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804,5 Jahre Dresden
TU Dresden, Fakultät Architektur Prof. Dr. Hans-Georg Lippert Vorlesung Baugeschichte (Hauptstudium) Winter 2010/11 804,5 Jahre Dresden Vorlesungsprogramm Vorlesung Datum Vortragender Thema 1 12.10.2010 H.-G. Lippert Die Stadt des Mittelalters und der Frühen Neuzeit 2 19.10.2010 Walter May Das barocke Dresden I 3 26.10.2010 Walter May Das barocke Dresden II 4 02.11.2010 Henrik Karge Die Stadt des 19. Jhs. I (Gottfried Semper) 5 09.11.2010 H.-G. Lippert Die Stadt des 19. Jhs. II (Industrialisierung) 6 16.11.2010 H.-G. Lippert Die Stadt der Lebensreform 7 23.11.2010 Tanja Scheffler Expressionismus und Neue Sachlichkeit 8 30.11.2010 H.-G. Lippert Gauhauptstadt Dresden 9 07.12.2010 Thomas Will Nach 1945 I: Wiederaufbau der Monumente 10 14.12.2010 H.-G. Lippert Nach 1945 II: Nationale Traditionen 21.12.2010 Keine Vorlesung Weihnachtspause 11 11.01.2011 Kerstin Zaschke Hochschulstadt Dresden 12 18.01.2011 Susann Buttolo Die sozialistische Großstadt 13 25.01.2011 Die „europäische Stadt“ Filmreihe: (jeweils Mittwoch, 18:30 Uhr, HSZ 0004. Unkostenbeitrag: 2,00 €): 20.10.2010: Frühlingssinfonie (R.: Peter Schamoni, D 1983) 15.12.2010: Wenn du groß bist, lieber Adam (R.: Egon Günther, DDR 1965) 19.01.2011: Fünf Tage – fünf Nächte (R.: Lew Arnstam, DDR/UdSSR 1960) 02.02.2011: Der Rote Kakadu (R.: Dominik Graf, D 2004) TU Dresden, Fakultät Architektur Prof. Dr. Hans-Georg Lippert Vorlesung Baugeschichte (Hauptstudium) Winter 2010/11 804,5 Jahre Dresden 1. Vorlesung Die Stadt des Mittelalters und der Frühen Neuzeit Daten: Geschichte (I) • um 1100 v. -
Nordmedia Filme 2019.Pdf
DIE FILME nordmedia-geförderte Produktionen funded by nordmedia – completed 2019 DIE FILME nordmedia-geförderte Produktionen funded by nordmedia – completed 2019 1 Impressum: Wir danken unseren Anzeigenkunden/ Herausgeber/publisher: We would like to thank our advertising clients: nordmedia – Film- und Mediengesellschaft Anwaltskanzlei Yvonne Werner Niedersachsen/Bremen mbH Expo Plaza 1 BEST COMPANY VIDEO GmbH 30539 Hannover Tel.: +49 (0)511-123 456 0 Bundesagentur für Arbeit – Fax: +49 (0)511-123 456 29 Zentrale Auslands- und Fachvermittlung (ZAV) E-Mail: [email protected] www.nordmedia.de Cine Complete GmbH Geschäftsführer/chief executive: Thomas Schäffer DIGICOPTER® ConceptZWO GmbH Bereichsleiter Film- und Medienförderung/head of funding: Jochen Coldewey FAGO Filmfahrzeuge GmbH Redaktion/editor: Susanne Lange FARBkorrektiv GmbH Gestaltung/design: Djahle Krebs Übersetzungen/translations: Dr. Ian Westwood, MEDIA TV Video Systeme GmbH Dr. Doris Sauermann-Westwood Lektorat/proofreading: Cornelia Groterjahn Rainer Ludwigs Image-Building Druck/printers: Leinebergland Druck GmbH und Co. KG, Alfeld Auflage/circulation: 2.000 SERU Animation GmbH & Co. KG Titel/cover: FUTUR DREI © Jünglinge Film/David Uzochukwu TVN GROUP HOLDING GmbH & Co. KG Die Informationen zu den einzelnen Filmen sind auch im Inter- net unter www.nordmedia.de abrufbar. Sie beruhen auf den Angaben der Produzenten und Produzentinnen. Information on individual films may be found in the internet under www.nordmedia.de. The film descriptions are based on information provided by the producers. Februar 2020/February 2020 2 Vorwort/foreword Thomas Schäffer Jochen Coldewey Geschäftsführer/ Bereichsleiter Film- und Medien- chief executive förderung/head of funding Der vorliegende Katalog führt insgesamt 69 von nordmedia geförderte This year’s catalogue presents a total of 69 completed productions und im Jahr 2019 fertiggestellte Produktionen auf. -
The German Bundestag in the Reichstag Building
The German Bundestag in the Reichstag Building The German Bundestag in the Reichstag Building 6 Foreword by the President of the German Bundestag, Wolfgang Schäuble Hans Wilderotter 9 “Here beats the heart of democracy” Structure and function of the Bundestag 10 The ‘forum of the nation’: the Bundestag at the heart of the German Constitution 14 “Representatives of the whole people”: the Members of Parliament 22 “The President shall represent the Bundestag”: the President of the Bundestag, the Presidium and the Council of Elders 32 “Permanent subdivisions of the Bundestag”: the parliamentary groups 40 “Microcosms of the Chamber”: the committees 48 Strategy and scrutiny: study commissions, committees of inquiry, the Parliamentary Oversight Panel and the Parliamentary Commissioner for the Armed Forces 54 “The visible hub of parliamentary business”: the plenary chamber 62 “Federal laws shall be adopted by the Bundestag”: legislation and legislative processes 76 “Establishing a united Europe”: Bundestag participation in the process of European integration Content Hans Wilderotter 83 The long road to democracy Milestones in Germany’s parliamentary history 84 “... the real school of Vormärz liberalism”: parliaments in Germany before 1848 88 “We will create a constitution for Germany”: the German National Assembly in St Paul’s Church, Frankfurt am Main 106 A “written document as the Constitution of the Prussian Kingdom”: the constituent National Assembly and the Prussian House of Representatives in Berlin 122 Democracy without parliamentarianism: -
Examining the German Ledigenheim
Examining the German Ledigenheim: Development of a Housing Type, Position in the Urban Fabric and Impact on Central European Housing Reform By Erin Eckhold Sassin B.A., The University of Michigan, Ann Arbor, 2000 M.A., The University of Massachusetts, Amherst, 2004 Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Program in the History of Art and Architecture at Brown University Providence, Rhode Island May 2012 © Copyright Erin Eckhold Sassin, 2012 This dissertation by Erin Eckhold Sassin is accepted in its present form by the Department of History of Art and Architecture as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date __________ ________________________ Dietrich Neumann, Advisor Recommended to the Graduate Council Date __________ ________________________ Carol Poore, Reader Date __________ ________________________ Eve Blau, Reader Approved by the Graduate Council Date __________ ________________________ Peter Weber, Dean of the Graduate School iii Erin Eckhold Sassin 6 Lincoln Avenue, Pawcatuck, CT 02790 [email protected] EDUCATION Ph.D. Filing Dec. 2011 History of Art and Architecture Department, Brown University Providence, Rhode Island Dissertation: Examining the German Ledigenheim: Development of a Housing Type, Position in the Urban Fabric and Impact on Central European Housing Reform Dissertation Director: Dietrich Neumann Colloquium Committee: Dietrich Neumann (Brown), Carol Poore (Brown), Eve Blau (Harvard/GSD) Oral Examination Fields: (Major) European and American Architecture and Urbanism, 1850-1950 (Minor) German Reform Architecture and Design, 1870-1914 (Minor) German History 1870-1993, with a Focus on the City and its Discontents A.M. 2004 University of Massachusetts, Amherst, Massachusetts Concentrations: (1) Nineteenth Century Architecture (2) Northern and Italian Renaissance Art B.A. -
I WOCHENSCHRIFT Dg Flrchitekten-VEREINS^Berlinl HER/1USGECEBEN ^VEREINE F Erscheint Sonnabends U
I WOCHENSCHRIFT Dg flRCHITEKTEN-VEREINS^BERLINl HER/1USGECEBEN ^VEREINE f Erscheint Sonnabends u. Mittwochs. — Bezugspreis halbjährl. 4 Mark, postfrei 5,30 Mark, einzelne Nummern von gewöhn. Umfange 30 Pf., stärkere entspr. teurer ^ Der Anzeigenpreis für die 4gespaltene Petitzeile oeträgt 50 Pf., für Behörden-Anzeigen und für Familien-Anzeigen 80 Pf. — Nachlaß auf Wiederholungen Nummer 49 Berlin, Sonnabend den 7. Dezember 1912 VII. Jahrgang * Zu beziehen durch alle Buchhandlungen, Postämter und die Geschäftsstelle Carl Hey m anns Verlag in Berlin W. 8, Mauerstr. 43.44 Alle Rechte Vorbehalten Paul Wallot Ansprache des Ministerial- und Oberbaudirektors Wirklichen Geheimen Rats SDr.^tiQ- Hinckeldeyn bei der Wallotgedächtnisfeier am 27. Oktober 1912 in Berlin „Steine reden. Die machtvolle Raumwirkung dieser Kuppel Das innige Dankesgefühl, das wir dafür empfinden, erhält halle spricht ihre eindringliche Sprache in dieser feierlichen, seine besondere Wärmo durch die Wahrnehmung, daß eine so dem Gedächtnis ihres Erbauers geweihten Stunde. zahlreiche und hochansehnliche Versammlung diese Halle füllt, Eine Gedächtnisfeier, gestimmt auf den Ton der Klage über ein sprechender Beweis dafür, daß es weiten Kreisen nah und einen schweren Verlust, zugleich forn Herzonssache ist, ihrer aber getragen von dem erheben Verehrung für den dahinge- den Gedanken, daß uns mit dem sehiedenen Meister heute Aus Dahingeschiedenen ein Großer druck zu geben. im Reiche der Kunst gegeben war. Bei einer Huldigung, die Was Paul W allot unsorm Wallot vor mehreren Jahren -
The Baroque in West Germany: Creating Regional Identity in the Post-National Federal State
The Baroque in West Germany: creating regional identity in the post-National Federal State. Exhibitions as mass media ‘for a wide audience’ Meinrad v. Engelberg Do individual countries and states develop an ‘image of the Baroque’ that is specific, typical of its era, clearly defined and visibly distinct from that of other nations? Is it thus possible to make a statement about the rather numerous and diverse Baroque exhibitions in West Germany – the ‘old’ Federal Republic of Germany prior to 1990 – that meaningfully integrates the individual case into an overall context? The following essay advocates the thesis that a common ‘meta-narrative’ is hidden behind this diversity, integrating the art of the Baroque affirmatively into the simultaneously forming self-image of the young ‘Bonn Republic’, namely, that of a post-nationalist, European-networked, historically rooted, profoundly federalist ‘Kulturnation’. Surely more than any other form of presentation, the (thematic) exhibition may be considered the most typical medium for conveying art to the public, at least since the second half of the twentieth century.1 The ceremonial queue through elaborately promoted events, which for some time have been given the booming epithet ‘blockbuster’, manifest their success today and provide evidence of their unbroken acceptance in the ‘event’ society .2 Unfortunately, by nature the exhibition, unlike the film or the book, is an ephemeral, fleeting medium: the temporary spatial disposition of this form of presentation usually disappears without a trace after the closing party and is in essence more poorly documented, and less thoroughly discussed in the press, than, for example, the stage sets of theatre productions.3 For that reason, I am taking 1 This does not refer to classic exhibition formats such as the Salons de Paris or to monographic shows of artists, but rather to project in which a certain (historical) theme is presented and discussed with a variety of disparate objects. -
Berlin Between Past, Present and Future Udc 711.48+72.011(430.2)(045)
FACTA UNIVERSITATIS Series: Architecture and Civil Engineering Vol. 7, No 2, 2009, pp. 161 - 169 DOI: 10.2298/FUACE0902161A BERLIN BETWEEN PAST, PRESENT AND FUTURE UDC 711.48+72.011(430.2)(045) Biljana Arandjelović1, Kaja Pogacar2 1University of Niš, The Faculty of Civil Engineering and Architecture, Serbia 2University of Maribor, The Faculty of Civil Engineering, Slovenia E-mail: [email protected], [email protected] Abstract. Berlin is one of the most interesting European cities. In the Cold War period, The Berlin Wall physically divided West Berlin and East Berlin for 28 years in period from August 1961 till November 1989. Berlin was also the symbolic boundary between West countries and Communism during the Cold War, which influenced also the architectural development in the city. The city was the biggest building site in Europe in the period of 1990s. Today, Berlin is an important art center with around 1500 cultural events daily. Berlin is also since 2005 the only European UNESCO city of design. Key words: Modern architecture of Berlin, history of architecture, art in open urban space, UNESCO city of design, memorials at urban place. 1. INTRODUCTION Berlin is the city of very turbulent history that was founded in 13th century. Many radical changes happened to Berlin in the past. Today contemporary Berlin is an important world metropolis with more than 3.5 million of citizens. The World War II devastation resulted in complete destruction of the inner city center. After the World War II, Berlin was divided, as well as the whole Germany. -
Fachtagung „Eine Stadt Müssen Wir Erbauen, Eine Ganze Stadt!“ Die Künstlerkolonie Darmstadt Auf Der Mathildenhöhe Kommentiertes Tagungsprogramm 2
FACHTAGUNG „EINE STADT MÜsseN WIR ERBAUEN, EINE GANZE STADT!“ DIE KÜNSTLERKOLONIE DARMSTADT AUF DER MATHILDENHÖHE KOMMENTIERTes TAGUNGSPROGRAMM 2 „EINE STADT MÜsseN WIR ERBAUEN, EINE GANZE STADT!“ DIE KÜNSTLERKOLONIE DARMSTADT AUF DER MATHILDENHÖHE Die Mathildenhöhe in Darmstadt – ein herausragendes rische Bedeutung herauszuarbeiten und beides in einem Ensemble des frühen 20. Jahrhunderts – vereint in ihren internationalen Vergleich zu diskutieren. Die Vorträge Bauten, den Gartenanlagen und Kunstwerken ein neues widmen sich der räumlichen, geistigen und gattungsspe- künstlerisches Programm verschiedener Reformansätze. zifischen Vielfalt des Aufbruchs in die Moderne sowie Es entstand experimentelle Architektur, neue Raumkunst den Impulsen, die um 1900 auf Darmstadt einwirkten, und zukunftsweisendes Design. Geschaffen mit dem die von Darmstadt ausgingen und von hier weit in das Ziel, Kunst und Leben zusammenzuführen, manifestiert 20. Jahrhundert hinein ausstrahlten. sich im Wirken der Künstlerkolonie mit den Mitteln der Die Tagung begleitet die Welterbenominierung der Kunst der architektonisch-künstlerische Aufbruch in die „Künstlerkolonie Mathildenhöhe“. Ihr Ziel ist es, interna- Moderne. tional weitere Beispiele in den Blick zu nehmen, in denen Die Wissenschaftsstadt Darmstadt, ICOMOS Deutschland sich der Willen zeigt, die Moderne umfassend künstle- und das Landesamt für Denkmalpflege Hessen veran- risch zu gestalten. Damit wird der Ort und der Rang der stalten gemeinsam diese Fachtagung, deren Ziel es ist, „Künstlerkolonie Mathildenhöhe“ -
IIT Summer 2015
Summer 2015Summer Study 2015 Abroad Study Abroad Studio Studio | John | JohnManaves, Manaves, Alice Alice Kriegel Kriegel | 1.15.15| 1.15.15 IIT Summer 2015 IIT | Summer 2015 Summer 2015 Study Abroad Studio | John Manaves, Alice Kriegel | 1.15.15 STUDIO STRUCTURE & CONTENT Introduction studio BERLIN 2015 IIT Learning from Berlin | Variable Cities and Behavioral Modeling Tactical Strategies for New Urbanisms In collaboration with HENN Architects, Berlin If space is neither a social product (an end result) nor a pure category (a starting point), is it an in-between (an intermediary)? “Questions of Space”, Bernard Tschumi Why Berlin? Berlin’s unique rebirth is an active and dynamic example of a redevelopment of a city in the attempt to realign itself as a global capital. Its changed landscape during the nineteenth, twentieth, and twenty-first century promotes an ethereal metropolis developing new prototypes for living. The vast array of experimentation spanning three major territorial shifts are critical to these radical transformations. Prewar, postwar and unification have generated a collage of new visions implementing urban forms within distinct neighborhoods. Extensive comparisons have been made between Chicago and Berlin during the turn of the century. In 1891 Mark Twain visited Berlin and published his experience in the New York Sun “The German Chicago” stating “Berlin is the European Chicago”. He described the city as “the newest I have ever seen”(Twain 88/89). At this time, Berlin was compared to Chicago both by its range of development and its speed of growth. It had changed from a historical city to a new age metropolis. -
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. -
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INTERNATIONAL CONFERENCE “A ciTY, WE NEED TO BUILD AN ENTIRE ciTY!” THE DARMSTADT ARTISTS’ COLONY ON THE MATHILDENHÖHE ANNOTATED CONFERENCE PROGRAM 2 “A ciTY, WE NEED TO BUILD AN ENTIRE ciTY!” THE DARMSTADT ARTISTS’ COLONY ON THE MATHILDENHÖHE The Mathildenhöhe in Darmstadt – an outstanding ensem- comparison. The lectures attend to the spatial, mental ble of the early 20th century – unites in its buildings, and genre-specific diversity of the dawn of Modern- gardens and works of art a new artistic program of ism, including the many impulses that either affected various reform approaches. It was here that experimen- Darmstadt around 1900 or emanated from Darmstadt and tal architecture, new spatial art and pioneering design then radiated from here well into the 20th century. emerged. Created with the aim of combining art and life, The conference accompanies the World Heritage nomi- the architectural-artistic dawn of Modernism manifested nation of the “Mathildenhöhe Artists’ Colony”. Its goal itself in the artworks of the Artists’ Colony. is to take into account further examples from different The city of Darmstadt, ICOMOS Germany and the Hessian countries, in which the shaping of Modernism through art State Office for the Preservation of Historical Monuments and design played an important roll. Thus, by internation- jointly organized this conference. It sets out to identify al comparison, the place and rank of the “Mathildenhöhe not only the unique characteristics of the “Mathildenhöhe Artists’ Colony” will be more accurately determined and Artists’ Colony” but also its exceptional historico-cul- its outstanding universal value brought out more sharply. tural significance and to discuss both in an international 3 Program Program 4 Sunday, April 17, 2016 3:00 p.m. -
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Dealing with Remnants of Politics, Power and History in Germany Dr.-Ing. Ulrike Altenmüller-Lewis, AIA Drexel University, Philadelphia, PA ABSTRACT: The link between place and identity is not stagnant or fixed. It changes over time, influenced by social and political changes and ethical developments, from one generation to another. What was important to remember (or commemorate) yesterday may not have the same significance tomorrow. What we see as right and just now may be viewed as wrong or obsolete in a decade or two. So, what do we do when the storyline changes? In our current political climate, the question about the validity of certain historic monuments, their context, their meaning for various groups and our handling of these at times uncomfortable monuments gained unexpected relevance. Suddenly the question becomes important what to do with these memories, with monuments and buildings that clearly reference a certain time or nationalistic expression and that today leave us with an uncomfortable aftertaste. This abbreviated version of the paper explores the questions posed above by looking at Germany as one example of where the people had to grapple with the role and impact of collective memory, of public monuments and architecture that are freighted with heavy past. German history since 1871 is filled with fractures of political, cultural and social orders that forced the definition and re-definition of what to remember and how to remember appropriately by its politicians and citizens. The paper will retrace the changes in significance and how authorities and the public dealt with buildings of historic significance in two locations of Berlin as examples from a larger range of buildings and monuments the author is investigating in context of the topic.