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Italy and the Sanusiyya: Negotiating Authority in Colonial Libya, 1911-1931 Eileen Ryan Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 ©2012 Eileen Ryan All rights reserved ABSTRACT Italy and the Sanusiyya: Negotiating Authority in Colonial Libya, 1911-1931 By Eileen Ryan In the first decade of their occupation of the former Ottoman territories of Tripolitania and Cyrenaica in current-day Libya, the Italian colonial administration established a system of indirect rule in the Cyrenaican town of Ajedabiya under the leadership of Idris al-Sanusi, a leading member of the Sufi order of the Sanusiyya and later the first monarch of the independent Kingdom of Libya after the Second World War. Post-colonial historiography of modern Libya depicted the Sanusiyya as nationalist leaders of an anti-colonial rebellion as a source of legitimacy for the Sanusi monarchy. Since Qaddafi’s revolutionary coup in 1969, the Sanusiyya all but disappeared from Libyan historiography as a generation of scholars, eager to fill in the gaps left by the previous myopic focus on Sanusi elites, looked for alternative narratives of resistance to the Italian occupation and alternative origins for the Libyan nation in its colonial and pre-colonial past. Their work contributed to a wider variety of perspectives in our understanding of Libya’s modern history, but the persistent focus on histories of resistance to the Italian occupation has missed an opportunity to explore the ways in which the Italian colonial framework shaped the development of a religious and political authority in Cyrenaica with lasting implications for the Libyan nation. -
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Archalp3_imp.indd 116 18/12/19 15:16 Is there an autochthonous “Tyrolean Modernism”? This article examines, on the basis of two residential buildings by Franz Baumann, the status of the postulate of an autochthonous “Tyrolean Modernism”. Often mentioned together, five architects are among the main representatives of classical modernism in the Austrian province of Tyrol: Clemens Holzmeister, Lois Welzenbacher, Theodor Prachensky, Franz Baumann and Sigfried Mazagg. Even if they did not form a close circle because of their life paths, there is a strong link between them, mostly in their artistic background and their way of representing architecture. Architecture was a detour from a first aim to pursue an artistic career for all of them, with the exception of Welzenbacher. Architects like Franz Baumann not only “modernized” well-known typologies, but also regionalized elementary components of internationally widespread building traditions. The “Tyrolean Modernism” was repeatedly regarded as an “autochthonous” move- ment, even if the regional scene was not detached at all from the international de- velopment. The alpine environment, in particular, offered a framework of conditions that challenged the architects to top performance. They were able to plan for loca- tions that were uncharted territory in many respects: exposed in the mountains or high mountain areas. In this context, the architects of “Tyrolean Modernism” benefited from their painter- ly-trained eye for the morphology of Alpine landscapes. Bettina Schlorhaufer Keywords Born in 1963 in Innsbruck, studied art Tyrol, Modernity, regionalism, history and history at the Leopold-Franzens landscape, building culture. University of Innsbruck. In addition to her academic activities in the field of architectural theory and architectural history, she also works as curator (including the exhibitions “Architecture becomes Region/Dall’architettura alla regione”, New Architecture in South Tyrol 2000-2006” and “Gion A. -
The History of Europe — Told by Its Theatres
THE HISTORY OF EUROPE — TOLD BY ITS THEATRES Exhibition magazine CONTENT 4 Introductions We live in Europe, and it is therefore our task to make this part of the world work, in a peaceful way and for the best of all people liv - 6 Mediterranean experience ing here. To achieve this, we have to cooperate across borders, be - 10 religious impact cause only together we can solve the challenges we are facing together. For this, institutions are necessary that make cooperation 14 Changing society – possible on a permanent basis. For this, it is necessary to jointly changing building create an idea of how Europe shall develop now and in the future. 18 The Theatre royal, drury lane For this, it is necessary to remember where we come from – to remember our common history in Europe. 22 Max littmann For this, the touring exhibition The history of Europe – told by and the democratisation its theatres proposes a unique starting point: our theatres. And this of the auditorium is not a coincidence. Since the first ancient civilisations developed 24 Aesthetics and technology in Europe 2500 years ago, the history of Europe has also been the 28 The nation history of its theatre. For 2500 years, theatre performances have been reflecting our present, past and possible future. For the per - 34 Spirit of the nation set ablaze formances, this special form of a joint experience and of joint re - 38 To maintain the common flection, Europeans have developed special buildings that in turn identity – the Teatr Wielki mirror the development of society. And thus today we find theatre in Warsaw buildings from many eras everywhere in Europe. -
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Hobbs, Mark (2010) Visual representations of working-class Berlin, 1924–1930. PhD thesis. http://theses.gla.ac.uk/2182/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Visual representations of working-class Berlin, 1924–1930 Mark Hobbs BA (Hons), MA Submitted in fulfillment of the requirements for the Degree of PhD Department of History of Art Faculty of Arts University of Glasgow February 2010 Abstract This thesis examines the urban topography of Berlin’s working-class districts, as seen in the art, architecture and other images produced in the city between 1924 and 1930. During the 1920s, Berlin flourished as centre of modern culture. Yet this flourishing did not exist exclusively amongst the intellectual elites that occupied the city centre and affluent western suburbs. It also extended into the proletarian districts to the north and east of the city. Within these areas existed a complex urban landscape that was rich with cultural tradition and artistic expression. This thesis seeks to redress the bias towards the centre of Berlin and its recognised cultural currents, by exploring the art and architecture found in the city’s working-class districts. -
Türkiye'de Erken Cumhuriyet Dönemi Yabancı Mimarların İzleri, Franz
ÇALIŞMA MEGARON 2018;13(3):363-373 DOI: 10.5505/MEGARON.2018.79664 Türkiye’de Erken Cumhuriyet Dönemi Yabancı Mimarların İzleri, Franz Hillinger Örneği Tracks of Foreign Architects of the Early Republic Period in Turkey, Franz Hillinger Sample Ayşe DURUKAN KOPUZ ÖZ 30’lu yıllarda, Türkiye’de Modern Mimarlık üzerine yapılan kavramsal tartışmalar, Almanca konuşan veya geçmişte Almanya’da bulunan avangart mimar ve kentsel plancıların ülkemize gelmeleriyle yeni bir boyut kazanmıştır. Bahsedilen mimar ve kent plancıları kendi ülke- lerinde kazandıkları deneyimleri ülkemizde uygulamaya çalışmışlardır. Şimdiye kadar Erken Cumhuriyet Döneminde Türkiye’ye gelen ya- bancı mimarların gösterdikleri etkilerin tarihçesi araştırılırken, genellikle birinci kategoride (ön planda) yer alan mimar ve kentsel plancılar üzerinde araştırmalar yapılmıştır. Oysa yeni mimarlık söyleminin/pratiğinin biçimlenmesinde oldukça etkin ve nüfuzlu bir rol oynayan bu avangard/öncül mimarların yanı sıra, daha az tanınan uzmanlardan/mimarlardan oluşan adeta geri planda kalmış sessiz bir deneyim geçirmiş olan bir grup daha vardır. Örneğin 1936-38 yılları arasında Türkiye’de bulunan Bruno Taut yönetiminde bulunan İmar Bürosu’nda çalışan bir grup mimarın durumu bu şekildedir. Bu makalede Taut’la birlikte çalışan ve daha alt kategoride yer alan göçmen mimarlardan olan Franz Hillinger hakkında özellikle “Berlin Akademie der Künste, Yapı Sanatı Arşivi”nden elde edilen bilgiler doğrultusunda, 1930’lar Türkiye mimarlık ortamına ışık tutulmaya çalışılacaktır. Ayrıca Erken Cumhuriyet Dönemi mimarlığı hakkında, yabancı mimarların rolü üzerine katkı sağlayabilecek bir konuyu gündeme taşımayı ve dönemle ilgili literatür, bilgi birikiminin arttırılması ve sürdürülmesi hedef- lenmektedir. Anahtar sözcükler: Bruno Taut; Erken Cumhuriyet Dönemi mimarlığı; Franz Hillinger; yabancı mimarlar. ABSTRACT In 30’s, the conceptual debates on Modern Architecture in Turkey gained a new dimension by the arrival of german speaking and German avant- garde architects and urban planners. -
Ideas and Practices for the European City
JOURNAL OF ARCHITECTURAL CULTURE 2017 JOELHO # 08 IDEAS AND PRACTICES FOR THE EUROPEAN CITY —— Guest Editors: José António Bandeirinha Luís Miguel Correia Nelson Mota Ákos Moravánszky Irina Davidovici Matthew Teissmann Alexandre Alves Costa Chiara Monterumisi Harald Bodenschatz Joana Capela de Campos Vitor Murtinho Platon Issaias Kasper Lægring Nuno Grande Roberto Cremascoli Exhibition History of Architecture III / IV Biographies of Power: Personalities and Architectures Jorge Figueira and Bruno Gil EDARQ JOURNAL OF ARCHITECTURAL CULTURE 2017 JOELHO # J08 IDEAS AND PRACTICES FOR THE EUROPEAN CITY —— Guest Editors: José António Bandeirinha Luís Miguel Correia Nelson Mota Ákos Moravánszky Irina Davidovici Matthew Teissmann Alexandre Alves Costa Chiara Monterumisi Harald Bodenschatz Joana Capela de Campos Vitor Murtinho Platon Issaias Kasper Lægring Nuno Grande Roberto Cremascoli Exhibition History of Architecture III / IV Biographies of Power: Personalities and Architectures Jorge Figueira and Bruno Gil em cima do joelho série II: Joelho Editores / Editors JOELHO Edição / Publisher Tipografia / Typography Contactos / Contacts Jorge Figueira (CES, DARQ, UC) e|d|arq – Editorial do Departamento Logótipo Joelho: Garage, Desenhada [email protected] Gonçalo Canto Moniz (CES, DARQ, UC) de Arquitectura Faculdade de em 1999 por Thomas Hout-Marchand, [email protected] — Ciências e Tecnologia da Universidade Editada pela sua editora 256TM — JOELHO 8 de Coimbra / Department of Joelho Website Ideas and Practices for Architecture, Faculty of Sciences and JOELHO VIII: Neutraface Slab, http://impactum-journals.uc.pt/index. the European City Technology, University of Coimbra desenhada em 2009 por Susana php/joelho/index — — Carvalho e Kai Bernau, sob direcção https://digitalis.uc.pt/pt-pt/ Editores convidados / Guest Editors Design artistica de Christian Schwartz e Ken node/84925 José António Bandeirinha R2 · www.r2design.pt Barber. -
Clemens Holzmeister & Seine Schüler (Innsbruck, 16-18 Oct
Clemens Holzmeister & seine Schüler (Innsbruck, 16-18 Oct 14) Innsbruck, 16.–18.10.2014 Deadline/Anmeldeschluss: 10.10.2014 PD Dr. Christoph Hölz in Zusammenarbeit mit der Albertina Wien und dem DAM Deutschen Architekturmuseum Frankfur- t/Main Die zweite internationale Fachtagung zu Clemens Holzmeister (1886-1983) befasst sich mit dem erfolgreichen Büroleiter und Professor, seinen Mitarbeitern und Schülern. Holzmeister lehrte 1919-1923 an der StaatsgewerbeschuleInnsbruck, 1924-1938 und 1954-1957 an der Akademie der bildenden Künste in Wien sowie 1928-1933 an der Kunstakademie in Düsseldorf, und von 1940 bis 1949 hatte er eine Professur an der Technischen Hochschule in Istanbul. Mehr als 700 Studierende haben in seinen „Meisterschulen“ das Architekturstudium absolviert. Diese beeindru- ckende Zahl wirft die Frage auf, ob es eine „Holzmeister-Schule“ gibt. Neben Beiträgen über das Meisterschul-Prinzip und die Ausbildung an Technischen Universitäten und Akademien sowie Kunst- und Kunstgewerbeschulen werden Vergleiche mit anderen Meister- schulen, wie etwa jene von Peter Behrens und Lois Welzenbacher angestellt. Es werden die unter- schiedlichen Institutionen und Orte an denen Holzmeister gelehrt hat (Innsbruck, Düsseldorf, Wien, Istanbul) ebenso betrachtet, wie die politischen und gesellschaftlichen Rahmenbedingun- gen. Referiert und mit Zeitzeugen diskutiert werden die folgenden Fragen: Warum wählte man das Stu- dium bei Holzmeister? Was waren die Schwerpunkte im Unterricht und welche Entwurfsaufgaben dominierten? Welche konkreten „Lehrsätze“ vermittelte die Holzmeister-Schulung und welche Rol- le spielten sie im Berufsleben der Schüler? Wie wichtig waren die Zeichenschule Holzmeisters und die Darstellungstechniken in Kohle, Tusche und Aquarell? Wie verhielt sich Holzmeister als Mentor seiner Schüler? Wie verliefen die Karrieren der Architektinnen aus der Holzmeister-Schule? Die begleitende Ausstellung zeigt Originalzeichnungen und Modelle u.a. -
Architecture in Linz 1900–2011
~ SpringerWienNewYork Architecture in Linz 1900–2011 EDITED BY Andrea Bina and Lorenz Potocnik AUTHORS Andrea Bina (ab) Theresia Hauenfels (th) Elke Krasny (ek) Isabella Marboe (im) Lorenz Potocnik (lp) PHOTOGRAPHY Gregor Graf ESSAYS BY Peter Arlt Ulrich Aspetsberger Martin Fritz Bernhard Gilli Michael John Walter Kohl Erhard Kargel Elke Krasny Wilfried Lipp Thomas Philipp Wilfried Posch Lorenz Potocnik Gerhard Ritschel Bernd Vlay Christoph Wiesmayr SpringerWienNewYork Andrea Bina, Lorenz Potocnik, Linz, Austria This publication is a follow-up project of Linz09 and was financed by the Federal Ministry for Education, Art, and Culture, the City of Linz, and the Province of Upper Austria / Cultural Department. This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically those of translation, reprinting, re-use of illustrations, broadcasting, reproduction by photocopying machines or similar means, and storage in databanks. Product Liability: The use of registered names, trademarks, etc. in this publication does not imply, even in the absence of specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. ©2012 Springer-Verlag/Wien SpringerWienNewYork is a part of Springer Science + Business Media springer.at Graphic design: Alexander Ach Schuh & Martina Fuchs Photography: Gregor Graf Concept & Project Management: Lorenz Potocnik Editorial office: Hannah Bruckmüller, Lorenz Potocnik Copy Editing: Andrea -
Doç.Dr. Ceylan İrem GENÇER
Doç.Dr. Ceylan İrem GENÇER Kişisel Bilgiler Fİşa xT eTlelfeofnoun:u +: 9+09 201 221 328 338 236 23603 0 DE-ipğeors tEa-:p yoasytlal:i @[email protected] PWoesbta: hAtdtprse:/s/i:y iYldılidzı.za cTaedkenmiki aÜ.endivue/rCseityelsain MIriemmaGrleıkn cFearkültesi Restorasyon Anabilim Dalı EDoğkitoimra, Bİsitalgnibluelr Tieknik Üniversitesi, Mimarlık, Mimarlık / Restorasyon, Türkiye 2007 - 2013 LYiüskasnesk, İLsitsaannbsu, lİ sTteaknnbiukl ÜTneikvneirks iÜtensivi, eMrsimiteasril,ı kM, iMmiamralırkl,ı kM, iTmüarrkliıyke / 2 R0e0s0to -r 2a0sy0o4n, Türkiye 2004 - 2006 Yabancı Diller İYnugnilaiznccea, , CB11 İ Olerrtia SYaebratnifciı kDail,, MKoudresr nv Yeu Enağnictaim dill ekrursu, Sismanoglio Megaro, 2012 Yaptığı Tezler MDoimktaorrlıak, , 1M8i4m0a-1rl9ık1 2/ RYıellsatroır Aasryaosınn,d 2a0 İ1z2mir ve Selanik'teki Kentsel ve Mimari Değişim, İstanbul Teknik Üniversitesi, MYüimksaerklı kL i/s aRness, tCournasdyao And, 2as0ı0'n6da Tarihi Çevre Koruma ve Sıhhileştirme Çalışması, İstanbul Teknik Üniversitesi, Mimarlık, AMrimaaşrtlııkr,m Maim Aarllaıkn Tlarriıhi ve Restorasyon, Mühendislik ve Teknoloji Akademik Unvanlar / Görevler YDrodç..DDorç., .DYırld., ıYzı lTdeızk nTiekk Ünnikiv Üenrsiviteerssii, tMesiim, Marimlıka Frlaık üFlateksüil, tMesiim, Marimlıka Brlöıklü Bmöülü, m20ü1, 72 0- 1D4e -v a2m01 E7diyor Araştırma Görevlisi, DYrıl.d, Yızı lTdeızk nTiekk Üninki vÜenrisvietersii,t eMsiim, Marimlıka rFlaıkk üFlatkeüsil,t eMsiim, Marimlıka rBlıökl üBmölüü, m20ü1, 210 -1 220 -1 22014 Akademik İdari Deneyim Akademik İdari Deneyim -
International Symposium “Designing
INTERNATIONAL SYMPOSIUM “DESIGNING TRANSFORMATION: JEWS AND CULTURAL IDENTITY IN CENTRAL EUROPEAN MODERNISM” UNIVERSITY OF APPLIED ARTS VIENNA, MAY 16–17, 2019 INTERNATIONAL SYMPOSIUM “DESIGNING TRANSFORMATION: JEWS AND CULTURAL IDENTITY IN CENTRAL EUROPEAN MODERNISM” UNIVERSITY OF APPLIED ARTS VIENNA, MAY 16–17, 2019 The International Symposium, “Designing Transforma- CONCEPT AND ORGANIZATION: Dr. Elana Shapira tion: Jews and Cultural Identity in Central European DATES: May 16–17, 2019 Modernism,” offers a contemporary scholarly perspec- VENUE: University of Applied Arts Vienna, tive on the role of Jews in shaping and coproducing Vordere Zollamtsstraße 7, 1030 Vienna, Auditorium public and private, as well as commercial and social- COOPERATION PARTNERS: University of Brighton ly-oriented, architecture and design in Central Europe Design Archives, The Hebrew University of Jerusalem from the 1920s to the 1940s, and in the respective coun- and MAK – Austrian Museum of Applied Arts / tries in which they settled after their forced emigration Contemporary Art starting in the 1930s. It examines how modern identities evolved in the context of cultural transfers and migra- Organized as part of the FWF (Austrian Science Fund) tions, commercial and professional networks, and in research project “Visionary Vienna: relation to confl icts between nationalist ideologies and Design and Society 1918–1934” international aspirations in Central Europe and beyond. This symposium sheds new light on the importance of integrating Jews into Central European design and aesthetic history by asking symposium participants, including architectural historians and art historians, curators, archivists, and architects, to use their analyses to “design” – in the sense of reconfi gure or reconstruct – the past and push forward a transformation in the historical consciousness of Central Europe. -
Wohnturmhaus Wrocław DASH 63
62 Wohnturmhaus Wrocław Adolf Rading The Residential Floor Plan Floor Residential The De woningplattegrond De Westgevel in oorspronkelijke toestand West elevation in its original state DASH Typisering Standardization DASH Vanwege de enorme woningnood in Duitsland, midden Due to the immense housing shortage in Germany in the mid- jaren twintig, zagen architecten zich voor een opgave 1920s, architects faced the challenge of designing residential gesteld die zich vooral richtte op het ontwerp van woon- neighbourhoods with Kleinwohnungen für grosse Familien (small wijken met Kleinwohnungen für grosse Familien. Men dwellings for large families). While doing this they explored zocht naar nieuwe woonvormen en het bouwproces werd new forms of accommodation and rationalized the construction gerationaliseerd. Naast de ontwikkeling van standaard process. Standard modules were developed while floor plans Wohnturmhaus Siedlung Grüneiche: bouwelementen werden woningplattegronden uit kosten- were minimized and reconceptualized for reasons of cost. Tramwajowa 2b – Wroclaw, Polen/ overwegingen geminimaliseerd en opnieuw uitgedacht. Two years after the Werkbundausstellung ‘Die Wohnung’ Poland (voormalig/former Breslau, Twee jaar na de Werkbundausstellung ‘Die Wohnung’ (The Dwelling) in Stuttgart (Weißenhofsiedlung) the exhibition Duitsland/Germany) Architect: Adolf Rading in Stuttgart (Weißenhofsiedlung) werd op 15 juni 1929 in ‘Wohnung und Werkraum’ (Dwelling and Workplace) opened Opdrachtgever/Client: Breslau (nu Wroclaw, Polen) de tentoonstelling ‘Wohnung -
Media – History
Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder.