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Pritzker Architecture Prize Laureate
For publication on or after Monday, March 29, 2010 Media Kit announcing the 2010 PritzKer architecture Prize Laureate This media kit consists of two booklets: one with text providing details of the laureate announcement, and a second booklet of photographs that are linked to downloadable high resolution images that may be used for printing in connection with the announcement of the Pritzker Architecture Prize. The photos of the Laureates and their works provided do not rep- resent a complete catalogue of their work, but rather a small sampling. Contents Previous Laureates of the Pritzker Prize ....................................................2 Media Release Announcing the 2010 Laureate ......................................3-5 Citation from Pritzker Jury ........................................................................6 Members of the Pritzker Jury ....................................................................7 About the Works of SANAA ...............................................................8-10 Fact Summary .....................................................................................11-17 About the Pritzker Medal ........................................................................18 2010 Ceremony Venue ......................................................................19-21 History of the Pritzker Prize ...............................................................22-24 Media contact The Hyatt Foundation phone: 310-273-8696 or Media Information Office 310-278-7372 Attn: Keith H. Walker fax: 310-273-6134 8802 Ashcroft Avenue e-mail: [email protected] Los Angeles, CA 90048-2402 http:/www.pritzkerprize.com 1 P r e v i o u s L a u r e a t e s 1979 1995 Philip Johnson of the United States of America Tadao Ando of Japan presented at Dumbarton Oaks, Washington, D.C. presented at the Grand Trianon and the Palace of Versailles, France 1996 1980 Luis Barragán of Mexico Rafael Moneo of Spain presented at the construction site of The Getty Center, presented at Dumbarton Oaks, Washington, D.C. -
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 ................................. -
He Big “Mitte-Struggle” Politics and Aesthetics of Berlin's Post
Martin Gegner he big “mitt e-struggl e” politics and a esth etics of t b rlin’s post-r nification e eu urbanism proj ects Abstract There is hardly a metropolis found in Europe or elsewhere where the 104 urban structure and architectural face changed as often, or dramatically, as in 20 th century Berlin. During this century, the city served as the state capital for five different political systems, suffered partial destruction pós- during World War II, and experienced physical separation by the Berlin wall for 28 years. Shortly after the reunification of Germany in 1989, Berlin was designated the capital of the unified country. This triggered massive building activity for federal ministries and other governmental facilities, the majority of which was carried out in the old city center (Mitte) . It was here that previous regimes of various ideologies had built their major architectural state representations; from to the authoritarian Empire (1871-1918) to authoritarian socialism in the German Democratic Republic (1949-89). All of these époques still have remains concentrated in the Mitte district, but it is not only with governmental buildings that Berlin and its Mitte transformed drastically in the last 20 years; there were also cultural, commercial, and industrial projects and, of course, apartment buildings which were designed and completed. With all of these reasons for construction, the question arose of what to do with the old buildings and how to build the new. From 1991 onwards, the Berlin urbanism authority worked out guidelines which set aesthetic guidelines for all construction activity. The 1999 Planwerk Innenstadt (City Center Master Plan) itself was based on a Leitbild (overall concept) from the 1980s called “Critical Reconstruction of a European City.” Many critics, architects, and theorists called it a prohibitive construction doctrine that, to a certain extent, represented conservative or even reactionary political tendencies in unified Germany. -
Architecture on Display: on the History of the Venice Biennale of Architecture
archITECTURE ON DIspLAY: ON THE HISTORY OF THE VENICE BIENNALE OF archITECTURE Aaron Levy and William Menking in conversation with: Vittorio Gregotti Paolo Portoghesi Francesco Dal Co Hans Hollein Massimiliano Fuksas Deyan Sudjic Kurt W Forster Richard Burdett Aaron Betsky Kazuyo Sejima Paolo Baratta archITECTUraL assOCIATION LONDON ArchITECTURE ON DIspLAY Architecture on Display: On the History of the Venice Biennale of Architecture ARCHITECTURAL ASSOCIATION LONDON Contents 7 Preface by Brett Steele 11 Introduction by Aaron Levy Interviews 21 Vittorio Gregotti 35 Paolo Portoghesi 49 Francesco Dal Co 65 Hans Hollein 79 Massimiliano Fuksas 93 Deyan Sudjic 105 Kurt W Forster 127 Richard Burdett 141 Aaron Betsky 165 Kazuyo Sejima 181 Paolo Baratta 203 Afterword by William Menking 5 Preface Brett Steele The Venice Biennale of Architecture is an integral part of contemporary architectural culture. And not only for its arrival, like clockwork, every 730 days (every other August) as the rolling index of curatorial (much more than material, social or spatial) instincts within the world of architecture. The biennale’s importance today lies in its vital dual presence as both register and infrastructure, recording the impulses that guide not only architec- ture but also the increasingly international audienc- es created by (and so often today, nearly subservient to) contemporary architectures of display. As the title of this elegant book suggests, ‘architecture on display’ is indeed the larger cultural condition serving as context for the popular success and 30- year evolution of this remarkable event. To look past its most prosaic features as an architectural gathering measured by crowd size and exhibitor prowess, the biennale has become something much more than merely a regularly scheduled (if at times unpredictably organised) survey of architectural experimentation: it is now the key global embodiment of the curatorial bias of not only contemporary culture but also architectural life, or at least of how we imagine, represent and display that life. -
Commemorative Courtyard Permanent Exhibition Special Exhibitions
ALT-MOABIT Hauptbahnhof Regierungsviertel Spree Reichstag LINDEN UNTER DEN Brandenburger Tor FRIEDRICHSTRASSE 7. JUNI GROSSER STERN STRASSE DES 1 HOFJÄGERALLEE T I E R GAR TEN MITTE Bus 200 Landwehrkanal TIERGARTENSTRASSE LEIPZIGER STRASSE Bahnhof Kulturforum Potsdamer Platz Zoologischer Bus M 48 Garten REICHPIETSCHUFERBus M 85 STAUFFENBERGSTR. Gedächtniskirche BUDAPESTER STR. LÜTZOWUFER Bus M 29 SCHÖNEBERGER UFER LÜTZOWPLATZ KURFÜRSTENDAMMTAUENTZIENSTRASSE WITTENBERGPLATZ KREUZBERG KURFÜRSTENSTRASSE KLEISTSTRASSE SCHÖNEBERG POTSDAMER STR. Kurfürstenstraße Getting here Opening hours The German Resistance Free tours around selected Bus M 29 Mondays to Wednesdays, Fridays Memorial Center oers various parts of the exhibition, with Bus stop: Gedenkstätte 9 a.m.–6 p.m. activities for groups of visitors informative talks on resistance Deutscher Widerstand Thursdays 9 a.m.–8 p.m. who register prior to their visit. activities in German, English, Saturdays, Sundays, and Bus M 48, Bus M 85 French, or Italian. public holidays 10 a.m.–6 p.m. Entrance is free of charge. Bus stop: Kulturforum, Closed on Christmas Day, New The topics can be decided 5-minute walk We will be glad to add your Year’s Eve, and New Year’s Day on during registration or address to the German Bus 200 Free entry directly before the tour. Resistance Memorial Center Bus stop: Tiergartenstraße, Length: 90-120 minutes events mailing list on request. 5-minute walk Seminars on specific topics Public tours: U1 of resistance against National Every Sunday, 3 p.m. Station: Kurfürstenstraße, Socialism in German, English, 10-minute walk French, or Italian. U2, S1, S2, S25 Topics and length: By Station: Potsdamer Platz, coordination upon registration 10-minute walk Please register at least 6 to 8 weeks before the desired appointment. -
Lange Nacht Der Museen JUNGE WILDE & ALTE MEISTER
31 AUG 13 | 18—2 UHR Lange Nacht der Museen JUNGE WILDE & ALTE MEISTER Museumsinformation Berlin (030) 24 74 98 88 www.lange-nacht-der- M u s e e n . d e präsentiert von OLD MASTERS & YOUNG REBELS Age has occupied man since the beginning of time Cranach’s »Fountain of Youth«. Many other loca- – even if now, with Europe facing an ageing popula- tions display different expression of youth culture tion and youth unemployment, it is more relevant or young artist’s protests: Mail Art in the Akademie than ever. As far back as antiquity we find unsparing der Künste, street art in the Kreuzberg Museum, depictions of old age alongside ideal figures of breakdance in the Deutsches Historisches Museum young athletes. Painters and sculptors in every and graffiti at Lustgarten. epoch have tackled this theme, demonstrating their The new additions to the Long Night programme – virtuosity in the characterisation of the stages of the Skateboard Museum, the Generation 13 muse- life. In history, each new generation has attempted um and the Ramones Museum, dedicated to the to reform society; on a smaller scale, the conflict New York punk band – especially convey the atti- between young and old has always shaped the fami- tude of a generation. There has also been a genera- ly unit – no differently amongst the ruling classes tion change in our team: Wolf Kühnelt, who came up than the common people. with the idea of the Long Night of Museums and The participating museums have creatively picked who kept it vibrant over many years, has passed on up the Long Night theme – in exhibitions, guided the management of the project.We all want to thank tours, films, talks and music. -
400 Buildings 230 Architects 6 Geographical Regions 80 Countries a U R P E Or Am S Ica Fr a Ce Ia
400 Buildings 100 single houses┆53 schools┆21 art galleries 66 museums┆7 swimming pools┆2 town halls 230 Architects 52 office buildings┆33 unibersities┆5 international 6 Geographical Regions airports21 libraries┆5 embassies┆30 hotels 5 railway staions 80 Countries 80Architects dings Buil 125 ia As O ce an ZAHA HADID ARCHITECTS//OMA//FUKSAS//ASYMPTOTE ARCHITECTURE//ANDRÉS ia 6 5 PEREA ARCHITECT//SNØHETTA//BERNARD TSCHUMI//COOP HIMMELB(L)AU//FOSTER + B u i ld in g PARTNERS//UNStudio//laN+//KISHO KUROKAWA ARCHITECT AND ASSOCIATES//STEVEN s s t c e 8 it 0 h A c r HOLL ARCHITECTS//JOHN PORTMAN & ASSOCIATES//3DELUXE//TADAO ANDO ARCHITECT r c A h 0 it e 8 c t s & ASSOCIATES//MVRDV//SAUCIER + PERROTTE ARCHITECTES//ACCONCI STUDIO// s g n i d l i DRIENDL*ARCHITECTS//OGRYDZIAK / PRILLINGER ARCHITECTS//URBAN ENVIRONMENTS u B 5 0 ARCHITECTS//ORTLOS SPACE ENGINEERING//MOSHE SAFDIE AND ASSOCIATES INC.// 2 LOMA //JENSEN & SKODVIN ARKITEKTKONTOR AS+ARNE HENRIKSEN ARKITEKTER AS + e p o C-V HØLMEBAKK ARKITEKT//HENN ARCHITEKTEN//GIENCKE & COMPANY//CHETWOODS r u E A ARCHITECTS//AAARCHITECTEN//ABALOS+SENTKIEWICZ ARQUITECTOS//VARIOUS f r i ARCHITECTS//DENTON CORKER MARSHALL//SAMYN AND PARTNERS//ANTOINE PREDOCK// c a FREE Fernando Romero...... 3 5 s B t c u e i t l i d h i n c r g s A 0 8 8 0 s A g r c n i h d i l t i e u c B t s 0 9 a c i r e m A h t r o N S o u t h A m e r i c s t a c e t i h c r A 0 8 1 s 1 g n 5 i d B l i u ISBN 978-978-12585-2-6 7 8 9 7 8 1 Editorial Department of Global Architecture Practice Editorial Department of Global Architecture -
C:\Users\Gutschow\Documents\CMU Teaching\Postwar Modern
Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Class #5 DISCUSSION: WHAT IS POSTWAR MODERN? Discuss: Joedicke, J. “Introduction,” Architecture Since 1945 (1969) Goldhagen & Legault, “Introduction: Critical Themes of Postwar Modernism,” in Anxious Modernisms Goldhagen, “Coda: Reconceptualizing Modernism,” in Anxious Modernisms Ockman: “Introduction,” in Architecture Culture, 1943-1968 Differentiate: Prewar Modernism; Postwar Modernism; Postmodernism Critical Themes of Postwar Modernism: Anxiety, Popular Culutre, Consumer Culture, Everyday Life, Anti- Architecture, Democratic Freedom, Homo Ludens (play), Primitivism, Authenticity, Architecture’s History, Regionalism, Place, Skepticism & Infatuation with Technology. Postwar Modern Architects & Pritzker Architecture Prize Laureates 2010: SANAA, Kazuyo Sejima + Ryue Nishizawa of Japan. 2009: Peter Zumthor of Switzerland 2008: Jean Nouvel of France 2007: Richard Rogers of the United Kingdom 2006: Paulo Mendez da Rocha of Brazil 2005: Thom Mayne of the United States 2004: Zaha Hadid of the United Kingdom 2003: Jorn Utzon of Denmark 2002: Glenn Murcutt of Australia 2001: Herzog and de Meuron of Switzerland 2000: Rem Koolhaas of The Netherlands 1999: Norman Foster of the United Kingdom 1998: Renzo Piano of Italy 1997: Sverre Fehn of Norway 1996: Rafael Moneo of Spain presented 1995: Tadao Ando of Japan 1994: Christian de Portzamparc of France 1993: Fumihiko Maki of Japan 1992: Alvaro Siza of Portugal 1991: Robert Venturi of the United States 1990: Aldo Rossi of Italy 1989: Frank O. Gehry of the United States 1988: Gordon Bunshaft of the United States and Oscar Niemeyer of Brazil 1987: Kenzo Tange of Japan 1986: Gottfried Boehm of Germany 1985: Hans Hollein of Austria 1984: Richard Meier of the United States 1983: Ieoh Ming Pei of the United States 1982: Kevin Roche of the United States 1981: James Stirling of Great Britain 1980: Luis Barragan of Mexico 1979: Philip Johnson of the United States. -
The Acoustic City
The Acoustic City The Acoustic City MATTHEW GANDY, BJ NILSEN [EDS.] PREFACE Dancing outside the city: factions of bodies in Goa 108 Acoustic terrains: an introduction 7 Arun Saldanha Matthew Gandy Encountering rokesheni masculinities: music and lyrics in informal urban public transport vehicles in Zimbabwe 114 1 URBAN SOUNDSCAPES Rekopantswe Mate Rustications: animals in the urban mix 16 Music as bricolage in post-socialist Dar es Salaam 124 Steven Connor Maria Suriano Soft coercion, the city, and the recorded female voice 23 Singing the praises of power 131 Nina Power Bob White A beautiful noise emerging from the apparatus of an obstacle: trains and the sounds of the Japanese city 27 4 ACOUSTIC ECOLOGIES David Novak Cinemas’ sonic residues 138 Strange accumulations: soundscapes of late modernity Stephen Barber in J. G. Ballard’s “The Sound-Sweep” 33 Matthew Gandy Acoustic ecology: Hans Scharoun and modernist experimentation in West Berlin 145 Sandra Jasper 2 ACOUSTIC FLÂNERIE Stereo city: mobile listening in the 1980s 156 Silent city: listening to birds in urban nature 42 Heike Weber Joeri Bruyninckx Acoustic mapping: notes from the interface 164 Sonic ecology: the undetectable sounds of the city 49 Gascia Ouzounian Kate Jones The space between: a cartographic experiment 174 Recording the city: Berlin, London, Naples 55 Merijn Royaards BJ Nilsen Eavesdropping 60 5 THE POLITIcs OF NOISE Anders Albrechtslund Machines over the garden: flight paths and the suburban pastoral 186 3 SOUND CULTURES Michael Flitner Of longitude, latitude, and -
Altelier Hans Hollein Principal Architect(S): Hollein, Hans
ALTELIER HANS HOLLEIN PRINCIPAL ARCHITECT(S): HOLLEIN, HANS LOCATION: VIENNA, AUSTRIA FIRM OPENED: 1964 EMPLOYEES: 1 FIRM PHILOSOPHY Known as a universal artist, Hollein’s design philosophies are derived from the idea that one must avoid narrow and easily defendable positions to achieve original and quality design. Hollein says that evolution of early design ideas should be re-examined and realized in future work. He believes that design is not a profession to be pigeon-holed, and encourages exploration of the aforementioned design elements in other ways than just architecture. HISTORY Hans Hollein studied architecture and urban planning at the Illinois Institute of Technology (IIT) in Chicago until 1959. In 1960 he finished his studies at the University of California in Berkeley as Master of Architecture. He established his own solo architectural studio in Vienna in 1964. He has since realized works in Austria, France, Germany, Iran, Italy, Spain, Russia, USA, Peru, and Japan. Hollein used to employ interns to help around the office. However, in 2010 he joined a partnership with ZT-GmbH, another architectural firm, leaving his solo studio to focus on his art and furniture design. His most notable awards include the following: the Pritzker Architecture Prize, 1985; the Reynolds Memorial Award, 1966 and 1984; the Prize of the City of Vienna for Architecture, 1974; the Grand Austrian State Awards, 1983; the Austrian Ehrenzeichen für Wissenschaft und Kunst, 1990; the Goldenes Ehrenzeichen für Verdienste um das Land Wien, 1994; the Grosse Verdienstkreuz des Verdienstordens der Bundesrepublik Deutschland, 1997; and the Arnold W. Brunner Memorial Prize of Architecture in New York, 2004. -
BERLIN Elite Guide to Berlin
DESTINATION GUIDE SERIES BERLIN ELITE GUIDE TO BERLIN HIGHLIGHTS OF BERLIN 3 ONLY ELITE 4 Elite Traveler has selected the most exclusive VIP experiences CONCIERGE RECOMMENDATIONS 5 We asked Berlin’s top concierges to share their personal recommendations SONY CENTER, POTSDAMER PLATZ for the perfect day in the city WHERE TO ➤ STAY 8 ➤ DINE 15 ➤ BE PAMPERED 18 BERLIN SKYLINE WHAT TO DO ➤ DURING THE DAY 19 ➤ DURING THE NIGHT 21 ➤ FEATURED EVENTS 25 ➤ SHOPPING 26 LOCAL ART: ‘LIMIT’, ANTON BURDAKOV NEED TO KNOW ➤ PRIVATE JET TERMINALS 30 ➤ USEFUL INFORMATION 31 ➤ EXCLUSIVE TRANSPORT 31 ‘VERSUS’ AT THE CHAMELEON THEATER TRAVELER DESTINATION GUIDE SERIES ELITE DESTINATION GUIDE | BERLIN www.elitetraveler.com 2 HIGHLIGHTS OF BERLIN Don’t miss out on Berlin’s wealth of attractions, adventures and experiences ith an eye toward the future, ‘remaking’ itself, and today you’ll find the Berlin has now bloomed into a modern ‘Wwith resolve in our hearts, let us city in better shape than ever. metropolis, and this new lease of life remember history, and answer our destiny, is infectious. The streets are alive with and remake the world once again.’ Brand new shops, bars, hotels and young, creative types lured here by the restaurants have transformed Berlin from freewheeling spirit, and for art and music Those were the words of Barack Obama battle ground to consumer haven, while there are few better cities to visit right now. as he addressed Berlin in 2008, and they the noblest relics of the past have been go some way to capturing the spirit of the restored to their former glory. -
Staatliche Museen Zu Berlin September 24–29, 2017 September, 2017
Staatliche Museen zu Berlin September 24–29, 2017 September, 2017 Dear PREP Participants Welcome back to PREP and Willkommen in Berlin! It is wonderful to have you all here. We hope the coming week will be as interesting and insightful as the week we spent in New York in February. Over the coming days, we aim to introduce you to the key re- sources Berlin has to offer to researchers studying art losses in the Nazi-Era and also to other colleagues here in Berlin who are involved in provenance research in a variety of ways. We would also like to make you familiar with some of the institutions that are part of the Staatliche Museen zu Berlin and give you an idea of the work they are doing with regard to provenance research. Most of all, however, we would like to provide the setting in which you can continue the conversations you began in New York and carry on building the network that is PREP. We have asked you to contribute to quite a few of the events – thank you all for your many ideas and suggestions! We have tried to build PREP around the participants and your expertise and input are crucial to the success of the program. This applies not only to the coming week, but also to the future develop- ment of the PREP-Network. There are two ways in which we hope you will contribute to the long term success of PREP. One of these is that we hope you will all keep in touch after you leave Berlin and continue supporting each other in the impor- tant work you do.