DOCSLIB.ORG

XY1684 Mod&Con UK 001 10/29/10 11:07 AM Cyan Magenta

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
XY1684 Mod&Con UK 001 10/29/10 11:07 AM Cyan Magenta XY1684_Mod&Con_UK_001 10/29/10 11:07 AM CyanMagentaYellowBlack XY1684_Mod&Con_UK_SP_002-003 10/15/10 9:37 AM MagentaYellowTK_UK XY1684_Mod&Con_UK_SP_002-003 10/15/10 9:37 AM MagentaYellowTK_UK Introduction / 14 Table of contents 00 Architecture’s expanded field / 14 Two thresholds in time / 16 The dance of hegemonies / 18 The continuity of types / 19 Historians versus architects, or the problem of inclusion / 20 Sheds to rails: The search for Domestic innovation and American The challenge of the New production, the dominion of steel / 22 modern form / 38 tectonic expression / 54 discoveries / 70 metropolis / 86 new aesthetic / 102 01 02 03 04 05 06 The lamp of style / 22 Toward a “New Art,” from Paris to Berlin / 38 The central place of Great Britain / 54 Chicago in white and black / 70 An explosion without precendent / 89 The AEG model in Berlin / 106 The eminence of the beaux-arts / 30 Great Britain after Arts and Crafts / 42 Residential reform / 58 Sullivan’s inventions / 74 The planner’s toolbox / 93 Factory as inspiration / 111 Programs of modernization / 33 Art Nouveau and the Paris-Nancy Axis / 46 The aspiration to unify the urban landscape / 61 Wright and prairie architecture / 77 Town, square, and monument / 95 The Deutscher Werkbund / 115 Networks of Internationalization / 35 From the Italian “Floreale” to The advent of reinforced concrete / 63 Wright and Europe / 80 The idyll of the garden city / 97 Futurist mechanization / 117 the Russian “Modern” / 48 Concrete nationalisms / 66 The skyscraper migrates to New York / 84 Zoning, from the colonies to the The Catalan renaissance / 51 major cities of Europe / 100 Expressionism in Dada, De Stijl and Mies: In search of a language: The Great War and Weimar Germany and the Return to order from subversion Architecture education classicism to cubism / 118 its side effects / 134 Netherlands / 150 in Paris / 166 to elementarism / 182 in turmoil / 198 07 08 09 10 11 12 Anglo-American classicisms / 119 A Triple mobilization / 137 The Arbeitsrat für Kunst / 154 Purist forms and urban compositions / 166 The Dada blast / 182 The beaux-arts and the alternatives / 198 German nostalgia / 123 The spread of Taylorism / 140 Dynamism in architecture / 158 Le Corbusier and the modern house / 168 The new forms of De Stijl / 185 The Weimar Bauhaus / 201 Loos and the lure of “western culture” / 126 Commemoration and reconstruction / 142 Hanseatic Expressionism / 162 Grand vessels in Paris and Geneva / 171 Van Doesburg builds / 188 The Bauhaus in Dessau and Berlin / 205 Berlage and the question of proportions / 130 Postwar recomposition / 144 De Klerk and the Amsterdam school / 165 Perret and the “sovereign shelter” / 173 Oud and Rietveld, from furniture to The Vkhutemas in Moscow / 209 Cubism and cubistics / 132 New architects between science Paris art deco / 175 house design / 191 Innovative Schools in the new and old Worlds / 212 and propaganda / 147 Mallet-Stevens, or elegant modernism / 178 Mies van der Rohe’s theoretical projects / 194 The extent of French modernism / 180 Futurism and Architecture and The architecture of Internationalization, its Rationalism The spectrum of classicisms North American revolution in Russia / 214 social reform / 230 networks and spectacles / 246 in Fascist Italy / 262 and traditionalisms / 278 modernities / 294 13 14 15 16 17 18 The Shock of revolution / 214 Modernizing cities / 230 The journal as printed stage / 246 A second Futurism / 262 Literal classicism / 281 Wright, the return / 294 A profession renewed / 217 Red Vienna / 231 Model cities and open-air exhibitions / 250 Muzio and the Novecento / 265 Modern classicism / 284 Los Angeles – fertile Ground / 299 The “social condensers” / 220 The new Frankfurt / 234 Modern architecture enters the museums / 253 The regime and Rationalism / 267 Traditionalism and self-critical modernism / 286 The skyscraper reloaded / 304 Polemics and rivalries / 223 Taut’s housing developments in Berlin / 238 The International Congresses of Terragni’s geometries / 270 Opportunism without borders / 288 Industrial products: between factory and market / 307 The Palace of the Soviets competition / 226 French suburbs / 240 Modern Architecture (CIAM) / 256 An ambiguous “Mediterraneanism” / 272 Islands of coexistence / 290 The New Deal: housing reform and Echoes overseas / 243 Networks of Influence and historial narratives / 258 New territories / 274 immigrant architects / 310 Equipping the suburbs / 244 03 XY1684_Mod&Con_UK_SP_004-005 10/15/10 9:37 AM MagentaYellowTK_UK XY1684_Mod&Con_UK_SP_004-005 10/15/10 9:37 AM MagentaYellowTK_UK Table of contents / 2 Tabula Rasa to Horror Functionalism and Modern languages Colonial experiences and Architecture of a Vacui: reconstruction Toward a fatal crisis of the mechanical aesthetics / 310 conquer the world / 326 new nationalisms / 342 total war / 358 and renaissance / 374 Modern Movement / 390 19 20 21 22 23 24 Taylorism and architecture / 311 British reticence defeated / 326 From Arabizing to modernizing in North Africa / 342 Front lines and the home fronts / 358 An American age / 374 The Festival of Britain / 390 From ergonomics to standard dimensions / 315 Northern European modernisms / 328 Near Eastern and African endeavours / 345 Extreme scales / 360 Literal reconstruction or Italian Neorealism / 393 Poetic functionalism: Chareau and Nelson / 319 The modern as Czechoslovakia’s brand / 329 Italian cities around the Mediterranean / 347 Air raid protection / 362 radical modernization? / 375 Planet Brazil / 397 Dynamic functionalism in France and The moderns in Hungary and Poland / 331 The modernization of Turkey and Iran / 350 Constructive and destructive techniques / 364 The “neighborhood unit” as model / 378 Housing and innovation in North Africa / 401 the United States / 323 Balkan figures / 334 Chinese pluralism / 352 Mobility and flexibility / 366 The traditionalists at work / 382 CIAM in Turmoil / 403 Iberian modernization / 336 Modern hegemony in Palestine / 356 Architecture of military occupation / 368 In search of a British model / 383 The End of CIAM / 405 Japanese experiments / 338 Imagining the postwar world / 369 German debates / 386 Brazilian figures / 340 Converting to peace / 370 A modernist triumph? / 388 Memory and memorials / 372 Between elitism and Le Corbusier reinvented The shape of Repression and populism: After 1968: Architecture and reinterpreted / 406 American hegemony / 422 diffusion of Modernism / 438 Toward new utopias / 454 alternative architecture / 470 for the city / 486 25 26 27 28 29 30 The Unité d’Habitation / 406 The second skyscraper age / 422 Seven Sisters in Moscow / 438 Italy: critical continuity / 454 Reseach and technocracy / 470 1968, annus mirabilis / 486 Of palaces and houses / 408 Mies the American / 423 Socialist realism exported / 440 Independent together / 457 Venturi’s critique / 474 Observing the extended city / 490 The surprise of Ronchamp / 411 Wright’s last return / 425 Khrushchev’s critique / 441 Technology: icon or ethos? / 460 Grays and Whites / 478 The shape of the city / 494 Indian adventures / 412 Research out west / 426 Aalto’s eminent position / 443 Hovering cities of indeterminancy / 461 From functionalism to advocacy The input of the user / 498 Invention and introspection / 415 Gropius and Breuer: the assimilation of Japan’s new energy / 445 Metabolism in Japan / 463 planning / 482 Corbusian mannerism / 416 the Bauhaus / 428 Latin Americanisms / 448 Megastructures and global agitation / 466 Anglo-American Brutalism / 417 Saarinen’s lyricism and Archipelagoes of invention / 451 Technology and its double / 468 The saga of Brasília / 419 Johnson’s anxiety / 429 The solitude of Kahn / 433 From experiment to commerce / 436 From regionalism to The neo-Futurist Architecture’s The postmodern season / 502 critical internationalism / 518 optimism of high tech / 534 outer boundaries / 550 Vanishing points / 566 End matter / 582 31 32 33 34 35 36 From nostalgia to play / 502 Scarpa, or the rediscovery of Beaubourg establishes a canon / 534 Gehry, or the seduction of art / 550 Strategic geographies / 567 Endnotes / 582 The “end of prohibitions” / 505 the craft / 518 Composition according to Rogers / 537 Koolhaas, or fantastic realism / 553 Reinvented materials / 570 Bibliography / 606 Retrieving urbanity’s figures / 508 Siza’s poetic rigor / 519 Experimentation according to Piano / 540 Nouvel, or mystery recovered / 556 Sustainable buildings / 572 Index / 630 America turns postmodern / 509 Collective endeavor in the Ticino / 521 Structure according to Foster / 543 Herzog and de Meuron, or the principle of The city reborn, yet threatened / 574 Image Credits / 634 The uncertain front of Moneo and Iberia / 523 Architects and engineers / 546 the collection / 558 Landscape as horizon / 585 postmodernism / 511 Europe as a field of experience / 524 New geometries / 548 Deconstructivists and Rationalists / 560 Hypermodern media / 587 The city – composition or collage? / 514 Research in South Asia / 526 Fragmentation and poetry in Japan / 563 Persistent social expectations / 579 Latin American personalities / 529 A critical internationalism / 532 05 XY1684_Mod&Con_UK_SP_150-151 10/15/10 9:24 AM TK_UK XY1684_Mod&Con_UK_151 10/29/10 10:49 AM CyanMagentaYellowBlackTK_UK 09 155 Hermann Finsterlin, illustration from 153 Bruno Taut, illustration from Architectural Projects, 1919–20 Alpine Architektur, 1919 154 Bruno Taut, illustration from The Dissolution of Cities, 1920 No nation was more deeply affected by the trauma of World Georg Kolbe, Ludwig
Load more

Recommended publications
  • German Expressionism: the Second Generation (Los Angeles: Los Angeles County Museum of Art, 1988): 10-37
    Stephanie Barron, “Introduction” to Barron (ed.), German Expressionism: The Second Generation (Los Angeles: Los Angeles County Museum of Art, 1988): 10-37. The notion that all the significant achievements of German Expressionism occurred before 1914 is a familiar one. Until recently most scholars and almost all exhibitions of German Expressionist work have drawn the line with the 1913 dissolution of Die Brücke (The Bridge) in Berlin or the outbreak of the First World War in 1914. Peter Selz’s pioneering study German Expressionist Painting, published in 1957, favored 1914 as a terminus as did Wolf-Dieter Dube’s Expressionism, which appeared in 1977. It is true that by 1914 personal differences had led the Brücke artists to dissolve their association, and Der Blaue Reiter (The Blue Rider) had disintegrated when Wassily Kandinsky returned from Munich to Russia and Franz Marc volunteered for war service. Other artists’ associations also broke up when their members were drafted. Thus, the outbreak of the war has provided a convenient endpoint for many historians, who see the postwar artistic activities of Ernst Barlach, Max Beckmann, Oskar Kokoschka, Kathe Kollwitz, and others as individual, not group responses and describe the 1920s as the period of developments at the Bauhaus in Weimar or of the growing popularity of Neue Sachlichkeit (New Objectivity). The years 1915-25 have been lost, or certainly not adequately defined, as a coherent and potent, albeit brief, idealistic period in the evolution of German Expressionism. More recent scholarship, including Dube’s Expressionists and Expressionism (1983) and Donald E. Gordon’s Expressionism- Art and Idea (1987), sees the movement as surviving into the 1920s.
    [Show full text]
  • Die Architekturausstellung Als Kritische Form 2018
    Die Architekturausstellung als kritische Form 1 Lehrstuhl für Architekturgeschichte und kuratorische Praxis EXTRACT “Die Architekturausstellung als kritische Form von Hermann Muthesius zu Rem Koolhaas” Wintersemester 2018/19 LECTURE 1 / 18 October 2018 Die Architekturausstellung als kritische Form. Vorgeschichte, Themen und Konzepte. Basic questions: - What is an architecture exhibition? - How can we exhibit architecture? - What does the architecture exhibition contribute to? Statements: - Exhibitions of architecture are part of a socio-political discourse. (See Toyo Ito’s curatorial take on the Architecture Biennale in Venice in 2012 http://www.domusweb.it/en/interviews/2012/09/03/toyo-ito-home-for-all.html) - Exhibitions of architecture are model-like presentations / They should present the new directions of the discipline. (“Critical” in this context of this lecture class means: exhibitions introducing a new theoretical and / or practical concept in contrast to existing traditions) PREHISTORY I. - Model Cabinets (Modellkammer), originally established as work tools for communication purposes and as educational tools for upcoming architects / engineers. Further aspect: building up an archive of technological inventions. - Example: The medieval collection of models for towers, gates, roof structures etc. in Augsburg, hosted by the Maximilianmuseum. - Originally these cabinets were only accessible for experts, professionals, not for public view. Sources of architecture exhibitions: - Technical and constructive materials (drawings, models). They tend to be private or just semi- public collections built up with education purposes. - The first public exhibitions of these models in the arts context didn’t happen until the end of the 18th century. Occasion: Charles de Wailly exhibited a model of a staircase in an arts exhibition in 1771.
    [Show full text]
  • 'A True Witness of Transience': Berlin's Kaiser- Wilhelm-Gedächtniskirche and the Symbolic Use of Architectural Fragments I
    European Review of History: Revue européenne d'histoire ISSN: 1350-7486 (Print) 1469-8293 (Online) Journal homepage: http://www.tandfonline.com/loi/cerh20 ‘A true witness of transience’: Berlin's Kaiser- Wilhelm-Gedächtniskirche and the symbolic use of architectural fragments in modernity Rüdiger Zill To cite this article: Rüdiger Zill (2011) ‘A true witness of transience’: Berlin's Kaiser-Wilhelm- Gedächtniskirche and the symbolic use of architectural fragments in modernity, European Review of History: Revue européenne d'histoire, 18:5-6, 811-827, DOI: 10.1080/13507486.2011.618332 To link to this article: http://dx.doi.org/10.1080/13507486.2011.618332 Published online: 04 Jan 2012. Submit your article to this journal Article views: 231 View related articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=cerh20 Download by: [British Library] Date: 22 February 2017, At: 09:58 European Review of History—Revue europe´enne d’histoire Vol. 18, Nos. 5–6, October–December 2011, 811–827 ‘A true witness of transience’: Berlin’s Kaiser-Wilhelm- Geda¨chtniskirche and the symbolic use of architectural fragments in modernity Ru¨diger Zill* Einstein Forum, Potsdam, Germany This paper considers the ruin in the context of three emblematic modern German sites, the Kaiser-Wilhelm-Geda¨chtniskirche in Berlin, the Frauenkirche in Dresden and the Reichstag, also in Berlin. Different sites, the author shows, format and present the relationship between past and present in different ways. The paper develops its argument using the views of German philosopher Gu¨nther Anders (Hannah Arendt’s first husband), and extracts from his diaries and travels in Germany after the Second World War.
    [Show full text]
  • Art and Technology Between the Usa and the Ussr, 1926 to 1933
    THE AMERIKA MACHINE: ART AND TECHNOLOGY BETWEEN THE USA AND THE USSR, 1926 TO 1933. BARNABY EMMETT HARAN PHD THESIS 2008 DEPARTMENT OF HISTORY OF ART UNIVERSITY COLLEGE LONDON SUPERVISOR: PROFESSOR ANDREW HEMINGWAY UMI Number: U591491 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591491 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 I, Bamaby Emmett Haran, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 ABSTRACT This thesis concerns the meeting of art and technology in the cultural arena of the American avant-garde during the late 1920s and early 1930s. It assesses the impact of Russian technological Modernism, especially Constructivism, in the United States, chiefly in New York where it was disseminated, mimicked, and redefined. It is based on the paradox that Americans travelling to Europe and Russia on cultural pilgrimages to escape America were greeted with ‘Amerikanismus’ and ‘Amerikanizm’, where America represented the vanguard of technological modernity.
    [Show full text]
  • In Unserem Heutigen Verständnis Aller- Dings Ein 'Naiv
    121 haupt möglich - allgemein, politisch und philosophisch Und: Ich bitte Sie herzlich, sollten Sie auf weitere Hin­ interessierter - in unserem heutigen Verständnis aller­ weise, Quellen und Lebenszeugnisse des Künstlers dings ein 'naiv-unpolitischer' Zeitgenosse. stoßen, so bitte ich um Nachricht. Engagiert im 'ARBEITSRAT FÜR KUNST' 1918-1921 Vielen Dank. und mit Ausstellungsbeteiligungen bei der 'NOVEM­ BERGRUPPE' in Berlin, punktuell bei den 'Großen Ber­ liner Kunstausstellungen' - Gruppe der 'ABSTRAKTEN', Ausstellungen bei Alfred Flechtheim, Israel Ber Neu­ mann in Berlin und der Galerie Von der Goltz in Mün­ chen, befand er sich - mit seiner Unterschrift unter di­ versen Aufrufen und eigenen Statements zur damals diskutierten 'Revolutionierung des Lebens durch die Kunst', durch die Beteiligung an der '1. DADA-Ausstel- lung' und einer Ausstellung 'Unbekannte Architekten' in der Galerie I. B. Neumann in Berlin, mit zeitgemäßen expressionistisch-utopischen Architekturentwürfen, auf der Höhe der zeitgenössischen künstlerischen Avant­ garde. ANMERKUNGEN Vor diesem Hintergrund und durch die vielen regiona­ (1) Kurt Gerstenberg, 'Revolution in der Architektur', CICERONE len wie internationalen Ausstellungsbeteiligungen war Xl. Jg., Heft 9, Januar 1919. und ist er - dank der offensiven Ausstellungsaktivitä­ (2) Manfred Speidel, Katalog 'Natur und Fantasie - Retrospektive ten der Galerie DER STURM Herwarth Waldens in Ber­ Bruno Taut in Magdeburg 1995, Berlin 1995. lin - und vor dem Hintergrund seiner bisher sichtbar gewordenen qualitätvollen Bilder, neben all den heute (3) Ausstellungkatalog Der Sturm, 51. Ausstellung, April 1917, Ar­ noch bekannten und berühmten Künstlerinnen jener nold Topp, Neil Waiden, Berlin 1917. Zeit, gleichberechtigt zugehörig anzusehen. (4) Zitiert nach H.A.Peters in Soester Anzeiger 8./9. Mai 1993. Nachdem, bis in die letzten Jahre, vor allem die gro­ (5) Katalog GROSSE BERLINER KUNST-AUSSTELLUNG 1926.
    [Show full text]
  • Inhalt Contents
    Inhalt Contents 7 Prolog 7 Prologue 13 Vom Jugendstil zur Moderne 13 From Jugendstil to Modernism 19 Das Bauhaus in Weimar, Dessau und Berlin 19 The Bauhaus in Weimar, Dessau and Berlin 27 Berlin und die Moderne 27 Berlin and Modernism 63 Das Neue Bauen in Deutschland 63 New Building in Germany 127 Architektur der Neuen Sachlichkeit in Europa 127 The Architecture of new Objectivity in Europe 179 Internationaler Stil – 179 International Style – Modernes Bauen auf der ganzen Welt Modern Building all over the world 227 Epilog – Die Erben des Bauhauses 227 Epilogue – The Legacy of the Bauhaus 233 Anhang 233 Appendix Bauhaus.indd 5 12.09.18 12:58 Prolog Prologue Bauhaus.indd 7 12.09.18 12:58 8 Israel, Tel Aviv, Wohnhaus Recanati-Saporta, 1935/36, Salomon Liaskowski, Jakob Orenstein Israel, Tel Aviv, Residential building in Recanati-Saporta, 1935/36, Salomon Liaskowski, Jakob Orenstein Bauhaus.indd 8 12.09.18 12:58 Das »Bauhaus« war ursprünglich eine 1919 in Weimar gegründete The “Bauhaus” was originally an art school founded in Weimar in 1919. Kunstschule. Ihr Einfluss erwies sich jedoch als so bedeutend, dass Its influence, however, was so significant that in everyday speech the der Begriff heute umgangssprachlich mit verschiedenen Strömungen term is equated today with various modernist movements in architec- der Moderne in Architektur und Design in der ersten Hälfte des20 . ture and design in the first half of the 20th Century. This broader sense Jahrhunderts gleichgesetzt wird. In diesem erweiterten Sinn wurde of the word is relevant for the choice of buildings in this book.
    [Show full text]
  • Bioscopic and Kinematic Books Studies on the Visualisation of Motion and Time in the Architectural Book Ca
    Originalveröffentlichung in: Photoresearcher, 18 (2012), Nr. Oktober, S. 44-58 Bioscopic and Kinematic Books Studies on the Visualisation of Motion and Time in the Architectural Book ca. 1900–1935 Matthias Noell I. “Cinematic, moment-like composition” II. Movement in the automobile In the year 1923, El Lissitzky created the book anew. In Topography of Typography, the Russian In 1903 and 1930 two books found- artist propagated the “continuous page sequence” and opened up the concept of the “bioscop- ed on a common basic concept ic book” to discussion.1 The use of the term “bioscopic” – the Skladanowsky Brothers named were published in Berlin, and Zu- the film projector they used for the first time in Berlin in 1895 a “Bioscope” – is an indication rich and Leipzig respectively: Eine of the new interaction between the medial communication of information, optics and move- empfindsame Reise im Automobil by ment that the graphic design of the book was intended to implement. Otto Julius Bierbaum and Amerika Even though the linear construction of the book, and the subsequent narrative vom Auto aus by Felix Moeschlin.5 structure that connects time while the book is being read or a series of illustrations looked Both books provide a travel report at, makes it fundamentally better suited to explore the subject of movement than a single im- of a three-month tourist trip by age, coherent series of pictures are comparatively rare in the history of the illustrated book. car; two motorised, modern grand This discursive and narrative approach appears en passant, without being invested with any tours.
    [Show full text]
  • Committee Approval Form
    UNIVERSITY OF CINCINNATI _____________ , 20 _____ I,______________________________________________, hereby submit this as part of the requirements for the degree of: ________________________________________________ in: ________________________________________________ It is entitled: ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ Approved by: ________________________ ________________________ ________________________ ________________________ ________________________ HERMENEUTICS OF ARCHITECTURAL INTERPRETATION: THE WORK IN THE BARCELONA PAVILION A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF SCIENCE In the Department of Architecture and Interior Design of the College of Design, Art, Architecture and Planning 2002 By Maroun Ghassan Kassab B Arch, Lebanese American University Jbeil, Lebanon 1999 Committee: Professor John E. Hancock (Chair) James Bradford, Adj. Instructor Aarati Kanekar, Assistant Professor ABSTRACT Architectural interpretation has always been infiltrated by the metaphysics of Presence. This is due to the interpreter’s own background that uses the vocabulary of metaphysics, and due to the predetermined set of presuppositions the interpreter inherited from the metaphysical tradition itself. As a consequence what is to be interpreted has constantly been taken
    [Show full text]
  • Bekende En Onbekende Namen Van Bruggen, Sluizen En Tunnels Binnen De Gemeente Amsterdam
    Bekende en onbekende namen van bruggen, sluizen en tunnels binnen de Gemeente Amsterdam. Aalmoezeniersbrug ³ BRU0068 Vaste brug Nabij gelegen gerechtshof aan de Prinsengracht was een voormalig Aalmoezeniersweeshuis Aandammerbrug ² BRU058P P-Brug In de Poppendammergouw over de sloot die de Holysloter met het Bozenmeertje verbindt. Deze ophaalbrug in stadsdeel Noord is genoemd naar de Aandammergouw, waarin ze ligt, gezien vanuit de gemeente Broek in Waterland. De Aandammerbrug is 1 van de kleinste bruggen van Amsterdam, het was oorspronkelijk een houten brug gebouwd op zes jukken. Zij werd vervangen door een zogenaamde hoge zijl. Abel Tasmanbrug ³ BRX0118 Basculebrug, administratief Deze naam verwijst ook naar de Tasman straat en wordt ook wel de Tasmanbrug genoemd. Zie ook BRU0346 Afslagtunnel Gein-lijn ² BRU1616 Tunnel Genoemd naar het metrostation. Akerschutsluis ¹ SLU0102 Sluis Officiële naam voor deze schutsluis Aluminiumbrug ² BRU0222 Ophaalbrug Deze ophaalbrug wordt zo genoemd, omdat in 1956 het val (brugdek) van deze brug (als eerste in Nederland) in aluminium werd uitgevoerd. Een andere naam was Dwingerbrug, naar het naastgelegen bolwerk "Swijght Utrecht". BRX0113 Ambachtsbrug ³ BRX0107 Vaste brug, administratief Genoemd naar de nabij gelegen ambachtsschool, zie ook BRU0358 Amstelbrug ² BRX0077 Vaste brug, administratief Dit is een oude naam voor de Hoge Sluis, de Amstelbrug is genoemd naar het water dat zij overspant, voor de werkelijke naam en een verklaring van deze naam kijk bij BRU0246. Amstelschutsluis ¹ SLU0101 Sluis Officiële naam voor deze schutsluis. De enige sluizen in de Amstel die nog te zien zijn, liggen ter hoogte van Carre, zij dateren uit 1673 (ontwerp van Joh. Hudde) en hadden oorspronkelijk tot taak het Ijwater uit de Amstel te houden.
    [Show full text]
  • The 1963 Berlin Philharmonie – a Breakthrough Architectural Vision
    PRZEGLĄD ZACHODNI I, 2017 BEATA KORNATOWSKA Poznań THE 1963 BERLIN PHILHARMONIE – A BREAKTHROUGH ARCHITECTURAL VISION „I’m convinced that we need (…) an approach that would lead to an interpretation of the far-reaching changes that are happening right in front of us by the means of expression available to modern architecture.1 Walter Gropius The Berlin Philharmonie building opened in October of 1963 and designed by Hans Scharoun has become one of the symbols of both the city and European musical life. Its character and story are inextricably linked with the history of post-war Berlin. Construction was begun thanks to the determination and un- stinting efforts of a citizens initiative – the Friends of the Berliner Philharmo- nie (Gesellschaft der Freunde der Berliner Philharmonie). The competition for a new home for the Berlin Philharmonic Orchestra (Berliner Philharmonisches Orchester) was won by Hans Scharoun whose design was brave and innovative, tailored to a young republic and democratic society. The path to turn the design into reality, however, was anything but easy. Several years were taken up with political maneuvering, debate on issues such as the optimal location, financing and the suitability of the design which brought into question the traditions of concert halls including the old Philharmonie which was destroyed during bomb- ing raids in January 1944. A little over a year after the beginning of construction the Berlin Wall appeared next to it. Thus, instead of being in the heart of the city, as had been planned, with easy access for residents of the Eastern sector, the Philharmonie found itself on the outskirts of West Berlin in the close vicinity of a symbol of the division of the city and the world.
    [Show full text]
  • Press Release
    www.frankfurt-tourismus.de Press Release “New Frankfurt” – Between the Skyline and the Römerberg Older than the city’s banking high-rises, newer than the old town centre: Frankfurt has the Bauhaus movement of the 1920s to thank for its very first high-rise … and the fitted kitchen. The Bauhaus style is widely regarded as one of the world’s most significant architectonic movements, influencing modern architecture, art and design far beyond Germany’s borders. The fundamental idea behind Bauhaus was to harmoniously combine architecture, art and handcraft, resulting in a single structural masterpiece. Walter Gropius founded the Bauhaus School of Architecture in Weimar, Germany, in 1919. It remained there until 1925, when it was moved to Dessau. In 1932, the school moved to Berlin, closing only a year later because of pressure put on its leadership by the National Socialist regime. But how much did the Bauhaus movement influence Frankfurt? Locals and visitors are of course familiar with the city’s modern skyline and the Römerberg old town centre. But do they know of “New Frankfurt”? This housing programme was equally important in shaping the cityscape of the metropolis on the River Main. It was the architect duo of Ernst May and Martin Elsaesser who implemented the ideas of “New Objectivity”, which were taught at the Bauhaus School, in various Frankfurt districts between 1925 and 1930, thereby creating what became known as “New Frankfurt”. Bauhaus-styled residential estates include, for example, Estate Westhausen, Estate Praunheim, Estate Höhenblick, Estate Bruchfeldstraße, Estate Am Bornheimer Hang and Estate Hellerhof. The Römerstadt and the Ernst May Show-House – home of the world’s very first series-produced fitted kitchen – are two further, particularly interesting examples of the Bauhaus style.
    [Show full text]
  • Distilled Avant-Garde Echoes: Word and Image in Architectural Periodicals of the 1920S and 1930S
    $UFKLWHFWXUDO Jannière, H 2016 Distilled Avant-Garde Echoes: Word and Image in Architectural Periodicals of the 1920s and 1930s. Architectural +LVWRULHV Histories, 4(1): 21, pp. 1–21, DOI: http://dx.doi.org/10.5334/ah.211 RESEARCH ARTICLE Distilled Avant-Garde Echoes: Word and Image in Architectural Periodicals of the 1920s and 1930s Hélène Jannière Since the 1980s, architectural avant-garde publications, seen as a laboratory for artists and architects, have given rise to numerous research projects. Although recent scholarship tends toward a more balanced interpretation of architectural publications of the interwar period than studies from the 1980s, most research on architectural books and journals continues to point out only the parallels, or even just the ‘alliances’, between the innovative visual form – typography and photography – of those books and magazines and the ‘new architecture’ they intended to promote: relationships between form and contents. This article tackles the issue of this historical and aesthetical convergence. It draws on a new generation of studies that takes into account photography, graphic design and texts, simultaneously, and focuses on their association in the space of the book. By examining several case studies, it brings to light relationships of texts and images different from those dramatic and disruptive ones elaborated by the avant-garde. This is done, first, by considering a wider range of professional periodicals of the late 1920s and 1930s – both avant-garde and traditional – and second, by focusing more on the modes of perception photography introduced within the space of the book than on photographic or typographic experiments. The driving hypothesis is that in periodicals of the late 1920s and 1930s, even in those of a rather traditional form (L’Architecte, L’Architecture vivante, Quadrante), new modes of perceiving the space of the book as a whole gave rise to semantic associations generated by juxtapositions or effects of distance between word and image.
    [Show full text]