DOCSLIB.ORG

Award Draw 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Award Draw 2021 DOCOMOMO REHABILITATION AWARD DRAW 2021 ANA TOSTÕES BARRY BERGDOLL HORACIO TORRENT SCOTT ROBERTSON UTA POTTGIESSER YOSHIYUKI YAMANA Docomomo International chair Docomomo US member Docomomo Chile president, Docomomo Australia president, Docomomo Germany vice-president, Docomomo Japan vice-president, Docomomo Journal editor-in-chief Columbia University Docomomo International Docomomo International Docomomo ISC/Technology chair Docomomo International Técnico – University of Lisbon Former Chief Curator, Department of Advisory Board member Advisory Board member TUDelft and TH-OWL Detmold Advisory Board member Architecture and Design MoMA Pontifical Catholic University of Chile Robertson & Hindmarsh Architects Tokyo University of Science Tokyo DRAW 2021 SUBMISSIONS 53 BY 25 WORKING PARTIES GOOD 27 PRACTICE FICHES DOCOMOMO 25 JOURNALS 84 ENTRIES ISRAEL BULGARIA ARGENTINA ITALY GREECE GERMANY CZECH REPUBLIC AUSTRALIA BELGIUM KOSOVO IRAN FINLAND LATVIA BRAZIL MEXICO JAPAN FRANCE UNITED KINGDOM SWITZERLAND SPAIN SLOVAKIA UNITED STATES THAILAND SLOVENIA PORTUGAL SWITZERLAND SINGAPORE THE NETHERLANDS SOUTH AFRICA SLOVAKIA RUSSIA SERVIA DRAW 2021 CATEGORIES 10 ENHANCED MASTERPIECES LASTING HERITAGE ENGAGED SOCIETIES METAMORPHOSED FUNCTIONS EDUCATING PRACTICES PRESERVED VANGUARDS SUSTAINED USES CONSERVATION TROUGH ACTIVISM OPEN HOUSE COMMITTED PERSONALITY ENHANCED MASTERPIECES DRAW 2021 Outstanding in-depth interventions in renovating Modern Movement masterpieces while keeping the principles and the character of these jewels. ENHANCED MASTERPIECES DRAW NEUE NATIONALGALERIE 2021 2016-2021 DAVID CHIPPERFIELD ARCHITECTS BERLIN BERLIN, GERMANY 1965-1968 LUDWIG MIES VAN DER ROHE DRAW YOYOGI NATIONAL GYMNASIUM 2021 2018-2020 TANGE ASSOCIATES AND KUME SEKKEI TOKYO, JAPAN 1963-1964 KENZO TANGE & URTEC, TANGE LABORATORY LASTING HERITAGE DRAW 2021 Exemplary practices that consider conservation and maintenance plans as key tools for defying the effects of time. LASTING HERITAGE DRAW SYDNEY OPERA HOUSE 2021 2017-2021 ALAN CROKER CONSERVATION PLAN SYDNEY, AUSTRALIA 1965-1968 JØRN UTZON AND HALL, TODD & LITTLEMORE DRAW YALE CENTER FOR BRITISH ART 2021 2012 / 2008-2016 PETER INSKIP AND STEPHEN GEE CONSERVATION PLAN KNIGHT ARCHITECTURE CONSERVATION PROJECT NEW HAVEN, CONNECTICUT, USA 1971-1977 LOUIS I. KAHN ENGAGED SOCIETIES DRAW 2021 Innovative researches applied to current architecture, such as housing complexes, involving institutional and communitary engagement. ENGAGED SOCIETIES DRAW CITÉ DU LIGNON 2021 2008-2012 FRANZ GRAF AND GIULIA MARINO TSAM GENEVA, SWITZERLAND 1963-1971 ADDOR & JULLIARD WITH LOUIS PAYOT DRAW SERPENTINE HOUSE 2021 2016-2020 KATI SALONEN & MONA SCHALIN ARCHITECTS HELSINKI, FINLAND 1950-1951 YRJÖ LINDEGREN METAMORPHOSED FUNCTIONS DRAW 2021 Exemplary works that safeguard the distinctive identities of modern buildings, while allowing them to be adapted, in use and form, to contemporary needs. METAMORPHOSED FUNCTIONS DRAW MUNICIPAL ORPHANAGE AMSTERDAM 2021 2015-2017 WDJARCHITECTEN AMSTERDAM, THE NETHERLANDS 1955-1960 ALDO VAN EYCK DRAW YAMANASHI PRESS AND BROADCASTING CENTER 2021 2015-2016 TANGE ASSOCIATES KOFU CITY, JAPAN 1964-1966 KENZO TANGE & URTEC EDUCATING PRACTICES DRAW 2021 Pioneering studies and low budget interventions that contributed to raising the awareness for preserving the modernist legacy in adverse locations and conditions. EDUCATING PRACTICES DRAW AITON COURT 2021 2012-2014 MAYAT HART ARCHITECTS JOHANNESBURG, SOUTH AFRICA 1936-1937 BERNARD COOKE, W.R AND ANGUS STEWART DRAW CASA ESTUDIO PARA ARTISTAS 2021 2017-2018 DIRECCIÓN GENERAL DE REGENERACIÓN URBANA, BUENOS AIRES BUENOS AIRES, ARGENTINA 1938-1939 ANTONIO BONET, HORACIO VERA BARROS, AND ABEL LÓPEZ CHAS PRESERVED VANGUARDS DRAW 2021 Restorations able to bring back the lost innovative features of the fragile and experimental vanguard creations, while improving them to resist. PRESERVED VANGUARDS DRAW CASA O’GORMAN 2021 2012-2013 VICTOR JIMENEZ MEXICO CITY, MEXICO 1929-1930 JUAN O’GORMAN DRAW HIPÓDROMO DE LA ZARZUELA 2021 2018-2020 JUNQUERA ARQUITECTOS MADRID, SPAIN 1935-1941 CARLOS ARNICHES, MARTÍN DOMÍNGUEZ, EDUARDO TORROJA SUSTAINED USES DRAW 2021 Exemplary renovations introducing contemporary standards of security requirements, sustainable conditions, and improved technologies, keeping the buildings’ function and identity. SUSTAINED USES DRAW GRAND AUDITORIUM OF THE CALOUSTE GULBENKIAN 2021 2013-2014 TERESA NUNES DA PONTE, ARQUITECTURA LISBON, PORTUGAL 1959-1969 ALBERTO PESSOA PEDRO CID RUY JERVIS D’ATHOUGUIA DRAW CARTIERA BURGO 2021 2015-2020 MASSIMO NARDUZZO AND CREA.RE MANTUA, ITALY 1961-1964 PIER LUIGI NERVI CONSERVATION THROUGH ACTIVISM DRAW 2021 Interventions that result of people or group action promoting the awareness of modern heritage, while spreading the concepts of a welfare proposal. CONSERVATION THROUGH ACTIVISM DRAW ISOKON AND ISOKON GALLERY 2021 2004-2014 AVANTI ARCHITECTS LONDON, ENGLAND 1933-1934 WELLS COATES DRAW TRENTON BATH HOUSE AND DAY CAMP PAVILIONS 2021 2007-2013 MILLS + SCHNOERING ARCHITECTS EWING, NEW JERSEY, USA 1955-1957 LOUIS I. KAHN AND ANNE TYNG OPEN HOUSE DRAW 2021 Practices in the restoration of remarkable modern houses that are now open to public. OPEN HOUSE DRAW LE CORBUSIER’S APARTMENT-STUDIO 2021 2016-2018 FONDATION LE CORBUSIER CHATILLON ARCHITECTES PARIS, FRANCE 1931-1934 LE CORBUSIER DRAW VILLA TUGENDHAT 2021 2010-2012 VILLA TUGENDHAT ASSOCIATION OMNIA, ARCHATT, ARCHTEAM, ATELIER RAW BRNO, CZECH REPUBLIC 1929-1930 LUDWIG MIES VAN DER ROHE COMMITTED PERSONALITY DRAW 2021 Exemplary lifetime achievement on the promotion of the Modern Movement’s legacy. COMMITTED PERSONALITY DRAW WINFRIED BRENNE 2021 WALDSIEDLUNG ZEHLENDORF BERLIN, GERMANY BRUNO TAUT GARTENSTADT FALKENBERG BERLIN, GERMANY BRUNO TAUT BAUHAUS DESSAU DESSAU, GERMANY WALTER GROPIUS MEISTERHAUS MUCHE-SCHLEMMER DESSAU, GERMANY WALTER GROPIUS ADGB BUNDESSCHULE BERNAU, GERMANY HANNES MEYER AND, HANS WITTWER MAX LIEBLING HOUSE TEL AVIV, ISRAEL DOV KARMI DRAW 2021 BERLIN, GERMANY BERLIN, GERMANY DESSAU, GERMANY DESSAU, GERMANY BERNAU, GERMANY TEL AVIV, ISRAEL ISRAEL BULGARIA ARGENTINA ITALY GREECE GERMANY CZECH REPUBLIC AUSTRALIA BELGIUM KOSOVO IRAN FINLAND LATVIA BRAZIL MEXICO JAPAN FRANCE UNITED KINGDOM SWITZERLAND SPAIN SLOVAKIA UNITED STATES THAILAND SLOVENIA PORTUGAL SWITZERLAND SINGAPORE THE NETHERLANDS SOUTH AFRICA SLOVAKIA RUSSIA SERVIA .
Load more

Recommended publications
  • Hannes Meyer's Scientific Worldview and Architectural Education at The
    Hannes Meyer’s Scientific Worldview and Architectural Education at the Bauhaus (1927-1930) Hideo Tomita The Second Asian Conference of Design History and Theory —Design Education beyond Boundaries— ACDHT 2017 TOKYO 1-2 September 2017 Tsuda University Hannes Meyer’s Scientific Worldview and Architectural Education at the Bauhaus (1927-1930) Hideo Tomita Kyushu Sangyo University [email protected] 29 Abstract Although the Bauhaus’s second director, Hannes Meyer (1889-1954), as well as some of the graduates whom he taught, have been much discussed in previous literature, little is known about the architectural education that Meyer shaped during his tenure. He incorporated key concepts from biology, psychology, and sociology, and invited specialists from a wide variety of fields. The Bauhaus under Meyer was committed to what is considered a “scientific world- view,” and this study focuses on how Meyer incorporated this into his theory of architectural education. This study reveals the following points. First, Meyer and his students used sociology to design analytic architectural diagrams and spatial standardizations. Second, they used psy- chology to design spaces that enabled people to recognize a symbolized community, to grasp a social organization, and to help them relax their mind. Third, Meyer and his students used hu- man biology to decide which direction buildings should face and how large or small that rooms and windows should be. Finally, Meyer’s unified scientific worldview shared a similar theoreti- cal structure to the “unity of science” movement, established by the founding members of the Vienna Circle, at a conceptual level. Keywords: Bauhaus, Architectural Education, Sociology, Psychology, Biology, Unity of Science Hannes Meyer’s Scientific Worldview and Architectural Education at the Bauhaus (1927–1930) 30 The ACDHT Journal, No.2, 2017 Introduction In 1920s Germany, modernist architects began to incorporate biology, sociology, and psychol- ogy into their architectural theory based on the concept of “function” (Gropius, 1929; May, 1929).
    [Show full text]
  • Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
    Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c.
    [Show full text]
  • Original Bauhaus
    original bauhaus the centenary exhibition The Bauhaus existed for only 14 years in Germany, but for 100 years 6 sep 2019 – 27 jan 2020 its ideas have flourished and its products have been relaunched, at the berlinische galerie imitated and further developed. Marking the centenary of the press conference 4 Sep, 11 am Bauhaus, the Bauhaus-Archiv / Museum für Gestaltung presents opening 5 Sep, 7 pm the exhibition original bauhaus at the Berlinische Galerie featuring more than 1,000 famous, familiar and forgotten Bauhaus originals and recounting the history behind the objects. original bauhaus showcases works of art and design from the holdings of the Bauhaus-Archiv, exceptional loans from international collections and artistic positions which take a new look at the Bauhaus legacy. On the basis of 14 key objects, the exhibition presents 14 case histories: How did the woman sitting on the tubular steel chair become the most famous anonymous figure of the Bauhaus? Does the Haus Am Horn in Weimar have a secret twin? Why have Marianne Brandt’s tea infusers which were created as prototypes for industrial production always remained one-of-a-kind pieces? original bauhaus sheds light on how unique works and series, remakes and originals are inseparably linked in the history of the Bauhaus. The fact is that Bauhaus artists did not see art and technology as opposed to one another. Instead, they used technical innovations to create exceptional works of art, and they took serial production into account from the moment they began drafting their designs. Today we look back at almost 100 years of responses to the Bauhaus, compared to only 14 years of Bauhaus production.
    [Show full text]
  • Hannes Meyer Und Hans Wittwer Ein Wissenschaftlich-Technisches Labor Der „Neuen Weit"
    Hannes Meyer und Hans Wittwer Ein wissenschaftlich-technisches Labor der „neuen weit" Martin Kieren An einem kleinen Ausschnitt einer kurzen Periode möchte ich Zur gleichen Zeit, da MEYER im belgischen Gent weilte, wo er ein zeigen, was Architekten - in diesem Falle MEYER/WITTWER - vielfältiges Netz von Bekanntschaften zu Literaten, Malern, Bild­ mit dem wissenschaftlich-technischen Fortschritt anzufangen ver­ hauern und Architekten knüpfte, begann eine Gruppe junger mochten, wie sie ihn umsetzten in ihre praktische Entwurfsarbeit. Schweizer unter dem Einfluß des Russen Laser Markowitsch (ge­ nannt EI) LISSITZKY und des Holländers Martinus Adrionus (ge­ Dabei wollen wir uns mit zwei Einzelpersönlichkeiten beschäftigen, nannt Marl) STAM, eine Zeitschrift herauszugeben, die „Beiträge die, jede für sich betrachtet, ausgeprägte Individualisten waren, zum Bauen" lieferte. Diese Zeitschrift, ABC, war das Bindeglied gleichzeitig ober für eine kurze Periode ihres Schaffens sich zu­ der progressiven und nach Neuerungen suchenden Kräfte im Basel sammenfanden, um so etwas wie eine ideelle oder synthetische der zwanziger Johre. Einzelfigur zu bilden. Bewußt wurden junge Kräfte, wurde die neue Generation ange­ Wann sich das erste Mol Hannes MEYER und Hans WITTWER sprochen, die Ziele der „Neuen Gestaltung" zu verfolgen. Diese begegneten, ist nicht ganz gesichert. Es scheint ober wahrschein­ Beiträge des Bouens rücken in ihrer ersten Nummer programma­ lich, daß zumindest Hans Wittwer während seiner Mourerlehre auf tisch - im Kopf der Zeitschrift nämlich - die Gestaltung in den der Baustelle der Siedlung Freidorf Notiz nahm von dem Archi­ Mittelpunkt. Hier geht es um Gesetze, Möglichkeiten und Lösungen tekten dieser Siedlung. und um neue technische Bedingtheiten. Weiter befinden sich auf der ersten Seite der A nfang eines Artikels von Mort STAM, betitelt Die Tendenzen, hin zum ideellen Gesamtbau durch (Zitat H .
    [Show full text]
  • Opens in a Cascade of Trapezoidal Shapes, Like Shards of Glass
    World Monuments Fund/Knoll Modernism Prize 2008 award to Brenne Gesellschaft von Architekten mbH For the restoration of the ADGB Trade Union School (1928–1930) Bernau, Germany designed by Hannes Meyer and Hans Wittwer 1 2 This restoration highlights and emphasizes a particular approach to historic preservation that is perhaps the most sensible and intellectually satisfying today. Brenne Gesellschaft von Architekten is probably Germany’s most engaged and thoughtful restorer of classic Modern architecture. —Dietrich NeumaNN, JUROR Pre-restoration During the period in which the ADGB building was under East German control, it was impossible to find appropriate glass for repairs, so the light-filled glass corridor was obscured by a wooden parapet. Brenne Gesellschaft von Architekten restored the original materials and reintroduced the original bright red color of the steel framing. 3 Many of the building’s steel casement windows are highly articulated. The glass in the external staircase opens in a cascade of trapezoidal shapes, like shards of glass. 4 Despite Modernism’s influential place in our architectural heritage, many significant Modern buildings are endangered because of neglect, perceived obsolescence, inappropriate renovation, or even the imminent danger of demolition. In response to these threats, in 2006, the World Monuments Fund launched its Modernism at Risk Initiative with generous support from founding sponsor Knoll, Inc. The World Monuments Fund/Knoll Modernism Prize was established as part of this initiative to demonstrate that Modern buildings can remain sustainable structures with vital futures. The Prize, which will be awarded biennially, recognizes innovative architectural and design solutions that preserve or enhance Modern landmarks and advances recognition of the special challenges of conserving Modern architecture.
    [Show full text]
  • UNESCO- Pressemappe
    Bauhaus Dessau UNESCO- Pressemappe E r w e i t e r u n g Welterbestätte U N E S C O - W e l t e r b e s t ä t t e B a u h a u s Bauhaus. Erweiterung um die Laubenganghäuser (Dessau) und die Bundesschule des ADGB (Bernau bei Berlin). Erweiterung um P r e s s e k o n t a k t die Architektur von Pressesprecherin Dr. Helga Huskamp Hannes Meyer +49-340-6508-225 [email protected] Stiftung Bauhaus Dessau Gropiusallee 38 06846 Dessau-Roßlau bauhaus-dessau.de facebook.com/bauhausdessau twitter.com/gropiusallee 1 von 12 Hannes Meyer bei der Begehung des Baugeländes für die Bundesschule des ADGB in Bernau, 1928 / Stiftung Bauhaus Dessau (I 46037/1-2), Foto: Hermann Bunzel Bauhaus Dessau Inhalt Pressemappe 01 E r w e i t e r u n g Die UNESCO-Welterbestätte Bauhaus ist erweitert U N E S C O - W e l t e r b e s t ä t t e 02 B a u h a u s Die Laubenganghäuser in Dessau Erweiterung um die 03 Laubenganghäuser (Dessau) Die Bundesschule des ADGB in Bernau bei Berlin und die Bundesschule des ADGB (Bernau bei Berlin). 04 Die Antragssteller und ihre Partner 05 Die Welterbestätte Bauhaus Weimar, Dessau und Bernau 2 von 12 Bauhaus Dessau 01 Die UNESCO-Welterbestätte Bauhaus ist erweitert. Pressemappe Auf seiner 41. Sitzung hat das Welterbekomitee der UNESCO im E r w e i t e r u n g polnischen Kraukau entschieden, die Welterbestätte Bauhaus um die, U N E S C O - unter der Leitung des zweiten Bauhausdirektors Hannes Meyer gebauten W e l t e r b e s t ä t t e Laubenganghäuser in Dessau (Sachsen-Anhalt) sowie die Bundesschule B a u h a u s ADGB in Bernau bei Berlin (Brandenburg) zu erweitern Erweiterung um die Das Bauhaus revolutionierte als Hochschule für Gestaltung zwischen Laubenganghäuser (Dessau) 1919 und 1933 die architektonischen und ästhetischen Auffassungen zu und die Bundesschule des Architektur und Gestaltung und prägte maßgeblich die Bewegung der ADGB (Bernau bei Berlin).
    [Show full text]
  • 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.
    [Show full text]
  • Bill Title: Max Bill 1966 Medium: Limited Edition Poster B.1908, Winterthur, Switzerland D
    The Trinity College Dublin Art Collections Artist: Max Bill Title: Max Bill 1966 Medium: limited edition poster b.1908, Winterthur, Switzerland d. 1994, Zurich Born in Switzerland, Max Bill was an architect, sculptor, painter, industrial designer, graphic designer and writer. He attended silversmithing classes in Zurich from 1924 to 1927. Then, inspired by the works of Le Corbusier and by a competition entry for the Palace of the League of Nations, Geneva, by Hannes Meyer and Hans Wittwer, Bill decided to become an architect and enrolled in the Bauhaus, Dessau, in 1927. He studied there for two years as a pupil of Josef Albers, László Moholy-Nagy, Paul Klee and Vasily Kandinsky, mainly in the field of ‘free art’. In 1929 he returned to Zurich, and after working on graphic designs for a few modern buildings being constructed, he built his first work, his own house and studio (1932–3) in Zurich-Höngg. Bill considered himself an architect but is mainly known nowadays for his design and art, particularly his influence on 20th century Graphic Art. As a theorist and a painter he was an important exponent of Concrete Art, an art based on rational principles with reference to mathematics. From 1937 onwards he was a prime mover behind the Allianz group of Swiss artists and in 1944, he became a professor at the school of arts in Zurich. Several years later Bill became a founding member of the Hochschule für Gestaltung in Ulm, Germany (HfG Ulm), a design school in the tradition of the Bauhaus. While teaching at the school, Bill produced one of his most famous designs - the "Ulmer Hocker" of 1954, a stool that could also be used as a shelf element or a side table.
    [Show full text]
  • Bernau Bei Berlin
    Bernau Translations DesignGraphic Coordinators Assistant Project Executive Producer Project Curators Bernau Bundesschule Baudenkmal 23-28.10.18 www.instytutpileckiego.pl www.exercisingmodernity.com Director Project organized üben Modernität nowoczesności Ćwiczenie Organizer Institute Translation of Team the Pilecki studio Lekko (Consulate of Culture –Gdynia) Małgorzata Kraszewska Institute) Małgorzata Gąsiorowska (Pilecki JaworowiczMarcin Institute), (Pilecki Institute), Tamara Stawińska Mateusz (Pilecki Cieplechowicz Justyna Los, Louise Stoelting Małgorzata Jędrzejczyk Institute), Aleksandra Janus, Janus, Institute), Aleksandra Hanna Radziejowska (Pilecki 16321 Bernau bei Berlin Hannes-Meyer-Campus 9 Kozłowski Dr Wojciech Institute by the Pilecki modernity exercising Partners 23.10 24.10 25.10 26.10 27.10 9:00–11:30 BLOCK I Kuba Snopek / Joanna Kusiak Kuba Snopek / Joanna Kusiak Kuba Snopek / Joanna Kusiak Kuba Snopek / Joanna Kusiak BLOCK II Shira Levy Benyemini & RAZ (Ander Gortazar Balerdi, RAZ (Ander Gortazar Balerdi, RAZ (Ander Gortazar Balerdi, Sharon Golan (White City Center) Jacek Markusiewicz) Jacek Markusiewicz) Jacek Markusiewicz) 11:30–12:00 COFFEE BREAK 12:00–13:00 seminaria tematyczne seminaria tematyczne seminaria tematyczne seminaria tematyczne 13:00–14:30 LUNCH 14:30–17:00 BLOCK I Tomek Fudala Tomek Fudala Tomek Fudala Tomek Fudala BLOCK II Mannou Weerdenburg chmara.rosinke chmara.rosinke Mannou Weerdenburg 17:00–18:00 BREAK 18:00–20:00 Shira Levy Shira Levy Benyemini & Sharon Andrzej Mencwel Daniel Talesnik David Crowley
    [Show full text]
  • Hannes Meyer
    Hannes Meyer Autor(en): [s.n.] Objekttyp: Obituary Zeitschrift: Das Werk : Architektur und Kunst = L'oeuvre : architecture et art Band (Jahr): 41 (1954) Heft 10 PDF erstellt am: 28.09.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch hundertwende hervor. Nun wirken boren, entstammte er einer Familie, der Schweiz zu planen und zu bauen; Malerei, Architektur, Musik und in der das Bauen seit dem 17. 1919-1923 entstand im Auftrag des Literatur in schönster Weise zusammen. Jahrhundert Tradition war. Sein Vater war Verbandes schweizerischer Konsumvereine Schönberg, Hofmannsthal, Altenberg, Baumeister, sein Großonkel Amadeus das «Freidorf» in Muttenz bei Reinhardt und Loos treten hervor.
    [Show full text]
  • Hannes Meyer and the Proletarianisation of the Western Architect Amir Djalali
    27 The Architect as Producer: Hannes Meyer and the Proletarianisation of the Western Architect Amir Djalali ‘The revolutionary intellectual appears, first and fore- of formal and artistic autonomy. Industry and the most, as a traitor to his class of origin.’ This betrayal modern world remained somehow an ideal refer- consists, in the case of the writer, in behaviour which ence; the intellectual separation of the architect changes him from a reproducer of the apparatus of from the realm of the labour market and its laws was production into an engineer who sees his task as the cherished as a guarantee of artistic freedom. effort of adapting that apparatus to the aims of the proletarian revolution. One exception to this approach is constituted Walter Benjamin, ‘The Author as Producer’ (1934) by the work of Swiss architect Hannes Meyer. [fig. 1] Unlike his more famous contemporaries, The architects of the modern movement advocated Hannes Meyer’s effort was not concentrated on the the advent of mechanisation and standardisation in construction of new forms of aesthetics and space, architecture and its design procedures. Rejecting but rather on the transformation of the procedures the position of the architect as a talented individual and means through which architecture and the city infused with artistic genius, they promoted an were produced. For Meyer, this meant radically architecture based on repetition and typisation, in rethinking not only the means by which architecture which collective needs are placed before the indi- was built. Reconstructing architecture also implied vidual’s inspiration. Nonetheless, most of the time understanding the role of architects in the building this emphasis has remained on an ideal level.
    [Show full text]
  • The Whole World a Bauhaus*
    Magazine No 5 2019 / 2020 ZKM I Karlsruhe, Germany * Fritz Kuhr, 1928; student at the Bauhaus from 1923–27, member of staff in the wallpainting workshop 1928–29, teacher of drawing 1929–30 at the Bauhaus THE WHOLE WORLD A BAUHAUS* László Moholy-Nagy In the 1921 Weimar Bauhaus programme experiments with photography without Walter Gropius announced the creation of Painter, photographer, typographer, a camera (photograms). The book stage designer, art theorist and teacher a total work of art: “The Bauhaus strives for Painting Photography Film (1925) set 20 July 1895 in Bácsborsód / Austria- out his theory of “new seeing.” From a unity of all artistic creation, the reunification Hungary – 24 November 1946 in 1928 he was back in Berlin, designing of all the art disciplines – sculpture, painting, Chicago / USA intermedial decorations for the Kroll Opera and the Piscator Stage. the crafts and trades – to form a new art In painting, he experimented with of building in which they are all indispensable Born in southern Hungary as the son materials like aluminum and Bakelite of the Jewish farmer Lipot Weisz, components. The final, if distant goal of the and used Plexiglas placed in front of Moholy-Nagy – the later pioneer of canvases to create transparent three- Bauhaus is the unified work of art – the grand modernism – was raised by his uncle dimensional effects. His experiments building – in which there are no borders in Mohol in today’s Serbia. After led to the construction of a mobile his father left the family, his mother installation made of glass and metal, between monumental and decorative art.” (…) was helped by her lawyer, named the Room Modulator.
    [Show full text]