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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 ................................. -
Art Institute of Chicago 10-13 the British Museum 14-20 Mellon Pilot Project 14 Courtauld Institute of Art 21-25 Mellon Pilot Project 21 Doerner Institut 26-29
Issues in Conservation Documentation: Digital Formats, Institutional Priorities, and Public Access London The Andrew W. Mellon Foundation This meeting was held under the auspices of the Andrew W. Mellon Foundation at the British Museum on May 25, 2007. Table of Contents Participants 3-6 Issues in Conservation Documentation: Digital Formats, Institutional Priorities, and Public Access 7 Preliminary Questions Circulated in Advance 8 Issues in Conservation Documentation: Institutional Summaries * Art Institute of Chicago 10-13 The British Museum 14-20 Mellon Pilot Project 14 Courtauld Institute of Art 21-25 Mellon Pilot Project 21 Doerner Institut 26-29 The J. Paul Getty Museum 30-32 Getty Pilot Project 30 The Metropolitan Museum of Art 33-38 Mellon Pilot Project 33 Museo Nacional del Prado 39-45 Museum of Fine Arts, Boston 46-50 National Galleries of Scotland 51-54 The National Gallery, London 55-60 Mellon Pilot Project 56 Rijksbureau voor Kunsthistorische Documentatie 61-65 Rijksmuseum Amsterdam 66-67 Staatliche Museen zu Berlin 68-75 Statens Museum for Kunst 76-80 *Edited by Janet Bridgland Table of Contents 2 Planning Committee David Saunders Angelica Zander Rudenstine Head of Conservation Program Officer, Museums and Art Conservation The British Museum The Andrew W. Mellon Foundation Great Russell Street 140 East 62nd Street London WC1B 3DG, UK New York, NY 10017 USA 44-207-323-8669 1-212-500-2495 [email protected] [email protected] Kenneth Hamma Mark Leonard Executive Director for Digital Policy and Initiatives Conservator of Paintings The J. Paul Getty Museum The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 1200 Getty Center Drive, Suite 1000 Los Angeles, CA 90049 USA Los Angeles, CA 90049 USA 1-310-440-7186 1-310-440-7022 [email protected] [email protected] Moderator Coordinator Timothy Whalen Alison Gilchrest Director Program Associate, Museums and Art Conservation The Getty Conservation Institute The Andrew W. -
8. Februar Bis 28. Juli 2013 Im Weißen Licht. Skulpturen Aus Der
8. Februar bis 28. Juli 2013 Im weißen Licht. Skulpturen aus der Friedrichswerderschen Kirche in der Neuen Nationalgalerie Neue Nationalgalerie, Kulturforum, Potsdamer Straße 50, 10785 Berlin www.smb.museum www.facebook.com/staatlichemuseenzuberlin Die Berliner Bildhauerschule Skulptur des Klassizismus aus der Friedrichswerderschen Kirche The Berlin School of Sculpture Neoclassical Sculpture from the Friedrichswerder Church Die Nationalgalerie verwahrt in ihrem Stammhaus auf der Museums insel eine der bedeutendsten Sammlungen von Skulptur des 19. und frühen 20. Jahrhunderts in Deutschland. Künstler wie Antonio Canova und Bertel Thorvaldsen, Johann Gottfried Schadow und Christian Daniel Rauch, Auguste Rodin oder Aristide Maillol sind mit wichtigen Werken in der Schausammlung der Alten Nationalgalerie vertreten. Unweit der Museumsinsel steht die Friedrichswerdersche Kirche von Karl Friedrich Schinkel, die von 1987 bis 2012 als Dependance der Nationalgalerie vor allem Werke der Berliner Bildhauerei zwischen 1800 und 1850 im Umkreis Schinkels präsentierte. Die Berliner Bildhauerschule besaß im 19. Jahrhundert deutschlandweite Bedeutung und reicht in ihren Ausläufern bis in die Vereinigten Staaten von Amerika. Seit dem Ende des 18. Jahrhunderts wuchs in der preußischen Hauptstadt eine erfolgreiche Generation von Bildhauern heran, die vor allem mit zwei Namen verbunden ist: Johann Gottfried Schadow und Christian Daniel Rauch. Sowohl Schadow (1764 bis 1850) als auch Rauch (1777 bis 1857) hatten sich nach ersten Berliner Lehrjahren in Rom ausgebildet, wo sie mit den dortigen antiken Bildwerken ebenso vertraut wurden wie mit den neuesten Strömungen der frühklassizistischen Bildhauerkunst. Anmut und Würde prägen die Porträtplastik dieser Zeit, die Since the end of the 18th century, a successful generation of sculptors vom Menschenbild der Aufklärung ebenso beeinflusst ist wie von der grew up in the Prussian capital, largely connected with two names: Antikenbegeisterung des deutschen Idealismus. -
Classicist No-9
THE CLASSICIST NO-9 THE CLASSICIST o Institute of Classical Architecture & Art n 9: 2010-2011 20 West 44th Street, Suite 310, New York, NY 10036-6603 - telephone (212) 730-9646 facsimile (212) 730-9649 [email protected] WWW.CLASSICIST.ORG the classicist at large 4 Canon and Invention: The Fortuna of Vitruvius’ Asiatic Ionic Base Editor e s s a y 7 Richard John Schinkel’s Entwürfe zu städtischen Wohngebäuden: Designer Living all’antica in the New Bourgeois City Tom Maciag Dyad Communications design office Jean-François Lejeune Philadelphia, Pennsylvania Managing Editor f r o m t h e o f f i c e s 28 Henrika Dyck Taylor Printer e s s a y 49 Crystal World Printing Manufactured in China Paul Cret and Louis Kahn: Beaux-Arts Planning at the Yale Center for British Art ©2011 Institute of Classical Architecture & Art Sam Roche All rights reserved ISBN 978-0-9642601-3-9 ISSN 1076-2922 from the academies 60 Education and the Practice of Architecture Front and Back Covers David Ligare, Ponte Vecchio/ Torre Nova, 1996, Oil on Canvas, 40 x 58 inches. Private Collection, San Francisco, CA. ©D. Ligare. Michael Lykoudis This painting was created for a solo exhibition at The Prince of Wales’s Institute of Architecture in London in 1996. David Ligare described his intentions in the following terms: “The old bridge has been painted countless times by artists who have Notre Dame/Georgia Tech/Miami/Judson/Yale/College of Charleston/The ICAA utilized every style and manner of painting imaginable. I was not interested in making yet another ‘new’ view of it. -
GREEN Museum Conference Booklet
11.–12.04.2013 Berlin International Scientific Workshop Heritage Science and Sustainable Development for the Preservation of Art and Cultural Assets On the Way to the GREEN Museum Conference Booklet SCOPE OF THE WORKSHOP The term "Green Museum" brings together conservation science with the sustainable development for the preservation of art and cultural heritage. This involves three closely related issues: firstly, the preservation and conservation, i.e. the widest possible extension of life expectancy for our cultural heritage; secondly, the economic and infrastructural conditions for it; and finally the ecological energy and resource issue (energy efficiency, carbon footprint). In the sustainability debate, these three aspects can only be considered and evaluated together. The 'Green Museum' is a museum that embraces the concept of sustainability in its program, its activities and its physical presence. Here conservation science programs share a particular responsibility. An important element of sustainable development in the field of museums and monuments is preventive conservation with all its elements, including the various challenges of climate, temperature and humidity, light, pollutants etc. The professional field of conservation and conservation science (Heritage Science*) has developed continuously since the foundation of the Rathgen Research Laboratory on the April 01st, 1888 as the first museum laboratory, especially in recent decades. Conservation research activities have to focus and need to develop modern concepts in interdisciplinary collaborations that are consistent with both the primacy of heritage conservation as well as environmental and financial desiderata. They must integrate all three dimensions of sustainability, ecology, economics and society in order to cope with the immense challenges of the future. -
Red Sea-Rezon
THE AGES DIGITAL LIBRARY REFERENCE CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE Red Sea - Rezon by James Strong & John McClintock To the Students of the Words, Works and Ways of God: Welcome to the AGES Digital Library. We trust your experience with this and other volumes in the Library fulfills our motto and vision which is our commitment to you: MAKING THE WORDS OF THE WISE AVAILABLE TO ALL — INEXPENSIVELY. AGES Software Rio, WI USA Version 1.0 © 2000 2 Red Sea the usual designation of the large body of water separating Egypt from Arabia. The following account of it is based upon the Scriptures and other ancient and modern authorities. SEE SEA. I. Names. — The sea known to us as the Red Sea was by the Israelites called the sea (µY;hi, <021402>Exodus 14:2, 9, 16, 21, 28; 15:1, 4, 8, 10, 19; <062406>Joshua 24:6, 7; and many other passages); and specially “the sea of Siph” (ãWsAµyi, <021019>Exodus 10:19; 13:18; 15:4, 22; 23:31; <041425>Numbers 14:25; 21:4; 33:10, 11; <050140>Deuteronomy 1:40; 11:4; <060210>Joshua 2:10; 4:23; 24:6; <071116>Judges 11:16; <110926>1 Kings 9:26; <160909>Nehemiah 9:9; <19A607>Psalm 106:7, 9, 22; 136:13, 15; <244921>Jeremiah 49:21). It is also perhaps written Suphcah’, hp;Ws (Sept. Zwo>b), in <042114>Numbers 21:14, rendered “Red Sea” in the A.V.; and in like manner, in <050101>Deuteronomy 1:1, ãWs, without µyi. The Sept. -
Richard Garnier, 'Alexander Roos (C.1810– 1881)', the Georgian Group Journal, Vol. Xv, 2006, Pp. 11–68
Richard Garnier, ‘Alexander Roos (c.1810– 1881)’, The Georgian Group Journal, Vol. XV, 2006, pp. 11–68 TEXT © THE AUTHORS 2006 ALEXANDER ROOS (c. – ) RICHARD GARNIER lexander Roos (Fig. ) was an early-Victorian identification of a previously unappreciated A architect, interior-designer, decorative-painter, alternative to Sir Charles Barry’s influential version furniture-designer and designer of formal of that movement. Lastly, an interim assessment of ‘architectural’ gardens of the mid- s to late- s. Roos’s career and influence will be attempted, and it He was employed throughout the British Isles and is to be hoped that this will stimulate further yet has passed largely unnoticed in the study of discoveries about the man and his work. architectural history. This paper, in focusing greater As previously set out in Sir Howard Colvin’s attention on Roos’s achievements, demonstrates that introductory essay on Roos, his surname is a study of his career involves the riddle of how a Germanic but he was born in Rome. Roos was seemingly untried, immigrant architect of twenty-five probably son to an immigrant German cabinetmaker secured such major, far-flung commissions so soon after his arrival in England. These included The Deepdene, Bedgebury Park, Hadzor House, Shrubland Park and No. Carlton Gardens — in Surrey, Kent, Worcestershire, Suffolk and London respectively – which he ran in tandem in the second half of the s. These commissions bespeak of his arrival with, or even summons on account of, some architectural standing that has remained unplumbed until now. Whilst the answer to that conundrum may lie in the proposition that Roos was a pupil of Karl Friedrich Schinkel, there is first the need to outline his life as far as it can be discovered and also establish the extent of his work, much of which until now has been ascribed erroneously to others. -
Senior Berlin Trip March 18-24, 2013 the Itinerary
BARNARD COLLEGE VISUAL ARTS SENIOR BERLIN TRIP MARCH 18-24, 2013 THE ITINERARY MONDAY 3/18 Pergamon Museum TUESDAY 3/19 The Neuer Berliner Kunstverein (n.b.k.) Tour of Olafur Eliasson’s studio by artist Geoffery Garrison Studio Olafur Eliasson Artist studio visit with William Cordova /American Academy in Berlin Fellow WEDNESDAY 3/20 Gallery Visit, Meet Henriette Huldisch, Associate Curator, Hamburger Bahnhof Museum Artist studio visit with Jennifer Bornstein / DAAD (2011) THURSDAY 3/21 Collection Scharf-Gerstenberg “Surreal Worlds” Berggruen Museum Schloss (Palace) Charlottenburg Artist talk and video screening with Massimiliano De Serio (artist, Turin), moderat- ed by Kathrin Becker (Head of n.b.k. Video-Forum) and Silke Wittig (n.b.k. Video- Forum). In cooperation with Artists Film International (AFI), initiated by Whitecha- pel Gallery, London. Group Dinner with Valerie Smith and additional guests FRIDAY 3/22 Akademie der Künste Artist studio visit with Rosa Barba Egyptian Museum tour with Art Historian Cristian Craciun SATURDAY 3/23 Choice Day Prearranged appointments at Neue Nationalgalerie, Alte Nationalgalerie, Bode Museum, Jüdische Museum Berlin, KW Institute for Contemporary Art, Berlinische Galerie Museum of Modern Art, The Haus der Kulturen der Welt Planet Modular Art Supply Warehouse Berliner Philharmonie 2 3 MUSEUMS & GALLERIES Pergamon Museum The Hamburger Bahnhof The Pergamon Museum was built between 1910 The Hamburger Bahnhof was built in 1874 as one of and 1930 under the supervision of Ludwig Hoffmann, Berlin’s rail heads, but already in 1906 it was found too working according to designs by Alfred Messel. From small for a station and was converted into a museum 1901 to 1909, a smaller building had occupied the of traffic and building. -
International City Tours University Career Action Network
International City Tours University Career Action Network Amsterdam by Emory University, Athens by Brown University, Beijing by Duke University, Berlin by Yale University, Cairo by Swarthmore College, Dublin by Boston College, Hong Kong by Pepperdine University, Istanbul by Williams College, London by Wake Forest University, Madrid by Vanderbilt University, Paris by Princeton University, Rome by University of Denver, Sao Paolo by the University of Richmond, Sydney of Tulane University, Santiago by the University of Notre Dame, Singapore by University of San Francisco, Tokyo by The College of William and Mary. 1 Amsterdam City Overview History Amsterdam was originally established as a fishing village at the mouth of the Amstel River during the 13th century. The city prospered over the years, with its wealth and power peaking during the 17th century's Golden Age. The Netherlands was occupied by Germany during the Second World War. Following its liberation in 1945, the country chose to abandon its traditional policy of neutrality, subsequently becoming a member of Western European Union (WEU) and the North Atlantic Treaty Organization (NATO). The Treaty establishing the Benelux Economic Union between the Netherlands, Belgium and Luxembourg was signed in 1958 and came into force in 1960. The Netherlands was a founder member of the European Community (EC—now European Union—EU). Culture Amsterdam offers a diverse array of world-class entertainment, as for centuries has been one of the leading centers of culture in Europe. High-quality culture spread across 65 theatres and concert halls, 42 museums and over 141 galleries. The availability of culture in Amsterdam is thanks to affordable prices, and the fact that Beethoven's Ninth can be enjoyed just as much in jeans as in more formal attire. -
PDF Format to Get a Guide in Paper Form Or, Even Better, Get in Contact with the Local Tour Guide to Book a Private and Personalized Guided Tour
www.latlon-europe.com Berlin - Sightseeing Guide to the sights of the City of Berlin To help you decide which are the must-sees of Berlin we present a choice of the most interesting places with their history and practical information for visitors. You may print this page in PDF format to get a guide in paper form or, even better, get in contact with the local tour guide to book a private and personalized guided tour. Reichstag The Reichstag was built between 1884 and 1894 by German architect Paul Wallot in Neo-Renaissance style. Today, the “Bundestag”, i.e. the parliament of the Federal Republic of Germany is housed here. The name of Reichstag recalls the times when Germany was still an empire (Reich) made up of several member states whose coats of arms can be seen at the Western entrance. During its construction it was heavily criticised, especially by Kaiser William II. himself who feared the dimensions of the building might surpass those of his palace. From 1895 until 1933, under the reign of the last German emperor and during the short-lived democracy of the Weimar Republic, the Reichstag served as seat of parliament. In early 1933, however, the assembly hall was damaged by a fire. Shortly afterwards, the Nazi came to power. At the end of WW II, the Reichstag became a battlefield and the red flag was hoisted there on April 30, 1945. Since 1999, the entirely refitted building, completed by the dome designed by Sir Norman Foster, is once more the official seat of the German Parliament. -
Post-Secular Space: on the Strange Place of Contemporary Art in Old Active
Post-Secular Space: On the Strange Place of Contemporary Art in Old Active Churches in Germany, 1987–2017 Inaugural dissertation to complete the doctorate from the Faculty of Arts and Humanities of the University of Cologne in the subject Art History presented by Lilia Sokolova born on 17.05.1992 in Yoshkar-Ola, Russia Cologne, 14.10.2018 Primary advisor: Prof. Dr. Norbert Nußbaum Second advisor: Prof. Dr. Christian Spies Third advisor: Prof. Dr. Stefanie Lieb Oral examination: 14.12.2018 - Von Franz Marc ist der Ausspruch bekannt, daß er hoffe, die Bilder der neuen Kunst würden einmal auf den Altären der Zukunft ihren Platz haben. - Franz Marc hat selbstverständlich recht, Herr Schreyer. Aber ich bin nüchterner als Franz Marc. Die Zukunft hat bereits begonnen. Sie ist schon heute da. Und es bedarf nur eines kleinen Mutes einiges einsichtiger geistlicher Herrn, um der Kunst des 20. Jahrhunderts in den Kirchen Raum zu geben. Die Kunst [dieses] Jahrhunderts aber bestimmen wir. - There is a well-known claim by Franz Marc, that he hoped for the examples of new art to be one day placed at the altars of the future. - Franz Marc was indeed right, Mr. Schreyer. But I am more prosaic than he was. The future has already begun. It is already here today. And what is needed in order to set the art of the twentieth century in a church space is merely a bit of courage in a single insightful spiritual man. The art of [this] century, though let us specify. Conversation between Lothar Schreyer and Wassily Kandinsky, Weimar, 1922 from Lothar Schreyer, Erinnerungen an Sturm und Bauhaus (1956). -
Berlin's New Cultural Heart
Berlin’s new cultural heart Cultural hub and historical centre Germany’s capital has always been renowned for its rich cultural life. Its centrepiece of the historical Mitte district is home to many outstanding sights – not just the Museum Island, but no less than two opera houses and six major theatres as well as innumerable galleries and arts venues. Now, a series of new cultural projects are being developed, often just a few minutes’ walk apart, lending a new quality to this fascinating district. The stage was set in 2017 with the Staatsoper Unter den Linden reopening after a programme of full refurbishment lasting seven years. This landmark sight has now been joined by the Palais Populaire, the James Simon Gallery, and the Futurium as well as a truly outstanding milestone – the Humboldt Forum, opened in late 2020. Here, we offer an overview of major recent and planned cultural projects in the heart of Berlin. Newly opened in 2021 © Humboldt Forum, Foto: Sönke Schneidewind Humboldt Forum Humboldt Forum In December 2020, Berlin’s new forum for culture, art and science opened in the heart of Germany’s capital city. Due to the Covid-19 pandemic, this exciting new venue could at first only be experienced online. In the meantime, the Schlüterhof, the Passage, the Spreeterrassen as well as the first and second floor became freely accessible. The Humboldt Forum is a vibrant centre for inquiry and encounters, a place of global learning and experience. In cutting edge interactive exhibitions, visitors can explore continents, regions, lifeworlds and ideas – on around 30,000 square metres across five floors.