30.04.2019 Katrin Keßler, Bet Tfila - Forschungsstelle für jüdische Architektur in Europa [English below] Die Malerin, Kunsthändlerin und –sammlerin Galka Scheyer, geboren 1889 als Emilie Esther Schey- er, stammte aus einer Braunschweiger Unternehmerfamilie, der die seinerzeit größte Konservenfa- brik der Stadt gehörte. Für ein jüdisches Mädchen aus gutbürgerlichem Haus ist ihre Biographie überraschend. Ihr Weg führte sie bis in die USA, wo sie seit 1924 lebte und 1945 in Hollywood starb. Eine allgemeine Bekanntschaft erlangte sie nicht, wohl aber die „Blaue Vier“, die sie gemein- sam mit vier anerkannten Künstlern des Weimarer Bauhauses gründete: Paul Klee, Wassily Kand- insky, Lyonel Feininger und Alexej von Jawlensky. Anfangs hatte Emilie Scheyer eigene künstlerische Ambitionen. Im Alter von 16 Jahren hatte sie Deutschland verlassen, um in England, Frankreich, Belgien und der Schweiz Malerei, Bildhauerei und Musik zu studieren. In der Schweiz lernte sie 1916 Jawlensky kennen und beschloss, nicht mehr selbst künstlerisch tätig zu sein, sondern ihre Energie der Vermittlung und dem Verkauf sei- ner Werke zu widmen. Mit der Gründung der Künstlergruppe „Blaue Vier“ im Jahre 1924 wurde sie zur offiziellen Kunsthändlerin der „vier blauen Könige“, wie sie selbst „ihre“ Künstler nannte. Sie organisierte zahlreiche Ausstellungen und Lichtbildvorträge, unternahm Reisen durch Europa, die USA und Asien. Mit einer internationalen Tagung wollen die Bet Tfila – Forschungsstelle für jüdische Architektur und das Städtische Museum Braunschweig in Kooperation mit der Stadt Braunschweig diese bedeutende Tochter der Stadt in den Blickpunkt nehmen. Trotz der großen Bedeutung der von ihr vertretenen Künstler in der Kunstgeschichte des frühen 20. -
Bauhaus 1 Bauhaus
Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. -
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Esther Mccoy Research Papers, Circa 1940-1989 0000103
http://oac.cdlib.org/findaid/ark:/13030/c8d21wm4 No online items Finding Aid for the Esther McCoy research papers, circa 1940-1989 0000103 Finding aid prepared by Jillian O'Connor,Chris Marino and Jocelyne Lopez The processing of this collection was made possible through generous funding from The Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources “Cataloging Hidden Special Collections and Archives” Project. Architecture and Design Collection, Art, Design & Architecture Museum Arts Building Room 1434 University of California Santa Barbara, California, 93106-7130 805-893-2724 [email protected] Finding Aid for the Esther McCoy 0000103 1 research papers, circa 1940-1989 0000103 Title: Esther McCoy research papers Identifier/Call Number: 0000103 Contributing Institution: Architecture and Design Collection, Art, Design & Architecture Museum Language of Material: English Physical Description: 4.0 Linear feet(2 boxes, 1 oversize box and 1 flat file drawer) Date (inclusive): circa 1940-circa 1984 Location note: Boxes 1-2/ADC - regular Box 3/ADC - oversize** 1 Flat File Drawer/ADC - flat files creator: Abell, Thornton M., (Thornton Montaigne), 1906-1984 creator: Bernardi, Theodore C., 1903- creator: Davidson, Julius Ralph, 1889-1977 creator: Killingsworth, Brady, Smith and Associates. creator: McCoy, Esther, 1920-1989 creator: Neutra, Richard Joseph, 1892-1970 creator: Rapson, Ralph, 1914-2008 creator: Rex, John L. creator: Schindler, R. M., (Rudolph M. ), 1887-1953 creator: Smith, Whitney Rowland, 1911-2002 creator: Soriano, Raphael, 1904-1988 creator: Spaulding, Sumner, 1892/3-1952 creator: Walker, Rodney creator: Wurster, William Wilson Access Open for use by qualified researchers. Custodial History note Gift of Esther McCoy, 1984. -
The Archive of Renowned Architectural Photographer
DATE: August 18, 2005 FOR IMMEDIATE RELEASE THE GETTY ACQUIRES ARCHIVE OF JULIUS SHULMAN, WHOSE ICONIC PHOTOGRAPHS HELPED TO DEFINE MODERN ARCHITECTURE Acquisition makes the Getty one of the foremost centers for the study of 20th-century architecture through photography LOS ANGELES—The Getty has acquired the archive of internationally renowned architectural photographer Julius Shulman, whose iconic images have helped to define the modern architecture movement in Southern California. The vast archive, which was held by Shulman, has been transferred to the special collections of the Research Library at the Getty Research Institute making the Getty one of the most important centers for the study of 20th-century architecture through the medium of photography. The Julius Shulman archive contains over 260,000 color and black-and-white negatives, prints, and transparencies that date back to the mid-1930s when Shulman began his distinguished career that spanned more than six decades. It includes photographs of celebrated monuments by modern architecture’s top practitioners, such as Richard Neutra, Frank Lloyd Wright, Raphael Soriano, Rudolph Schindler, Charles and Ray Eames, Gregory Ain, John Lautner, A. Quincy Jones, Mies van der Rohe, and Oscar Niemeyer, as well as images of gas stations, shopping malls, storefronts, and apartment buildings. Shulman’s body of work provides a seminal document of the architectural and urban history of Southern California, as well as modernism throughout the United States and internationally. The Getty is planning an exhibition of Shulman’s work to coincide with the photographer’s 95th birthday, which he will celebrate on October 10, 2005. The Shulman photography archive will greatly enhance the Getty Research Institute’s holdings of architecture-related works in its Research Library, which -more- Page 2 contains one of the world’s largest collections devoted to art and architecture. -
The Surface of Public Space Working with the “Plane” to Design Urban Voids
The Surface of Public Space Working with the “Plane” to Design Urban Voids PAOLA VERONICA DELL’AIRA1 At the end of the 1940s they taught me that architecture was about mass and volume. Space arrived in the 1950s. Denise Scott Brown Abstract: This Paper examines the “return to the surface” in the design of contempo- rary urban space: shunned by modernist thinking, this dimension has now reacquired importance and ... “relief”. The surface, horizontal and vertical, is no longer a space of capricious decoration. Landscaping, texture, colour, tactile, visual and audio effects are now structuring materials. They configure weak actions with strong effects. The soil, in particular, is the “skin” of public space, its face. Promenades, piazzas, widen- ings, crossroads, grow more complex in their performance and image, intensifying the experience of their use. They indicate specific functions, through a design of palimp- sests. They draw lines on the ground for team sports, trace maps for the installation of furnishings, host technological networks, bring light and air to underground spaces and incorporate lighting. Like façades, soils also multiply their layering to become complex technological and bioclimatic devices. For example, ventilated walls and “dry laid” paving. Or vertical screens, brise-soleil and silkscreened walls, rises and drops, undulations and level changes, technical floors, raised paving, plug-in grids, landscaped parterres: from the second screen to ... the second pavement! This text describes techniques, morphological developments and feasibility and offers an excursus through examples from past and recent history. Keywords: public urban space, dematerialization, void, design of the soil, return to the surface, working “with the plane”, “horizontal” action, second pavement, patchwork, design on the ground. -
Maven of Modernism: Galka Scheyer in California April 7–Sept
October 2016 Media Contacts: Leslie C. Denk | [email protected] | (626) 844-6941 Emma Jacobson-Sive | [email protected] | (323) 842-2064 Maven of Modernism: Galka Scheyer in California April 7–Sept. 25, 2017 Pasadena, CA—The Norton Simon Museum presents Maven of Modernism: Galka Scheyer in California, an exhibition that delves into the life of Galka Scheyer, the enterprising dealer responsible for the art phenomenon the “Blue Four”—Lyonel Feininger, Alexei Jawlensky, Paul Klee and Wassily Kandinsky. In California, through the troubling decades of the Great Depression and the Second World War, German- born Scheyer (1889–1945) single-handedly cultivated a taste for their brand of European modernism by arranging exhibitions, lectures and publications on their work, and negotiating sales on their behalf. Maven of Modernism presents exceptional examples from Scheyer’s personal collection by the Blue Four artists, as well as works by artists including Alexander Archipenko, László Moholy-Nagy, Pablo Picasso Head in Profile, 1919 Emil Nolde (German, 1867-1956) and Diego Rivera, which was given to the Pasadena Art Institute in the Watercolor and India ink on tan wove paper 14-1/2 x 11-1/8 in. (36.8 x 28.3 cm) Norton Simon Museum, The Blue Four Galka Scheyer Collection early 1950s. All together, these works and related ephemera tell the © Nolde Stiftung Seebüll, Germany fascinating story of this trailblazing impresario, who helped shape California’s reputation as a burgeoning center for modern art. Galka Scheyer was born Emilie Esther Scheyer in Braunschweig, Germany, in 1889, to a middle-class Jewish family. -
Annual Report 2006
Annual Report The Jerusalem Foundation Table of Contents 2 A Year in Review 12 From the President 13 The Jerusalem Foundation 18 Culture 26 Coexistence 32 Community 40 Education 48 Financial Data 2006 51 Awards and Scholarships 52 Jerusalem Foundation Donors 2006 57 Jerusalem Foundation Board of Trustees Summer concerts 58 Jerusalem Foundation at Mishkenot Sha'ananim Leadership Worldwide opposite the Old City walls A Year in Review Installation of 5-ton sphere at the Bloomfield Science Museum Shir Hashirim(Song of Songs) Garden at the Ein Yael Living Museum Festival for a Shekel, Summer 2006 The Max Rayne School A Hand in Hand School for Bilingual Education in Jerusalem First Annual Shirehov - Street Poetry Festival, June 2006 Art activities at the Djanogly Visual Arts Center The Katie Manson Sensory Garden From the President Dear Friends, The Jerusalem Foundation is proud of our 40 years of accomplishments on behalf of Jerusalem and all its residents. In every neighborhood of the city, one encounters landmarks of our long journey and the effort to promote a free, pluralistic, modern and tolerant Jerusalem. We are happy to share with you the Jerusalem Foundation’s Annual Report for 2006, another successful year in which we raised a total of $30.5 million in pledges and grants. This brings the total of all donations received by the Foundation in Jerusalem since its establishment to $691 million (about $1.1 billion if adjusted for inflation). The Foundation’s total assets increased over the past year from $115.3 million at the end of 2005 to $123.5 million at the end of 2006. -
Nomination Form, “The Tuckahoe Apartments.” (14 June 2000)
NPS Form 10- 900 OMB No. 1024-0018 (Rev. Aug. 2002) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Fonn (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter "NIA" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. ...................................................... - - - ...........................................................................................................................................................................1. Name of Property historic name John Rolfe Apartments other nameslsite number DHR # 127-6513 ---------- 2. Location street & number 101 Tem~sfordLane not for publication NIA city or town Richmond vicinity state Virqinia code & county Independent Citv code 760 zip code 23226 3. StatelFederal Agency Certification As the designated authority under the National Historic Presewation Act, as amended, I hereby certify that this -
Mid-Century Modernism Historic Context
mid-century Modernism Historic Context September 2008 Prepared for the City of Fresno Planning & Development Department 2600 Fresno Street Fresno, CA 93721 Prepared by Planning Resource Associates, Inc. 1416 N. Broadway Fresno, CA 93721 City of Fresno mid-century Modernism Historic Context mid-century Modernism, Fresno Historical Context Prepared For City of Fresno, Planning and Development Department Prepared By Planning Resource Associates, Inc. 1416 N. Broadway Fresno CA, 93721 Project Team Planning Resource Associates, Inc. 1416 Broadway Street Fresno, CA 93721 Lauren MacDonald, Architectural Historian Lauren MacDonald meets the Secretary of the Interior’s Professional Qualifications in Architectural History and History Acknowledgements Research efforts were aided by contributions of the following individuals and organizations: City of Fresno Planning and Development Department Karana Hattersley-Drayton, Historic Preservation Project Manager Fresno County Public Library, California History and Genealogy Room William Secrest, Librarian Fresno Historical Society Maria Ortiz, Archivist / Librarian Jill Moffat, Executive Director John Edward Powell Eldon Daitweiler, Fresno Modern American Institute of Architects, San Joaquin Chapter William Stevens, AIA Les Traeger, AIA Bob Dyer, AIA Robin Gay McCline, AIA Jim Oakes, AIA Martin Temple, AIA Edwin S. Darden, FAIA William Patnaude, AIA Hal Tokmakian Steve Weil 1 City of Fresno mid-century Modernism Historic Context TABLE OF CONTENTS I. PROJECT DESCRIPTION Introduction………………………………………………………………………………………………….3 -
Nature Modern
LIVING IN SCOTTSDALE home design From top: Situated on 5 acres in Scottsdale, this two-story home blends into the desert environs; natural light bathes the kitchen, outfitted with white MODERN oak cabinetry. NATURE When Marmol Radziner designs for the Sonoran Desert, magic ensues. By Riki Altman-Yee // Photography by Bill Timmerman “Our goal was to make it feel like this house grew out of the natural landscape,” explains Ron Radziner, one of the architects behind a 5,000-square-foot oasis recently realized in the Sonoran Desert. Commissioned by a Midwestern couple, the project was the first Los Angeles-based design-build firm Marmol Radziner (marmol-radziner.com) completed in the Grand Canyon State. The firm is known for its award-winning modern designs, including the notable, sensitive renovation of the iconic Kaufmann Desert House in Palm Springs, Calif., designed by modernist Richard Neutra in 1946. The home’s original owner, Edgar J. Kaufmann, commissioned Frank Lloyd Wright to build Fallingwater 10 years prior. Though arid environs were nothing new to Marmol Radziner, this particular build also came with specific directives from the owners. “They wanted a home that would preserve the incredible views,” Radziner recalls, “and they wanted something simple and elegant that would blend seamlessly into the desert terrain.” continued… 88 INTERIORS FALL/WINTER 2017 | MODERNLUXURY.COM LIVING IN SCOTTSDALE home design From left: Marmol Radziner varied the home’s elevations to provide seamless sight lines. Deep overhangs shelter the pool patio; a river rock wall terminates in the living room, but begins on the home’s exterior.