Monuments of Modern Architecture at Risk – Case Study Berlin 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Download Paper
THE CODETERMINATION BARGAINS: THE HISTORY OF GERMAN CORPORATE AND LABOUR LAW Ewan McGaughey1 Abstract Why does codetermination exist in Germany? Law and economics theories have contended that if there were no legal compulsion, worker participation in corporate governance would be ‘virtually nonexistent’. This positive analysis, which flows from the ‘nexus of contracts’ conception of the corporation, supports a normative argument that codetermination is inefficient because it is supposed it will seldom happen voluntarily. After discussing competing conceptions of the corporation, as a ‘thing in itself’, and as an ‘institution’, this article explores the development of German codetermination from the mid-19th century to the present. It finds the inefficiency argument sits at odds with the historical evidence. In its very inception, the right of workers to vote for a company board of directors, or in work councils with a voice in dismissals, came from collective agreements. It was not compelled by law, but was collectively bargained between business and labour representatives. These ‘codetermination bargains’ were widespread. Laws then codified these models. This was true at the foundation of the Weimar Republic from 1918 to 1922 and, after abolition in 1933, again from 1945 to 1951. The foundational codetermination bargains were made because of two ‘Goldilocks’ conditions (conditions that were ‘just right’) which were not always seen in countries like the UK or US. First, inequality of bargaining power between workers and employers was temporarily less pronounced. Second, the trade union movement became united in the objective of seeking worker voice in corporate governance. As the practice of codetermination has been embraced by a majority of EU countries, and continues to develop, it is important to have an accurate positive narrative of codetermination’s economic and political foundations. -
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. -
Heike Hambrock Marlene Moeschke
Heike Hambrock Marlene Moeschke - Mitarbeiterin? Das wiederentdeckte Werk der Bildhauerin und Architektin liefert neue Er kenntnisse über Hans Poelzigs Großes Schauspielhaus in Berlin. In Johann Jacob Bachofens Mutterrecht von 1861, dessen Lektüre für viele Künstler Anfang des 20. Jahrhunderts belegt ist, werden in einer archaisch anmutenden sexu ellen Symbolik Mann und Frau zum Gegensatzpaar Sonne (männlich, aktiv, Moder ne) und Mond (weiblich, passiv, Urmythos) stilisiert.1 In der Beschwörung eines >Urmythos< erklärt Bachofen die Frau zum universellen Lebenselement, Magna Ma ter, die im Einklang mit der Schöpfung der Natur stehe, deren Erkenntnis dem Mann das Gegenbild der Moderne verwehrt sei. Aufgrund ihrer weiblichen Natur sei die Frau allerdings weder fähig zu qualifiziertem wissenschaftlichen Arbeiten, noch zu technischer Höchstleistung oder künstlerischem Höhenflug. Im Sonnenmythos von Nietzsches Zarathustra vermag allein der Künstler als Geistesmensch, im Kampf mit sich selbst und der Materie Kunstwerke zu erschaffen. Die Frau gilt ge meinhin als Muse und Inspiration. Im Atelier des Künstlers wird sie nur als Modell oder Mutter der Kinder akzeptiert, ihre körperliche und geistige Präsenz ansonsten als Bedrohung der männlichen Energie wahrgenommen. Auf hohem künstlerischen Niveau findet sich der hier nur angedeutete Geschlechterkampf der Moderne in Os kar Kokoschkas Dramen und Grafikzyklen reflektiert.2 Allerdings kommt der um 1916 bis 1919 mit dem Architekten und damaligen Stadtbaurat Hans Poelzig (1869 1936) in Dresden freundschaftlich verkehrende Künstler zu der für die Zeit untypi schen Erkenntnis einer geschlechtlichen Gleichberechtigung. Der konservative Kunst und Architekturkritiker Karl Scheffler mochte demgegenüber der Frau nur die Rolle der >dilettierenden Hausfrau< zugestehen;3 selbst im Kunstgewerbe hatte sie als eigenständige Künstlerin in der wilhelminischen Gesellschaft keinen Platz. -
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. -
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. -
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. -
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. -
100 Years of Bauhaus
Excursions to the Visit the Sites of the Bauhaus Sites of and the Bauhaus Modernism A travel planner and Modernism! ↘ bauhaus100.de/en # bauhaus100 The UNESCO World Heritage Sites and the Sites of Bauhaus Modernism Hamburg P. 31 Celle Bernau P. 17 P. 29 Potsdam Berlin P. 13 Caputh P. 17 P. 17 Alfeld Luckenwalde Goslar Wittenberg P. 29 P. 17 Dessau P. 29 P. 10 Quedlinburg P. 10 Essen P. 10 P. 27 Krefeld Leipzig P. 27 P. 19 Düsseldorf Löbau Zwenkau Weimar P. 19 P. 27 Dornburg Dresden P. 19 Gera P. 19 P. 7 P. 7 P. 7 Künzell P. 23 Frankfurt P. 23 Kindenheim P. 25 Ludwigshafen P. 25 Völklingen P. 25 Karlsruhe Stuttgart P. 21 P. 21 Ulm P. 21 Bauhaus institutions that maintain collections Modernist UNESCO World Heritage Sites Additional modernist sites 3 100 years of bauhaus The Bauhaus: an idea that has really caught on. Not just in Germany, but also worldwide. Functional design and modern construction have shaped an era. The dream of a Gesamtkunst- werk—a total work of art that synthesises fine and applied art, architecture and design, dance and theatre—continues to this day to provide impulses for our cultural creation and our living environments. The year 2019 marks the 100 th anniversary of the celebration, but the allure of an idea that transcends founding of the Bauhaus. Established in Weimar both time and borders. The centenary year is being in 1919, relocated to Dessau in 1925 and closed in marked by an extensive programme with a multitude Berlin under pressure from the National Socialists in of exhibitions and events about architecture 1933, the Bauhaus existed for only 14 years. -
5989 Turcica 35 05 Berksoy
Funda BERKSOY 165 RUDOLF BELLING AND HIS CONTRIBUTION TO TURKISH SCULPTURE During the years following the World War I Rudolf Belling (1886- 1972), a pioneer of abstract sculpture, became one of the most celebrated artists in Germany (Fig.1). His fame was based primarily on works such as his Triad (1919) and Sculpture 23 (1923), in which he strove toward a synthesis of Russian revolutionary art with the current modernist trends. As a member of the Arbeitsrat für Kunst (Workers’ Council on Art) and a cofounder of the Novembergruppe, he also sought a closer relationship between sculpture and architecture, successfully collaborat- ing on many occasions with architects. In the German literature on mod- ern art of the period, Belling was highly praised and embraced as one of the spokesmen of the new art1. When the National Socialists came to power in 1933 and started their campaign against avant-garde art, like many other artists, Belling too sought refuge abroad∞; accepting an invitation from the Turkish govern- ment he left Berlin for Istanbul in 1937. When his professorship at the Kunstakademie (Berlin-Charlottenburg Academy of Art) was interrupted Funda BERKSOY is associate professor, Uludag University, Department of art history, Görükle Kampüsü, Bursa, Turkey. * Unless otherwise indicated, translations are mine. 1 Carl EINSTEIN, «∞Die Kunst des 20 Jahrhunderts∞», Propyläen Kunstgeschichte 16, Berlin, 2nd ed., 1928, p. 228-29∞; Paul Ortwin RAWE, Deutsche Bildnerkunst von Schadow bis zur Gegenwart, Berlin, 1929, p. 223-25. For a list of publications with state- ments by Belling, see J.A. SCHMOLL gen. EISENWERTH, Rudolf Belling, vol. -
Haus Des Rundfunks En Berlin, De Hans Poelzig, 1930
Cuadernos de Proyectos Arquitectónicos Haus des Rundfunks, in HAUS DES RUNDFUNKS EN BERLIN, Berlin by Hans Poelzig 1930 DE HANS POELZIG, 1930 Keywords: materials construction form Poelzig affirmed that the technical ideal consisted of using the least amount of shapes and materials possible. He understood architecture as an art, as the María Teresa Múñoz expression of form; In contrast to the indifference of the most widely recognized values of modernism: technical innovation in construction along with the functionality of buildings. La posición de Hans Poelzig (Berlín manipulación, magistral si se quiere, The Haus des Rundfunks is a 1869 - Berlín 1936) con respecto a la de elementos tradicionales. Hans powerful hermetic factory in the shape of a triangle and técnica, y en concreto con respecto a Poelzig afirmaba que la realización of uniform height. Mass, las innovaciones técnicas de la técnica es la que menos se impone geometric rigidity and the absence of textures make up modernidad y los nuevos materiales, desde el punto de vista formal y que a building which así como sus manifestaciones el ideal técnico consiste en el uso lo relinquishes expressing the new media, with a abiertamente contrarias a la primacía más reducido posible de materiales y perimeter ring consisting of de ésta en arquitectura y a la formas. Su actitud beligerante en offices and larger spaces that are more characteristic existencia siquiera de un "arte del favor de la arquitectura como arte y towards their inside. ingeniero" han favorecido su en contra de los valores más Geometry is used as a means to organize and limit catalogación como arquitecto reconocidos de la modernidad, the shapes of the buildings. -
Carl Legien (1861 – 1920) Drei Gründe, Warum Der Gewerkschaftsführer Es Verdient Hat, Erinnert Zu Werden
Karl Christian Führer Carl Legien (1861 – 1920) Drei Gründe, warum der Gewerkschaftsführer es verdient hat, erinnert zu werden Reihe ISBN 978-3-86498-513-3 Gesprächskreis Geschichte ISSN 0941-6862 Heft 101 Karl Christian Führer Carl Legien (1861–1920) Drei Gründe, warum der Gewerkschaftsführer es verdient hat, erinnert zu werden Gesprächskreis Geschichte Heft 101 Friedrich-Ebert-Stiftung Archiv der sozialen Demokratie GESPRÄCHSKREIS GESCHICHTE | HEFT 101 Herausgegeben von Anja Kruke und Meik Woyke Archiv der sozialen Demokratie Dieses Heft erscheint in Zusammenarbeit mit der Johannes-Sassenbach-Gesellschaft. Kostenloser Bezug beim Archiv der sozialen Demokratie der Friedrich-Ebert-Stiftung E-Mail: [email protected] <http://www.fes.de/archiv/gkg> © 2014 by Friedrich-Ebert-Stiftung, Bonn Eine gewerbliche Nutzung der von der Friedrich-Ebert-Stiftung herausgegebenen Medien ist ohne schriftliche Zustimmung der Herausgeberin nicht gestattet. Redaktion: Johannes Platz, Anna Strommenger Gestaltung und Satz: PAPYRUS – Lektorat + Textdesign, Buxtehude Umschlag: Pellens Kommunikationsdesign GmbH Herstellung: Katja Ulanowski Druck: bub Bonner Universitäts-Buchdruckerei ISBN 978-3-86498-513-3 ISSN 0941-6862 GESPRÄCHSKREIS GESCHICHTE | HEFT 101 3 Inhalt Johannes Platz Vorwort ..................................................................... 4 Christian Hoßbach Einführungsrede anlässlich des 150. Geburts tages von Carl Legien .... 7 Karl Christian Führer Carl Legien (1861–1920) Drei Gründe, warum der Gewerkschaftsführer es verdient hat, erinnert zu